Whats Worth Teaching in Art?

Tammy Hoppe August 27, 2013 Summary Planning an art curriculum is an art teachers responsibility, and the authors Bolin, Gude, and Wiggins say that the design of that curriculum should be centered on concepts, big ideas, and essential questions. While all three authors point out the value of curriculum planning and student learning based on key concepts, Bolin and Wiggins especially emphasize in importance of essential questions. Bolin clarifies his own emphasis by saying that essential questions are important not only for our students learning but also for that of every other learner, and that the act of finding the answers to those questions is equally as important in the teaching and learning process (Bolin, 1996). Wiggins specifies his emphasis on educations need for essential questions saying that students should not only learn how to ask good questions about their learning but should intentionally, actively seek it (1989). He doesnt want teachers to teach random pieces of information but wants them to "awaken students minds (Wiggins, 1989). Gude, however, recommends that teachers plan curriculum with a conceptual structure. She agrees, of course, to start curriculum planning with probing questions, but to do it with art of the current times and to organize it with timeless and universal themes (2004). She reminds us to provide situations where the students learning and new knowledge can be both personally relevant and community aware (2007). Gude especially clarifies that the traditional teaching the elements and principle of art are not essential content and that simply covering a topic is certainly not the same as actually teaching it for true understanding. Key Points Wiggins key points include teaching enduring ideas by using essential questions, because we cannot possibly teach students everything they need to know, anyway, but we can at least help them be effective life long learners by teaching them to ask their own essential questions and to set then strive for high standards of achievement (1989).

Wiggins points are valuable and easily applicable in the art classroom if teachers model exactly what he stresses. Bolins key points parallel many of Wiggins. Bolin emphasizes the value of teaching and learning through the use of essential questions but would add the extra emphasis that the act of answering those questions is an equally essential part of the learning process (1996). Bolin does, however, warn that with the process of asking and answering quality questions for learning, more good questions arise, also needing to be answered. Gudes article, Postmodern Principles, first reminds us that the elements and principles of art may not be the measure by which we want our students to remember the visual arts (2004). She explains that students need their art experiences to be personally meaningful, and that teachers can provide opportunities for this by designing art curriculum around thematic concepts and ideas that are significant to our students, themselves. Finally, she states that such a task can be better accomplished by having students create postmodern art examples of their learning expectations. The second article by Gude, Principles of Possibilities, points out that a rt education content can quite easily be thematically or conceptually organized and taught (2007). The benefit of teaching art education this way is that teachers can more effectively and meaningfully teach their students important aspects of art, but in a greater depth. Students, in turn, gain a stronger foundation of the leaning process, affording them better lifelong learning skills. Plus, their work is made more personal, thus, representing clearer representations of themselves and the communities in which they live. Personal Reflection Wiggins has been a favorite of mine for years and was easy to read. His work makes perfect sense in my current philosophy of art education. What benefited me the most in reading his article was the refreshing reminders of what essential and enduring ideas truly are and how learning is deeply affected by students abilities and confidence to ask and answer high quality questions. Bolin reinforced the educational value of organizing curriculum with essential questions by describing how the act of answering those questions is of equal value in

students learning. When done so in a purposeful and meaningful way, even more essential questions will probably arise and need to be answered as well. The benefit that will inevitably come from the conceptual perspective described by Gude is that students will have stronger foundations upon which to scaffold their future learning and knowledge. Teachers need to provide students a strong educational foundation that will pave the way for efficient and effective livelong learning and problem solving. Conceptual curriculum based on enduring ideas and essential questions will be that strong foundation.

References Bolin, P. (1996). We are what we ask. Art Education, 49(5). Gude, O. (2004). Postmodern principles: In search of a 21t century art education. Art Education, 57(1), 6-14 Gude, O. (2007). Principles of possibility: Considerations for a 21st-century art & culture curriculum. Art Education, 60(1). Wiggins, G. (1989). The futility of trying to teach everything of importance. Educational Leadership, 47(3), 44.