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1 a FRAMEWORK for TEACHING and LEARNING in ART: With 1 A FRAMEWORK FOR TEACHING AND LEARNING IN ART: with special reference to National Curriculum Key Stage One ANNE BERYL DAVIES A DISSERTATION IN FULFILMENT OF THE REQUIREMENTS FOR THE UNIVERSITY OF LONDON PH.D DEGREE IN ART IN EDUCATION INSTITUTE OF EDUCATION 1993 BOL LO$b1t upJli 2 ABSTRACT The research started from the assumption that the point of including art in education is to develop children's understanding of this subject. Its purpose is to consider certain theoretical and practical contexts through which this aim might be helped or hindered. The thesis examines the proposition that in order for young children to begin to understand and develop their work in art it Is necessary for their teacher to be able to put them in touch with the basic structure (formal elements, materials and processes) of the subject. How this might be achieved in practice is analysed in a report of a project carried out by the author with her class of children aged five and six years. Its purpose was to find out whether the children could talk about formal elements, materials and process as well as the content of their pictures in a way which would develop their understanding of art. Teaching and learning were guided by the twentieth century concept of art which emphasises its formal elements and physicality. Analysis of five activities and of individual children's work shows that unexpected developments in picture-making occurred; that the children's activities helped them to talk about a picture by H. Matisse (1953); and that some children had developed an understanding of their work in art. On this basis it is found that 1) it is possible to put young children in touch with the structure of the subject in a way which develops their understanding; 2) children can be 3 helped to appreciate the work of others through an understanding of their own work. This finding may be useful to other teachers in providing a practical link between Ati and At2 of Art in the National Curriculum. 4 CONTENTS Page ABSTRACT 2 LIST OF ILLUSTRATIONS 5 INTRODUCTION: policy-making and the improvement of practice 6 PART 1 PROBLEMS OF ART IN EDUCATION INTRODUCTION: identifying problems 12 1.1 Education and concepts of art 26 1.2 Dilemmas for teaching 59 1.3 Individual learning in art 82 1.4 The curriculum as a framework for experience 106 1.5 Understanding teaching and learning 122 SUMMARY: recognising solutions 154 PART 2 DEVELOPING A FRAMEWORK FOR TEACHING AND LEARNING INTRODUCTION: focusing on basic concepts and skills 158 Activity 1: black and white cut-outs 179 2.1 Is it art? 189 Activity 2: yellow cut-outs 201 2.2 Developing art from aesthetic experience 211 Activity 3: blue cut-outs 226 2.3 A child's concept of art 235 Activity 4: red, yellow and blue cut-outs 253 2.4.i Talking and thinking about pictures 262 2.4.ii Developing picture-making 272 2.4.iii Talking and making pictures 296 Activity 5: painted cut-outs 310 2.5 Signs of individual understanding 315 SUMMARY: findings and criticisms 332 CONCLUSIONS: implications for the provision of art at Key Stage 1 347 BIBLIOGRAPHY 353 APPENDIX 1 357 APPENDIX 2 360 5 LIST OF ILLUSTRATIONS PICTURE MAKER PAGE Marks Oliver 80 A maze Nicholas 85 A man Helen 93 A man Laura R. 145 Black and white cut-out Jonathan 191 Laura G. 195 Kirsty 199 Yellow cut-out Natalie 213 Black and white cut-out Natalie 214 Yellow cut-out Karen 217 Ben 219 Christopher 222 Blue cut-out Emma 237 Nicola 240 Helen 243 Martin 247 Victoria 251 Red, yellow and blue cut-out Laura G. 273 Yellow cut-out Laura G. 277 Red, yellow and blue cut-out Mark 280 Rachel 285 Sarah 289 Black and white cut-out Sarah 293 Blue cut-out Sarah 294 Red, yellow and blue cut-out Jonathan 297 Nicola 304 Painted cut-out Nicola 308 Red, yellow and blue cut-out Kirsty 319 Kirsty 320 Painted cut-out Kirsty 321 Red secret Kirsty 322 The Sheriff of Nottingham Lee 325 My daddy looking good Lee 327 My daddy looking cross Lee 328 6 INTRODUCTI ON Policy-making and the improvement of practice Policies are meant to be statements of courses of action. In common with other primary teachers the author is used to trying to put into practice a variety of policies, some national, others issued by the County Council as well as those made in collaboration with colleagues in school. All aim to inform and improve current practice. However, some policies are more readily put into effective action than are others. The research and findings presented here began with the problems which the author had identified in her own teaching of art; and, in seeking an appropriate course of action, with the dilemma which seemed to result from apparently contradictory policy statements. The introduction to Part 1 of the thesis shows in which respect the author's practice was found to be deficient and how, in the process of sorting that out, the hypothesis was evolved which forms the core of the thesis. This proposes that in order for young children to begin to understand and develop their work in art it is necessary for teachers to be able to put them in touch with the basic structure of the subject. The main aim of Part 1 'Problems of Art in Education' is to consider whether young children should be put in touch with the basic structure of art; that is, its formal elements, materials and processes. It is concluded that given the appropriate context the hypothesis suggests a favourable course of action. Part 2 7 'Developing a Framework for Teaching and Learning' considers how this might be possible in practice by developing a simple structure for teaching and learning which is art-based and child-centred. Of course, improvements in teaching depend, among other things, on the kind of concept which art is held to be. The view of art from which the thesis proceeds recognises the open nature and imaginative adventurousness of this area of knowledge and experience. It suggests that the concept, or concepts, of art which teachers hold should enable children to have the fullest possible access to the subject. The chosen title of the thesis makes special reference to Key Stage One of the National Curriculum because there are certain views about the capabilities of children under seven which makes provision for their learning an area of controversy. Researches into the work of established authorities in that field form the basis in Part 1 of a thorough re-examination of the ideas behind the provision of art for young children. Three key issues are revisited in different contexts with a view to understanding how provision might be improved. They are: views about what children under seven can and cannot do; the concepts of art which might guide teaching; and the conditions in which individual children might learn effectively. This re- examination is thought to be timely since the 1992 National Curriculum requirements for art are currently being put into practice. In considering how to make that policy 8 work, it is thought that other teachers might find the arguments and findings presented here useful in making up their own minds about whether or not there is a need to rethink existing provision. From those examinations there emerged certain practical ideas which were to be of critical importance in suggesting the framework for teaching and learning reported and analysed in Part 2. These ideas suggest that: 1) provision for art should be based on what young children do as individuals rather than on what they, as a group, cannot do; 2) young children can be introduced to the structure of art through its simple but fundamental ideas which are powerful enough to be revisited continuously; 3) talking is an important way for children to sort out their thinking about picture-making and for giving teachers the chance to assess how they might be helped; 4) the neglected resource for teaching is children's doing, talking and making which, through the challenging concepts of art, can be used to develop understanding; 5) art can be made accessible in school by: conceiving the subject not as a fixed entity but as that which artists do with materials and ideas; and teaching with imaginative sympathy for children's points of view. Part 2 shows how these statements were converted into a series of picture-making activities for the twenty-two children, aged five and six years, in the author's class. The introduction to Part 2 shows how the project 9 'Colour and Shape' was conceived and planned with those ideas as a foundation. Central to the teaching was the twentieth century concept of art which emphasises its physicality, its material quality and formal elements. Two main aims determined the planning; the most immediate one was to investigate whether a form of structured talking about formal elements, materials and picture-making would help in developing individual children's understanding of what they were doing; the other was to find a way of improving teaching. Five activities were envisaged as a structured series in which what happened during a session would be analysed and used to determine what should happen next. Thus the method of proceeding was in the field of action research. Each activity was to focus on a different colour but each would involve: 1) an introductory discussion about tone, hue, shape, possible spatial relationships and materials; 2) picture-making; 3) reflections with individual children based on how their picture was made and what it was about; 4) a display of all the children's work with their comments.
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