Real-6 No Photos

The Value of Authentic Projects on Student Engagement and College Preparation for High School Art Programs
by Rachael Van Dyke
A Thesis Project Submitted to the Faculty of the Art Education Program In partial fulfillment of the requirements for the Master of Art Education Art Education Program Advisor: Cindy Todd, PhD
Kendall College of Art and Design of Ferris State University Grand Rapids, Michigan August 15, 2011
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Abstract A study of over 20,000 American high school students stated that 40% of students admitted to merely going through the motions in the classroom (Steinberg, 1997). As the Industrial Revolution shifted learning from hands-on apprenticeships to streamlined schoolhouse education, lecture-style learning became the new tradition. The conveyor belt approach to education has attributed to disengaged, passive learners over the past two centuries. Recently, varieties of educational philosophies have assisted teachers in motivating their students to become active learners. Studies have shown that students who see relevance in a topic will be
more actively engaged in the learning (Paul & Mukhopadhyay, 2004). Teachers who engage the multiple intelligences through real-world experiences have found an increase in student achievement, a decrease in misbehavior and an increase in parental involvement (Kornhaber, 2004 as cited in Gardner, 2004). Theories that fit under the umbrella of real-world projects include project-based learning, problembased learning, experiential learning and place-based learning. Through real-world experiences in high school art and design students are involved in career- centered projects that involve actual client work, visits to design firms and art studios and community art services. These experiences assist a young person in gaining connections with real artists and designers, portfolio work, and confidence in entering college level classes. Teachers who are a practicing professional in the subject matter they are teaching will find themselves more eager to present to their students relevant, current ideas and career connections within the community (Mayer, 2009).
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Chapter One Introduction Problem Statement Many children are often curious about their surroundings, desiring to make connections between themselves and the world around them. This intrinsic desire to understand and give meaning to their world needs to be developed throughout
their schooling. This is particularly essential at the high school level when many lose heart with the purpose of school. Tony, a 21 year-old high school drop out, reflects on his experience, I was always thought that you went to elementary school to prepare for junior high to prepare for high school which prepared you for college which prepared you for life. But life was happening when I was 14, and I was stuck in school. I wasnt being prepared, I was being held back, constrained. I had energy, passions, physical life to lead and that was set back. (Steinberg, 1997, p. 3) After researching over 20,000 high school students across the country Laurence Steinberg (1997) of the University of California concluded that student motivation to learn was at an all time low, no matter their economic background. Steinberg also noted that 40% of these students stated they were simply going through the motions. With these statistics looming over high schools across the country many administrators and educators are growing more concerned with how best to motivate students in their classroom. While there seems to be a trend for reevaluating teaching pedagogy for the 21st century student, many educators still remain stuck in 20th century teaching methods.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Rationale Despite the fact that research has indicated active learning motivates a learner greater than passive learning (Paul & Mukhopadhyay, 2004), many educators are finding it difficult to make the switch. Thankfully, there are currently a number of contemporary education methods being promoted for engaging the student in the classroom. Project-based learning, problem-based learning, experiential learning, and place-based learning are all variations around a similar theme of real-world; moving students from passive learner to active learner. (These methodologies will be discussed in detail in the following chapter and can also be found in the glossary section at the end of this paper.) Sitting through a lecture and taking notes does not actively engage the student in the material being taught (Benjamin 1991; Dabbour 1997; Smith & Van Doren 2004, as cited in Paul & Mukhopadhyay, 2004). According to Johnson, Johnson and Smith (1991) active learning assists in developing essential skills such as critical thinking, metacognitive learning, synthesis and integration. In real-world projects multiple intelligences are involved instead of traditional aural learning. When students have the opportunity to take in information through a variety of ways there is a greater student success (Kornhaber, 2004 as cited in Gardner, 2004). A team of researcher formed the SUMIT project (Schools Using Multiple Intelligences Theory) studying forty-two schools that applied the multiple
intelligence theory to their classroom learning. According to the research conducted by Kornhaber and colleagues (as cited in Gardner, 2004): 78% of the schools reported positive standardized test outcomes 78% of the schools reported improved performances by students with learning
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART difficulties. 80% of the schools reported improvement in parent participationFinally, 81% of the schools reported improvement in student discipline, and 2/3 of these attributed the improvement to [the use of the multiple intelligence theory]. (pp.14)
The paradox is that although retention and application of material learned is a common goal for teachers, the traditional means of teaching by lecture and rote, are still thriving as the main teaching techniques today (Armstrong, 2010). There is a misconception that a lecture will convey a larger amount of information in a limited period of time, and that control of the classroom is easier to maintain compared to project-based environments (Paul & Mukhopadhyay, 2004). Some teachers, striving to make connections for their students, may add a little icing on the cake to the beginning, middle or end of their unit to make it more creative, but according to Smith (2009), this approach of activity-based learning is mediocre and unauthentic. Although activity-based learning is fun for students and adds interest to lectures and worksheets it is not intellectually challenging. Desserts are sweet but contain little nutritional value. Background Historically there have been numerous methods explored to assist learners in gaining information more effective. Throughout the centuries there have been various methodologies and theories in American education. In early colonial America parents had the responsibility for teaching their children. This was typically a basic foundation of reading and writing, taught without grammar guides or textbooks. There was a strong emphasis on teaching skills related to homemaking for girls and basic trades for boys (Lain, 2006). Young men either worked alongside
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART their father or were apprenticing in a particular craft for the purpose of supporting the family. Historically, people have been transferring skills from one generation to another in some form of apprenticeship. As people were immigrating to America
many craftsmen from European countries continued the practice of apprenticeships (Washington State Dept., 2010). Slowly the parent as teacher began to wane, as towns in the settled colonies increased in size. The Massachusetts Law of 1647, declared that every town of at least 50 families hire a schoolmaster for the children of the town and that all towns of at least 100 families would have a Latin grammar school master prepare students to attend Harvard College (Sass, 2010). The Industrial Revolution. The Industrial Revolution also played a large role in breaking down the tradition of family instruction and formal apprenticeships. According to Reigeluth & Garfunkle (as cited in Gonzales & Nelson): As worked moved from farms to factories in the Industrial Age of the early 1900s, there were significant changes made throughout all aspects of society, even in education. The one-room schoolhouse was replaced over time with an assembly-line model where students moved from teacher to teacher and room to room. Efficiency was king. (pp. 10) Theories. Various theories have been implemented throughout the centuries, some which encouraged active learning and others that suppressed it. One of the earliest theorists, Christian von Wolff (1647), considered the human mind best developed through mental discipline or tedious drill and repetition of basic skills. This teaching influenced the philosophy of education in public schools up through the early 1900s (Sass, 2010). Similar early modern theorists, Bagley and
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Horne agreed to this method of teaching, labeled now as essentialism. Essentialism, one of the popular schools of thought for teaching, emphasizes the traditional means to teach students the basics of scholarship and character (Paris, 2005). Perennialism, existentialism, reconstructionsim, behaviorism and progressivism are five other major theories in educational philosophy, each having many supporters in American education today (Paris, 2005, p.1). Perennialism. Supported by theorists Hutchins and Adler, perennialism strongly upholds the philosophies of Plato, Aristotle, and St. Thomas Aquinas. Educators who hold to this theory would see the relevance of past historical writings to todays world issues. Contrary to common assumption, perennialism does not support mass memorization of the classics, but a deep appreciation of problem-solving and annalyzation. Perennialists believe that immersion into the writings of these three great philosophers will help students to become intellectuals who are capable of reasoning (Paris, 2005, p. 2-3). As a perennial flower appears every year, the classics are everlasting to a perrennialist. In theory, students who are immersed in the study of these classic and eternal ideas will appreciate learning for its own sake and become true intellectuals. Teaching reasoning and not facts, is an essential truth to the educational method of perrennialists. There is currently a growing movement in the homeschooling arena with the use of living books, books not written as textbooks. This idea was first promoted by 19th century Christian education philosopher, Charlotte Mason. Existentialism. Existentialism encourages students to understand and appreciate themselves as unique young people. The teachers responsibility is to prepare a nurturing and creative environment that stimulates learning. The
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART humanities are emphasized, allowing for a wide variety of experiences for the learner. Teachers encourage the students in their self-expression and self-directed learning (Paris, 2005, p.6). This may be most evident in the Montessori approach of teaching. Behaviorism. Behaviorism seeks to provide positive reinforcement whenever students perform a desired behavior, with the intention of the learner
performing the behavior on their own. Early 1900s philosopher Ivan Pavlov (18481936) and American Psychologist, John Watson (1878-1958) encouraged this technique in aiding student success in the classroom (Paris, 2005). A reward-based system of learning is widely used in the classrooms of the United States through stickers, stars, smiley face charts, and grades. There is a highly controversial movement occurring in which schools are paying students for their high grades, and good attendance, hoping to motivate their learning and help them connect the realworld of earned income to the classroom (Smith, 2011). Reconstructionism. Reconstructionism focuses on students asserting social action on real-world problems. Inquiry, dialogue, and multiple perspectives are all encouraged strategies, as well as community-based learning (Paris, 2005). Educators who use placed-based learning to teach their curriculum often share in the reconstructionists ideas of problem-solving social issues within their own community. Nearly 60% of community colleges require service learning or community service in their curriculum, not only for traditional internships opportunities but also for the betterment of the community.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Progressivism. Led by John Dewey, progressivism urged schools to have a broader range of curriculum to stimulate the students learning. Although during
the 1950s, with the launching of Sputnik, schools returned to traditional instruction in mathematics, science, foreign languages, and other defense-related subjects, Dewey taught that learning increases when students are engaged in activities that are relevant to them. Within this framework students may be exploring multiple things at once, and may be responsible for learning several different subjects at one time. Deweys vision was that, The home, workplace, and schoolhouse blend together to generate a continuous, fulfilling learning experience in life (Paris, 2005, 3-4). Elementary classrooms have created areas of learning called, centers for their students to explore a variety of activities at the pace they are comfortable. Often times these classrooms may reflect the home environment by being multi-age classrooms, having home groups or tribes and encourage project-based learning in teams. Chapter Two Literature Review Current Practices The latter two educational theories most embody the current trends in educational practices such as problem-based learning, project-based learning, experiential learning, place-based learning and real-world projects. These practices, as well as apprenticeship programs, service-learning projects and internships at the high school level, have been seen in resurgence. Project-based learning. A widely used method of new educational practice would be project-based learning often referred to as PBL (Due to the confusion of
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART the acronym PBL with identifying project-based, problem-based and place-based
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learning I will be referring to both of these methods by their full name unless within a quote). Project-based learning involves backward design of the curriculum, in which the teacher envisions the desired outcome and plans backward from there to achieve lessons and activities that best lead to that outcome. There are six target areas for project-based learning; authenticity, academic rigor, applied learning, active exploration, adult involvement, and assessment. Students often work in teams on long-term projects that have been assigned by the teacher. Although active learning is essential for the project explored it is also is imperative to have quality reflective time to discuss individual, small group and large group learning. To meet standards and benchmarks and to cover a variety of goals, schools that use projectbased learning will often use cross-curricular methodology. To accommodate the need to develop on going project-based curriculum, schools are making room for group teacher planning time within the school day. At the charter academies of the Envision Schools in California teachers receive fifteen days of student-free professional-development time annually, five hours of collaborative time weekly, and monthly classroom mentoring (www.edutopia.org, 2007). Many schools are exploring the use of project-based learning because it is highly reflective of the team-centered work place in the real world and there is a strong need for creative problem-solvers. The educational system is continuing to search for ways to effectively respond to the changing needs of todays global economy. Increasingly, project-based learning is used as an instructional approach to prepare students to succeed in todays dynamic workplaces (Gonzales and Nelson, 2005,
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART p.10). Research from Thomas, as cited in Gonzales & Nelson shows that projectbased learning provides: Greater student interest, motivation and empowerment. More sophisticated skill set and knowledge of subject matter. Enhanced problem-solving and critical-thinking skills Better-developed collaborative and leadership skills Higher congruency with workplace needs (2005)
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To use project-based learning successfully Larmer, director of programs at the Buck Institute for Learning, as cited in Smith (2009), suggests that teachers begin with a driving question for their students, particularly an open-ended question. Larmer suggests that as the teacher develops a question to enter into the new area of learning, that they consider a question from a childs point of view, not from an adults. Allowing a field trip, guest speaker or an intriguing short-video to provoke students thoughts on a subject before asking an openended question can be a good way to begin. To help teachers understand the difference in formatting student-friendly questions Larmer has provided some examples of refining questions: A driving question is the backbone of all successful PBL [project-based learning]. The best questions are provocative and challenging, accessible to students, open-ended with multiple possible answers, and linked to important content. Here are some examples of how questions can be refined to get the best possible results from student.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART 1. From a simple right answer to more complex, local, and actively
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problem-solving: What are the characteristics of healthy soil? Better: Is our soil healthy enough to support a vegetable garden? 2. From abstract to concrete and challenging: How do architects use geometry? Better: How can we design a theater that meets specification with the greatest number of seats? 3. From too big to answerable: How has technology affected world history? Better: Does technology make war more or less humane? 4. From sounds like a teacher to student-friendly: How does the author use voice and perspective in The House on Mango Street to reflect on his childhood and community? Better: How can childhood memories show who we are today? (Smith, 2009) Problembased learning. Problembased learning was begun over 25 years ago with the intention of presenting a problem for the learner to work through individually or as a team. Its leading methodology for creating active learning is to begin with a question or problem to solve. Problem-based learning is a total approach to educating a child. Interpreted by Barrows and Kelson ( 2001 ) as cited in Maricopa for Learning: PBL [Problem-based learning] is both a curriculum and a process. The curriculum consists of carefully selected and designed problems that demand from the learner acquisition of critical knowledge, problem solving proficiency, self-directed learning strategies, and team participation skills. The process replicates the commonly used systemic approach to resolving
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART problems or meeting challenges that are encountered in life and career (Maricopa for Learning, 2001). In problem-based learning the roles of student and teacher are reversed. Students are given more responsibility for their learning, which develops an
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intrinsic desire for discovery and investigation of a problem. This approach creates a healthy pattern of success for life-long learning to take place. Atypical to the traditional role of a teacher, an instructor using problem-based learning becomes a facilitator; leading class discussions, mentoring; assisting with valuable resource materials and evaluator; developing appropriate student assessments that provide the scaffolding in which the students will use to explore their solution. This handsoff approach creates more proficient problem-solvers, self-directed learners and citizens that are capable of working in community (Barrows & Kelson, 2001). As in many of the current educational trends problem-based learning positions students in real-world simulations and encourages educators to develop relevant, meaningful curriculum. Gonzales and Nelson share a similar position: Because students have an opportunity to get into the trenches and confront the complex, messy aspects of real-world projects, students who learn in this type of setting have a more sophisticated understanding of the subject matter, as well as better technical and collaborative skills. As students face numerous ill-structured problems that they have to work through, their problem-solving and critical-thinking skills are significantly better than students who have learned in a traditional setting. (2005, pp.15)
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART A failing school district in Waco, Texas decided in 1998 to rethink its educational system and change its district to contain themed-schools within a
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school. The success rate of the first school, A.J. Moore, skyrocketed, as students were able to choose the school that best suited their gifts and interests and worked with real-world, problem-based projects. In conjunction with the National Academy of Information Technology (NAF) the school is now one of 630 theme-based schools in the U.S. (Mc Mullen, 2011 ). Although it is not a vocational school, most of the program centers on a particular career path such as landscape design, robotics, health science, even a pre-law track at the middle school level! A. J. Moore is a highperformance campus with a unique approach, says Roland Hernandez, Waco ISD superintendent (2011). It provides an environment in which students can focus on what kind of track they want to be on (Mc Mullen, 2011). There is often a cross-over with current educational methodologies as realworld projects contain problems to solve, projects to build, and experiences to be made. Within an A.J. Moore theme-based school student volunteers in 2004 offered a free-tax service as part of their real-world learning for an Accounting class. Students filed 373 returnsbringing a total of $350,198 in refunds. In 2005 the returns nearly doubled, completing 795 and totaling $974,698 in refunds. This year, they expect to exceed 1,200 applicants (Mc Mullen, 2011). Within my own Design II class students spent one quarter learning about the history of architecture, issues of sustainable housing and finally designing a home meeting particular requirements on Google Sketchup!. For the second quarter students were made aware of the housing shortage in earthquake stricken Haiti. A local pastor came into the classroom and gave a slide presentation of the mission
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART work being done in Haiti to help bring housing to the hundreds of thousands of homeless families living in make-shift tents. He discussed their cultural likes and dislikes, seasonal weather conditions, need for ventilation, social and community expectations, and housing standards and safety for the family. My students were
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motivated by a problem that needed solving related to a global issue. Students then met with a local builder who presented information on micro-housing and prefabricated, portable structures. Boundaries were established and students began to design and create a foam core maquette of their structures. With the encouragement of our administration this project may eventually be a year-long course that would have students design for emergency structures, build it, ship it via a shipping container and then construct it on location during Spring Break. This project hit on a variety of standards and benchmarks related to art, design, construction, mathematics, socio-economics, ethics, science and more. See Figure 1 for a community vignette of micro-housing, including ventilation systems, metal roofing and raised floors.
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Figure 1. Maquettes of micro-housing units for Haiti created by NorthPointe Christian High School Design II class. This project has the potential of being fabricated by students in a Design/Build class and then shipped to Haiti for construction by students during Spring Break
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Experiential learning. These real-world experiences, particularly service-based experiences, reflect the heartbeat of the founding father of
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experiential learning, Kurt Hahn. The theory rests more on the process rather than the preconceived outcome (Kolb, 1984, p. 21). In contrast to other educational theorists like Piaget, Montessori and John Dewey, he believed that emphasis in educational reform needed to be at the middle school and high school level, not the early childhood level. Although he agreed with much of their methodologies he believed that the teen years were critical years for developing quality citizens. Western culture did little to celebrate the pubescent years and left young people, boys and girls, in a state of rebellion, dissatisfaction and loneliness. Hahn desired to see young people be confident and competent and meaningful to society, to break windows into the walls of the school to let in the real world (Hahn, 1933, cited in Knoll, p.7). Hahn is well known for being the founder of many experiential-based programs known as Experiential Therapy. Over his lifetime he developed United World College consisting of twenty boarding schools worldwide. He also established the two-year high school International Baccalaureate Program, the International Young People Award with over 100,000 participates worldwide, and the Outward Bound adventure-learning program. His programs met the needs of young people in a way that many educational methodologies did not at the time. Hahn considered the positive impact of denying ones self could have upon young people; the notion that serving others actually helped to shape a young persons intellect and social behavior (Knoll, 2011). Although Hahns theories were developed nearly a century ago, the same issue of adolescent floundering is prevalent today. What is my
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART purpose? What can I offer? are the questions of many young people today. In our society where youth are coddled and service and sweat may be signs of weakness,
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many of our teens are being crippled with a lack of motivation and purposefulness. A faltering high school in Bertie County, North Carolina has recently embraced Experiential Learning Theory (ELT) and seen its positive effect on students and community. Through the development of a design/build program called Studio H Juniors throughout the rural district are offered the opportunity to solve community issues through design, hand building and relationship building. Students are encouraged to creatively problem-solve a construction need in their community using recycled materials and existing structures, like a new farmers market for their community (Project H Design, 2010): We believe that the most formative educational experiences happen through the hands, and in building visible progress. Studio H will not only provide the framework for more engaged and holistic learning, but will make citizenship part of the public schools curricular standards. For a public education system, Studio H offers an antidote to rigid, verbal, top-down instruction that does little to activate the type of critical, creative thinking that 21st century learners need to succeed, and that rural communities need to thrive. (Studio H, 2011) Students involved in Studio H have the opportunity to apply for a paid summer construction internship and also receive up to 17 college credits in which 12 are fully transferable to the area community college (Project H Design, 2009). See Figure 2 for community structure being developed by Studio-H students.
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Figure 2. Studio H students saw a need in their community for a farmers market. They designed and assisted building the structure over the 2010 school year. The last of the trusses is being placed in the above photo with hopes that the market will be completed by August 2011. www.studio-h.org
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At the college level there are a number of programs beginning to use ELT to teach their curriculum. One of the fathers of experiential learning at the college level is the late Samuel Mockbee, who established Rural Studio at Auburn University in western Alabama. Mockbees desire was to improve the living conditions in an impoverished area of rural Alabama while giving practical real-world experience to the Universitys architecture students. The program has had the benefit of educating young people and blessing the community of Newbern, Alabama with over 100 creative, sustainable small-scale homes and large-scale public spaces and shelters. Students are required to live within the community and become a part of the rural community, making note of any needs that might be present. See Figure 3 for example of student work.
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Figure 3. Hale County Animal Shelter constructed from recycled materials. Rural Studio, a hands-on design and build class of Auburn University School of Architecture, teaches students to explore the architectural needs of rural communities in Alabama, and problem solve those needs through recycled and donated materials. www.cadc.auburn.edu
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Within my own teaching curriculum I have developed some experiential learning opportunities for my students. I connected with teenagers from another school district who developing an indie skateboarding company. Seeing it as a good opportunity to serve their peers, I had my students learn about the spirit of the company and create marketing materials for them. Peers promoting peers. I loved the concept and so did my students. The project began with the skateboarding coowners creating a YouTube video of their companys mission. From that point my students researched current skate companies, created logos, web site home pages, business cards and letterhead with envelopes and also t-shirts. See Figure 4 for examples student logo designs.
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Figure 4. A sample of student logo designs for indie skateboarding company, SkateFirst. (Winning logo design on left.) After the logo was selected, students from NorthPointe Christian High School then designed marketing materials including business card, letterhead and envelope.
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Issues regarding non-professional labor. Recently, I overheard two frustrated graphic designers discussing how local college students were taking their design jobs. I considered this remark in light of my own high school students doing real client work. The issues regarding high school and college student work for hire is a legitimate argument that should be considered, as heated discussion in the design world has been brewing (Bartow, 2011). Numerous on-line logo design contest sites have emerged in the past few years. 99designs for instance has numerous clients looking for a quality but cheap logo. Many designers vie for a mediocre paying design job (Bartow, 2011). If you pay peanuts, you get monkeys, says creative director, Dave Fletcher of The Mechanism design firm about the quality of work coming out of on-line design competitions and instant result design companies (as cited by Bartow, 2011). I encourage my Advanced Graphic Design students to enter online competitions for logo designs because I believe that they can participate in a fair playing field even though they are still in high school. The company who is choosing the design does not know their age, or training and solely makes a choice based on aesthetics. Although none have won so far, their entries have resulted in a wide variety of design work for their college portfolios. See Figure 5 for my Advance Graphic Design students on-line competition examples.
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Figure 5. Logos created by an Advanced Graphic Design student at NorthPointe Christian High School. These logo designs were created for a potential client, Clear Insurance, and uploaded to 99 Design online logo design competition website www.99designs.com
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Critics of student labor. Critics may argue that young people are taking away jobs from actual professionals. Aside from the active tradition of apprenticeships which involve students producing client work, most new business could not afford a professional logo at $5,000- $10,000 on average and wouldnt have anything done otherwise (Liber, 2008). Another concern is clients discontentment at the professional designers price if young people are working at such a low wage. Although most people want a bargain, it is evident that cost reduces as the risk increases. Consider hair salon prices. A client can go to the same hair salon and choose between the cost of a new graduate or an experienced professional. If a client is highly concerned then they should be ready to pay the extra money. Lastly, young people may be getting a false concept of their actual design abilities by winning these competitions. Certainly no one can control a growing ego, but if a young designer is competing against others for a design job, the weeding out will happen quite naturally when they arent good enough. Within my own classroom when a client has chosen work from a talented student it only affirms their giftedness and encourages them to learn more. I had one student who was getting paid for web site designs while he was still in high school. Although he eventually received a number of scholarships from an area art college ($10,000 one day award, Scholarship of Merit Award, and a Portfolio Award), he chose for a period of time to work instead. He made the choice to go back to college for his degree, and work for the NYC firm at the same time. Shouldnt we celebrate entrepreneurship? -According to Young Entrepreneur, great artists and designers
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART like Coco Chanel, Ansel Adams, Frank Lloyd Wright, and George Eastman did not attend college either (2010). Place-based learning. In conjunction with experiential learning there is another educational movement interested in awakening young people to the classroom that is right at their doorstep. Place-based learning is eager to make students aware of their own surroundings. Unlike Mockbees Rural Studio, where
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young people enter in to work within a foreign community, placed-based learning takes place within their own school, local community and their school district. The North Haven Community School located 12 miles off the coast of Maine, is a school that has out of necessity embraced place-based learning. Sixty-five students K-12th grade are challenged daily with place-based learning grounded in real-world, rigorous academics that come from highly innovative responses to the needs of a tiny, rural fishing community. Since the tradition of this small island has been hands-on hard work for survival, it only seemed natural for the classroom to also be hands-on and hard work for the students. Reflecting the work ethic and tradition of the community, the school has chosen to not imitate the large, mainland public high schools and their traditional ways of teaching (Morehouse, 2008). Contrary to statistics of rural community drop out rates throughout the US, North Haven Community School has had 100% graduation rate for over ten years with daily attendance at 93% (North Haven Community School, 2011). Out of necessity and through the ingenuity of the teachers and students many advanced projects have been designed, built and implemented by the school including: Students designed and built a hybrid van that transports all of them to school.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Students installed solar panels on their schools roof. Students hand-hewn the schools own fishing vessel.
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Students problem-solved the amount of natural light within their classrooms and gave the plans to the architect when students recognized that the original designs were not utilizing natural light.
Students designed and built a community park. In this program teachers are flexible and use the unpredictable changes in
the natural ecosystem and community issues to their advantage. To help teachers adjust their curriculum to the ever-changing developments in the community the school has implemented half-day school on Wednesdays so that teachers can meet together and work on their plans. See Figure 6 for photograph of hybrid van.
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Figure 6. Hybrid vehicle used for transporting North Haven Community School students. This hybrid vehicle was designed and constructed by the students of North Haven Community School to transport students to and from school.
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Considering how I could apply a service-based, placed-based project to my Intro to Art class I came up with a walking art gallery. Fine art is often exhibited in galleries for only a few to see, so I decided to bring art to our downtown community. Instead of the typical end of the semester art exhibition I had my students bring an original artwork to the masses. With twenty plus students in a line we strolled the sidewalks during morning rush hour, and held our artwork high for all to see. Students waved and greeted those traveling by, and we passed out crackers and cheese to pedestrians who would like hors doeuvres. This year I decided to have students create a special work of art in any medium to give away on our walk. It was incredible to see the variety of art patrons who chose our free artwork. From a woman in a fur coat with a Gucci bag, to a homeless man, many were surprised at the free offer of art! For two students who did not have their art selected we placed their canvases in a tree branch with a sticky label reading, FREE ART. See Figure 7 of student walking gallery.
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Figure 7. A walking art gallery performed by students of NorthPointe Christian High School. Students brought art to the masses by walking their artwork downtown during morning rush hour. Work was offered to anyone for free, and crackers and cheese were passed out as hors doeuvres for the show opening.
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Within our own school community I saw a need for a mural. While I was teaching junior high students about the Sistine Chapel, I recognized the unused space above their lockers. With the Principals permission, I adjusted my lesson plans and my students created three 20 x 3 murals to be placed in the bulkhead area. The murals reflected the Biblical theme for that school year and were painted on precut masonite panels. Students worked on their designs in class and then the junior high school voted on the top three designs. Students worked in teams of six to enlarge the scaled drawing using the grid method. Together they measured, drew and painted the winning designs. See Figure 8 of students voting on mural design.
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Figure 8. Jr. high students at NorthPointe Christian vote on their favorite mural design created by other 7th and 8th grade students. Mural designs were based on that years bible theme verse. The top three winning designs were then gridded and painted by students onto 32 of masonite. The panels were mounted permanently to the bulkheads above the student lockers.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Another project that came from a need I saw was related to our dress code. Five years ago I wanted to encourage my students that dressing modestly and
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appropriately for school dress code could still be cool and cost effective. Students in my Design I class had to use recycled clothing and found materials to design and create an outfit within the school dress code for school and banquets. Mothers and grandmothers came with sewing machines in tow to help my students hand drawn flats come to life. The entire school body now looks forward to the annual fashion show with student models of all shapes, sizes and grade levels walking the runway. See Figure 9 for example of runway show.
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Figure 9. Fashion runway show at NorthPointe Christian High School. Students in the Design I program at NPC designed clothing from recycled materials that met dress code for school and banquets. Parents and grandparents participated in helping to construct the clothing with the students.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART This year my Advanced Graphic Design students worked with the school
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marketing director to help develop a bi-monthly colored newsletter, logos, fliers, tshirts, bumper stickers, and concert programs. See Figure 10 of in-house design work.
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Figure 10 . A program cover for Grandparents Day chapel at NorthPointe Christian High School. Advanced Graphic Design students are encouraged to work independently on in-house assignments, such as brochures, newsletters, new logo designs, school t-shirts etc.
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The most recent need I saw was the lack of aesthetic beauty on the exterior of our school. I received a grant to display an outdoor steel laser cut relief based on the Beatitudes of Jesus. Fifteen Sculpture students then created scaled drawings within the boundaries given and voted on the best design for each of the eight Beatitudes. Students then entered their artwork into RHINO and digital files were handed off to Wyser Innovative Products who donated the majority of the laser cut cost. These pieces were then brought to a Magnum PowderCoat who gave our school a 50% discount. See Figure 11 for student sketch work. Future ideas I would like to propose to my administration are a bus shuttle shelter made from recycled materials and a covered walkway for the parking lot. I am now at the point of feeling comfortable asking the students to search for a need in our school or local community that can be solved through art, sculpture and design.
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Figure 11. Preparatory sketch created by NorthPointe Christian sculpture student for a laser-cut panel. Students designed eight 4x4 panels based on the eight Beatitudes of Christ. The panels are in the process of being laser cut and powder-coated and will be hung as an outdoor wall
sculpture for the schools front entrance in the Fall of 2011.
Career-centered projects. The driving force behind all of these ideas is the concept of career-centered, real-world projects. These authentic projects actualize
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART or simulate careers and opportunities within the real world. The advantage of career-centered projects is that students often have the chance to connect with professionals in the market place. A very talented graduate of mine who won Art Student of the Year at Grand Valley State University reflected on his experience in my art classroom.
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Rachaels efforts to integrate real world scenarios and studio visits into her curriculum had a profound impact on me as a student. The resulting exposure to working men and women helped de-mystify the professional world at a time when it felt distant and intimidating. It also emphasized the diversity of disciplines that make use of abstract thinking, and artistic practice, to commercial ends. That knowledge lent me confidence to follow my interests in college despite not having a distinct career path in mind. My city became a more inviting place as a great number of artists and companies opened their doors to us. In addition, I was empowered to communicate with them down the road because introductions had already been madeit is essential that students develop an understanding of professional discourse as early as possible. I am grateful to have begun that process in high school under Rachaels direction (D. Pettinga, personal communication, 2011). Another former student shared with me the importance of visiting designers while still in her high school years. She participated in my J-term class, a one week, three hour class, to kick start the winter semester after Christmas Break: Thinking back now, I developed a true love for design when I took your J-term classI remember we took trips to different art/ design studios in the Grand Rapids area where we were able to meet the artists/designers and learn about
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their specific craft. I already had in my mind that I would like to pursue interior design, but I was not fully convinced until I actually saw real people making a living by performing their specific art. Looking back at my experience at Kendall [College] and your classroom, I would say that I definitely was most influenced by going and meeting designers, seeing their work, and listening to them talk about their work and explain the process (K.Kurth, personal communication, May 15, 2011). During these fieldtrips I always tell my students to check their pulse. It is a silly yet serious game to evaluate their interest in that particular field. I have found that these visits, along with real-world projects in the classroom, increase student motivation, inquisitiveness, and quality of work. See Figure 12 for students viewing work at an artist studio.
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Figure 12 . Students from NorthPointe Christian High School view the work of internationally renowned artist, Stephen Duren. During J-term, a week long interim after Christmas Break, students may choose to take the Careers in the Fine and Applied Arts class, which tours design firms and artists studios for three hours a day.
It has been rewarding to see many of my student art submissions to Scholastic Arts win Gold and Silver Keys over the years as well as numerous scholarships to public and private colleges. I would attribute part of this to the many studio visits and guest artist visits I have offered. Through these my students have
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART gained a greater understanding of personal voice when it comes to developing a
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body of work. During each of the three consecutive years I taught Advanced Art my high school won Kendall Colleges coveted One Day Art Scholarship Competition awards. This year I entered two artworks into a countywide competition, and of the nine awards given, both of my students were awarded. It has been incredible for me to see a football linebacker become a fashion design student at Columbia, a golf prep fall in love with graphic design, and a number of other students who emerged with greater insight into a design or art field they never knew existed. I have strived to integrate real-world projects in a variety of ways into my teaching to bring the art world into the classroom and vice versa. It is integral to student learning to make connections to their present daily life, past experiences and future career goals. Below is a list of a ways I have incorporated careerconnections into my curriculum: Inviting guest artists into the classroom to show work and introduce a new project. Inviting guest artists into the classroom to demonstrate an art making technique. Inviting former students to present their college artwork to my classes. Hiring guest artists through grants received to assist students in creating large-scale sculptures. Dressing up as a client to simulate the real world. Receiving real briefs from local advertising firms to work on and present ideas to the creative director.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Inviting interior designers, creative directors, marketing directors, industrial designers and graphic designers to guest critique student work. Presenting final work at an actual design or architecture firm. Entering students work into real-world design competitions. Requiring students to dress-up for guest critiques. Simulating a design firm by critiquing in schools meeting room.
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Replacing stock photos for graphic design projects with photos from student organized photo shoots.
Adjudicating art shows that are in our local community and comparing the jurors selections over class choice.
Hosting senior exhibitions in a local gallery, business or home. Creating large-scale permanent sculptures for the school. Entering students work into real-world call for art art exhibitions. Finding small design jobs from local business owners who want a fresh, new look.
Requiring Advanced Art students to select a community service project that is art/design based that they complete outside of school.
Assisting school marketing director in various needs. Visiting studio and design firms during one-week J-term class. Measuring a real downtown loft space and designing for a fictitious client.
Requiring Intro to Art students to experience ART NOW through documenting 4 local galleries, artist studios or art fairs of their choice.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Using current computer software including Google SKETCHUP! and Adobe Photoshop and Adobe Illustrator. Allowing students to adjudicate and display their own group show. Having an annual fashion show. Sharing personal success as a professional artist through exhibiting my work at our school, and rejoicing with them when work sells. Inviting students to join along at local art receptions after school hours. Taking students to guest artist lectures at our local art museum and sculpture gardens after school hours. Hosting senior group and solo exhibitions in local art galleries. Encouraging students to participate in ARTWORKS, a semester long opportunity for students to work with a professional artist or designer.
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Providing scholarship opportunities for regional summer art camps. Inviting Kendall College of Art and Design to have annual portfolio reviews in classroom.
Purchasing student artwork for school. Annual funding for summer art camp scholarships. Presenting a Walking Gallery where students walk their art downtown.
Touring local college art departments during our spring break. Painting on location. Allowing for total student led critiques after every project.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Having students teach art to elementary students. Have a student aid in the classroom. Participate in teacher-exchange with local high school teacher.
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Set up opportunities for high school student to assist the elementary art teacher.
Create picture books in a foreign language to take on school mission trips.
Ask drama department if they need poster designs for advertising play.
Create t-shirts for powder-puff events or other student-led events. Consider an art club with after-school and overnight trips to design shows, studio firms, art colleges and painting on location excursions.
Vary the self-portrait project by having students create portraits for underprivileged community members, ex. Foster children, veterans, or be involved in third-world projects like: http://www.memoryproject.org
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Theme-based schools. Within my own city of Grand Rapids, MI we have theme-based schools that encourage current teaching methodologies within a
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thematic school environment. The Blandford Nature Center focuses on place-based learning and experiential learning as students raise their own chickens to sell eggs, tap for maple syrup, plant an herb garden, take care of the nature centers animals, and maintain the public paths while studying the natural ecosystem. The Zoo School, also offered for sixth graders in Grand Rapids, MI is an experiential school that teaches the state curriculum through zoology and hands-on learning in the zoo setting. The Grand Rapids Public Schools offer theme-based schools including C.A. Frost Environmental School, Coit Creative Arts Academy, Shawnee Math/Science and Technology, The Center of Economicology, The School of Health, Science and Technology, The School of Business, Leadership and Entrepreneurship, Academy of Design and Construction, GRAPCEP Engineering and Biomedical School, and the University Prep schools. The challenge for our public school system is that these theme-based schools are highly- competitive. Students are filtered out though MEAP scores and then chosen by a lottery system. There is a growing demand for these theme-based schools and many students are unable to attend. As an educator in the Grand Rapids private school system I have been disappointed in the lack of innovation within the private schools. Although it is my ambition to continue to implement rigorous, meaningful and experiential learning with my art and design classes, I would like to see a change in the general methodology of traditional teaching in our private schools as well.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Chapter Three Conclusions Advocates Jacqueline and Martin Brooks book, In Search of Understanding: The Case for Constructivist Classrooms (1993) shares that learning best occurs through active construction of knowledge rather than its passive reception (Sass, 2010).
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Contemporary author and international speaker Daniel Pink is a strong advocate for project-based learning and real-world projects. He is one of the leading influencers of Americas educational philosophies today and is a proponent of a new methodology that links right brain experiential learning with left brain factbased content. The capabilities we once disdained or thought frivolousthe metaphorically right brain qualities of inventiveness, empathy, joyfulness, and meaningincreasingly will determine who flourishes and who flounders. For individuals, families, and organizations, professional success and personal fulfillment now require a whole new mind (Pink, 2007, p.3). The whole new mind Daniel Pink is referring to is not the students new way of thinking, but the educators and the educational system. Students naturally have minds that want to be challenged, hearts that desire to dream, and hands that are eager to touch (Harter, 1978 as cited in McGraw-hil-2011), but our system of instruction often hinders these natural drives (McGraw-hill, 2011). Often the brightest students are the most disengaged, struggling to see the relevance of reading a particular story or learning a particular critical-thinking skill (Collier, 2009). Making an intersection, igniting a mind and creating that spark can be achieved through the implementation of a strong real-world programs.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Fine and applied art colleges in the U.S. have begun to see the value of real-
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world, collaborative project. Savannah School of Art and Design in Savannah, GA has been selling student designed products on-line and in galleries and gifts shop across the nation. Kendall College of Art and Design in Grand Rapids, MI has recently implemented two new programs, a BFA in Design Collaboration and an MBA program in Design and Innovative Business Management. John Berry, and advocate for youth gaining design aesthetic saw a strong need for a college program that developed well-rounded design thinkers and instituted the MBA at Kendall in 2011. At a lecture series at the Grand Rapids Museum of Art Berry implored that high school art programs need to incorporate design aesthetics to prepare students for a successful future in design (Berry, J. personal communication, 2011). Solutions Anxieties and insecurities may arise for the teacher just as they had for me. Will my students work be embarrassing or of poor quality? Will the guest expose any incorrect teaching I may have? Will the guest lead my class well? Will my students treat my guest respectfully? These fears can be roadblocks to making successful intersections for students in their learning. Beyond budget and time these deep rooted questions and fears may be the cause of what truly is hindering teachers from collaborating with students and outsiders in real-world projects. If student success rate is greater when multiple-intelligences are incorporated into learning (Gardner, 1983) why are not more teachers implementing these into their curriculum? Time constraints, classroom control, meeting standards and benchmarks, and financial resources are all hurdles for teachers to pass over to achieve success in the classroom using real-world projects (Smith, 2009). A survey
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART administered to teachers who began using project-based learning in their science
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curriculum revealed three preconceived fears: fear of time-consuming planning and work, fear of losing control of the class and the lack of ability to assess the projects (Falik, 2003). These fears are not new to educators neither is the concept of engaging students in hands on learning. There are a variety of solutions to help combat the hurdles of time, control and support that hinder teachers from using a real-world approach in their classroom instruction. Time. Standards and benchmarks. One of the greatest concerns for teachers and administrators is the implementation of content standards into a project that may seem to sap more time and energy from the class hour than cover the benchmarks (Larmer, 2009). Teachers concerned with meeting content standards should already be familiar with them enough to recognize how they would incorporate the standards into a real-world project. If teachers do not see it, then why should they be surprised when students say, Why should I care about learning this ? If the teacher does not see the connection, how will the student? Once the teacher is aware of the standards it is quite easy to implement a project that incorporates not only their subject matter requirements, but often times, crosscurricular requirements. As teachers grow more comfortable with real-world projects they will recognize how to incorporate even more standards each year (Edutopia Staff, 2008). A teacher can also connect numerous standards within onelong term project instead of numerous small projects. Having enough time to cover the state requirements is essential for teachers, and learning to focus on the Power Standards instead of every content standard
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and benchmark will help students learn the essentials. Power Standards is a new term to help teachers be able to narrow in on the most important state standards they need to accomplish in the school year. Many teachers feel overwhelmed at the numerous standards and benchmarks that are listed for them to teach, and so the concept of Power Standards has evolved (Kent ISD, 2010). A teacher can cover multiple power standards that teach the essential learning goals for that unit through creating a backward design plan; starting with the end goal in mind. As the teacher becomes more comfortable teaching a unit, the more standards and benchmarks can be woven into it. Progression in curriculum. Teachers do not need to fully develop their unit the first year they teach it. Every year your curriculum can be expanded by one or two new teaching goals. For instance, in a fashion design unit that I developed the first year I had students design outfits for fashion silhouettes and practice their fashion drawing skills. The second year I had students work in teams to create fashion out of recycled clothing and discussed issues of sustainable design and had moms and grandmas come in to sew their garments. The third year we added in a fashion show, which has become an anticipated annual event. The fourth year, as I became even more comfortable with the unit we continued the recycled materials, brought in sewers, had our fashion show and realized it was a great opportunity to promote green design and upcycling to our student body. The fifth year all this continued and we added in a clothing drive for a local mission agency. I also had my graphic design students involved in creating posters for our school hallways. By this time, I was confident enough to invite our local TV station to film the process and had five minute airtime about our art class innovations,
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http://www.wzzm13.com/video/default.aspx?bctid=773212704001 Not only does your curriculum grow- but you also grow as a teacher! It is much more invigorating to develop a curriculum than remain stagnant. It doesnt mean something completely new every year, but simply a progression in your curriculum. Retention. Teachers might be afraid that in all the frenzy of change each year standards and benchmarks might be lost somehow. But I have come to realize that although a teacher may be hitting on every standard and benchmark for the unit they are covering, it does not mean that a student will retain it. If teaching to the test is important to a district, then consider that real-world projects that envelope a variety of learning styles produces a higher retention rate than textbook or lecture driven learning (Amerson, as cited in Fountain & Alfred, 2009). Take a moment and try to think of one specific thing you remember from your junior high education. Consider now, what was the context in which that fact was learned and stored into your memory? I know that Sir Francis Drake sailed the Golden Hind and that Queen Elizabeth was somehow involved in all of it because I created a big boat out of cardboard, and sang a little ditty I made up. I have had the privilege of having Dan VanderArk, author of Helping the Hurting be my school superintendent for the past five years. Each fall he gives an inspiring message to the teachers of the important aspects of student learning. He reminds us that in the end we want students to walk away with concepts and themes that they will apply to their lives, not mere facts. Passive learning techniques are often limited in their ability to facilitate students learning. These techniques often do not encourage students to process information actively, creating a poor ability to retain information for long periods of times. According to Anderson,
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Dabbour, Lewis and Williams & Shakarian (as cited in Paul, & Mukhopadhyay, 2004):
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Active learning techniques, on the contrary, are characterized by application of theory to real-life situations in a dynamic manner. They promote high level student involvement in many activities (e.g. discussing, persuading, writing, critiquing) rather than listening, and emphasize development of student skills and higher-order thinking on the part of students. (pp. 10) Control. Many educational theorists would agree that when a student is actively engaged in the learning there is less need for teacher control. Teachers may fear that project-based learning will bring chaos to the classroom. On the contrary, as students have the opportunity to engage in peer investigative problem solving there is a reduction in misbehavior (Dusing, Houck, Pate-Clevenger, & Zuber, 2008). In an action-research project conducted by graduate students from Saint Xavier University they found that 93% of elementary and high school teachers surveyed reported that off-task behavior strongly interfered with students meeting learning objectives (Dusing, Houck, Pate-Clevenger, Zuber, 2008). Through their research they saw a reduction in misbehavior, apathy and off-task-behavior as teachers promoted cooperative learning through group projects. Cooperative learning, which often occurs in project-based learning environments, reduces stress-levels through group problem-solving, engages students in directed conversation, and develops unity within the classroom (Dusing, Houck, Pate-Clevenge, Zuber, 2008).
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Projects that allow for the use of multiple intelligences help to engage my students to the very end. A well-constructed project-based unit that involves the application of subject matter through multiple intelligences can achieve high student success, a manageable and engaged classroom and greater retention of knowledge. Support. Mastery of subject area. Often times the issue is not, Are the students engaged? but rather is the teacher engaged. For many teachers even the
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idea of considering switching to real-world projects is exhausting; already hundreds of hours have been involved in developing a curriculum that appears to be doing just fine. To think of adding more to that appears, understandably, taxing. Similar to many parents who seem to barely get by with the demands of their children, those teachers either settle for less or simply want to push the snooze on the alarm clock, one more time. A teacher who is enthusiastic about their subject matter and has the freedom and means to share what he or she knows is often mutually engaged with their students. One of the greatest supports for a teacher is their own mastery of the subject matter. While there is a strong emphasis on professional development as educators, little is stressed about professional development in specific teaching areas. The more a high school teacher is engaged in his or her own subject matter, the more enthusiastic they are to share what they have learned (Mayer, 2009). They become current in technology and trends and may have new connections with other professionals in the community. Why would any student want to be taught by a teacher who is out of touch with their subject area? Why would a teacher forfeit the
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART zeal for learning that they first went into teaching for? I suggest that English
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teachers should write and publish short stories, poems or attend author workshops. Art teachers should create and sell work, have an exhibition, be represented by a gallery (Barkan, 1962). Science teachers should be involved in a robotics team; join a research group that embraces their own scientific interests, etc. Professional connections. The second support stems from the first. If teachers are involved as a professional in the field in which they teach, they will have many more connections to draw from when using real-world projects. There may be competitions in writing, art, music, and theatrical performance, or Science Olympiads for students. Professionals are often eager to take time out to evaluate and critique student work, share their knowledge, give tours of their workspace etc. Often, the most successful people in their field are indebted to a teacher or collaborative professional. The owner of Hanon Mc Kendry, one of the nations leading advertising firms for non profit groups shares: Quite frankly, I would not be where I am today without the guidance, encouragement and inspiration of many teachers, professors and industry professionals. I try in every way I can to pay them back by doing work that makes a difference and by meeting/working with young people to pay that legacy forward. Hopefully, in some small way, I can empower other creative people, young and old, to do the same (B. Mc Kendry, personal communication, 2008). Bill Mc Kendry has welcomed my students in a number of times to not only tour his firm but also to critique work they produced for his client. Each year I receive a brief from Mc Kendry for an actual client he is working for. My students
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brainstorm ad campaign ideas and then work independently or in pairs on an ad campaign. They have the privilege of presenting their work at the design firm before one of the nations leading creative directors. In addition to this, Mc Kendry has often selected campaigns created by students to then present to the actual client. If any of the campaigns would be the selected campaign, Mc Kendry would compensate the student for their ideas. Its a win/win situation. As added incentive I have thrown in a bonus check for any design selected to be presented to the client. This bonus check is an A for the quarter, not just the project! See Figure 13 for example of students presenting their work.
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Figure 13. Students from NorthPointe Christian High School present their ad campaign to the creative director of Hannon Mc Kendry Advertising Firm. Bill Mc Kendry, owner of Hannon Mc Kendry offers critique of student work, and the potential of using of their campaign concept. Students grow in knowledge of the world of advertising, problem-solve marketing issues, polish their presentation skills and gain a connection with a prominent figure in the industry.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART Teachers and administrators may question this performance-based award
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but according to Cameron (2001), Deci (1999), Ryan, Mims, & Koestner, 1983) as cited in Mc GrawHill, performance-contingent rewards are less likely to undermine intrinsic motivation and may even enhance it Because students perceive performance contingent rewards as informationalconveying feedback about their achievementsuch rewards can increase intrinsic motivation by enhancing students perceptions of their competence (2009, p. 269). Another working professional has also worked regularly with my students in the past on potential ad campaigns and logo designs, shares that it is not just a pay forward system, but that as a professional himself, his own work is stimulated by collaborating with young adults: I love to critique student work and give feedback whenever I can. We both win and so does the industry. The freshness of a new perspective is priceless and it helps me to become a better designer and learn more even after 25 years in the business (M. Bird, personal communication, 2008).
See Figure 14 for students preparing for their presentation at a design firm.
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Figure 14. Graphic Design students from NorthPointe Christian await their final critique at Bird Design. Mark Bird of Bird Design offered students the opportunity to create potential marketing materials for his clients. Students presented their materials and received constructive criticism.
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Teachers may be concerned with paying even a small stipend for a professionals time, but most are willing to visit once or twice pro bono, and will let teachers know if they need a stipend. The most I have been asked to compensate was $50 for a guest ceramist. Financial support is also a part of the support that may be needed at times with real-world projects. Grants are one area often overlooked in earning financial support for a project, equipment or visiting guest fee. These are found on-line through a variety of sources, and though may seem daunting, are often untapped resources, waiting to have teachers apply. Grants range from mini-grants of $250 to large-scale grants upward to $10,000. Many grants, particularly community grants, are interested in seeing businesses match their funds, and this is where organizations, community connections and administration may be of assistance. In my own experience I have received a grant for a large-scale mobile, see Figure 15, a printing press, and Adobe Illustrator. I have also supported my own professional growth through grant writing including an allexpense paid three-week trip to Tokyo, and a ten-day painting excursion to France. With each of these, I have received college credit at a fraction of the cost (less than $100 a grad. credit).
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Figure 15. Through a $1000 grant received from the Arts Council of Grand Rapids, guest artist, John Despres, assisted students in designing and constructing mobiles. Despres also worked with student concepts to create a large-scaled public mobile for NorthPointe Christian High Schools atrium.
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Community connections. Another area of support comes from the school community. Teachers often taken on the workload alone, but it does not have to be that way. Besides student teachers from area colleges, there are many professionals in a subject field and even parents of students at school who could help. These parents often are eager to be involved with lectures, presentations, problem solving, project building or even mentoring. I have even invited former students back to the classroom to teach a particular field they have studied. A U.S. inner city school, The Community School, has been working with real-world projects and service learning projects to engage students with their local community. The mentoring that occurs through these inter-generational, inter-socioeconomic programs has gained recognition as the strongest benefit to student achievement (Swaminathan, 2007). The Community School has a consistent record of high attendance and graduation rates (90%) compared to the school districts dropout rate of 50% (Swaminathan, 2007) even though it mirrors the diverse racial demographic of the city school districts with 61% African American, 21% Anglo American. 14% Latino, 4% Asian, and 1% Native American (Barndt & Mc Nally, 2001 as cited in Swaminathan, 2007). Lastly, support of a teachers administration in a new curriculum change is vital. There are opportunities for project-based learning training to assist teachers in their subject area. The Buck Institute for Education, a leader in project-based learning training, offers two and three day professional development seminars for schools, with cost ranging from $5750-$7350 for up to 35 teachers. In addition to this the institute offers summer workshops in California for individuals. If these
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART options are not possible for a school district the institute also offers written
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materials online (The Buck Institute, personal communication, February 13, 2010). Summary Integrating real-world projects brings a multitude of connections into a classroom; connections that spark student interest, long-term recall and clearer vision of future goals. These intersections of life and learning produce a greater sense of accomplishment for teacher and student through relevant issues, problem solving and critical thinking and exploration. The potential for intergenerational collaboration, socio-economic/ethnic diversity and student internships is outstanding when incorporating a community greater than the classroom. The art program I have developed at NorthPointe Christian has implemented real-world project learning in every subject of art. These connections are invaluable to my students as I see a large number of graduating seniors pursue studies, internships and even immediate careers in art related fields. The potential within ourselves, our students and our community is ready to be realized through real-world projects. For further information regarding my own teaching methodology and classroom projects please view my classroom website at www.real-worldclassroom.com
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART References
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Alfred & Fountain, 2009. Student satisfaction with high-fidelity simulation. Nursing Education Perspectives, 30(2). Armstrong, T. (2010). Honoring Diversity in Human Growth and Learning: Multiple Intelligences. Retrieved from http://www.thomasarmstrong.com/multiple_intelligences.php Barkan, M. (1962). The transition in art education. Changing conceptions of curriculum content and teaching. Art Education, 15(7). Bartow, Doug. (2011). If you pay peanuts, you get monkeys. Retrieved from www.blog.timesunion.com Berger, D., Okuda, S. and Runco, M. (1991). Creativity and the finding and solving of real world problems. Journal of Psychoeducational Assessment, 9(45). The Buck Institute of Education. (2009). Project based learning for the 21st century. Retrieved from www.bie.org Collier, L. (2009). Inspiration Information. The Journal, 36(6), 18-20. Retrieved from Academic Search Premier database Dusing, J., Houck P., Pate-Clevenger R., Zuber J. (2008). Improvement of off task behavior in elementary and high school students through use of cooperative learning strategies. Retrieved from ERIC (ED500839) Edutopia. (2010). Big-List of Project Learning. Retrieved from http://www.edutopia.org
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Edutopia. (2009). Why teach with project learning?: Providing students with a wellrounded classroom experience. Retrieved from http://www.edutopia.org Falik, O. (2003). The implementation of project-based learning in Israeli middle schools: A longitudinal study. Retrieved from http://stwww.weizmann.ac.il/ menu/dissertations/Orna-Falik-Msc.htm Filippatou, D., & Kaldi, S. (2010). Learner-centered instruction promotes student success. International Journal of Special Education, 25 (1), 17 &18. Gardner, H. (2004). Howard Gardner, FAQ. Retrieved from http://www.howardgardner.com/FAQ Gardner, H. (1983) Frames of mind: The theory of multiple intelligences. U.S. : Basics Books. Gonzales, A., & Nelson, L. (2005). Learner-centered instruction promotes student success. The Journal, 32 (6), 10-15. Kent ISD. (2010). Kent ISD Priority Expectations. Retrieved from http://www.kentisd.org Knoll, M. (2011). Schulreform through experiential therapy Kurt Hahn - an efficacious educator. Retrieved from http://www.eric.ed.gov/ Kolb (1984). The experiential learning: Experience as the source of learning and development. NJ: Prentice-Hall.
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART References Lain (2006). A brief look at the roots of education. Retrieved from http://www.associatedcontent.com Liber, Rodney. (2008). Creating a logo or a brand identity: Creating your voice through a brand that captures your consumers minds. Retrieved from www.knol.google.com Maricopa for Learning. (2001). Problem-based learning. Retrieved from http://www.mcli.dist.maricopa.eduMcGraw-hill, (2011). Mayer, M. (2009). On the ground. Current research for the high school classroom. English Journal, 99(2), 91-94. McGraw-hill, (2011). Behavioral theory; Module 15. Retrieved from www.highered.mcgraw-hill.com McMullan, D. (2011). How themed school-within-a school turned things around in Texas. Retrieved from http://www2.scholastic.com (2010). Kendall develops new B.F.A. in Design Collaboration. Retrieved from http://www.MiBiz.com Morehouse, L. (2008). How to raise the educational stakes with project-based learning. Retrieved from http://www.edutopia.org/ Morehouse, L. (2008). Treasure Island: Giving students real skills and real responsibilities. Retrieved from www.edutopia.org
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AUTHENTIC PROJECTS FOR HIGH SCHOOL ART References (2011). North Haven community school. Retrieved from www.northhavencommunityschool.org Paris, N.A. (2005). Major educational philosophies. Retrieved from http://ksuweb.kennesaw.edu
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Paul, P. & Mukhopadhyay, K. (2004). Experiential learning in international business education. Journal of Teaching in International Business, 16(2), 7-25. Peterson, T. (2004). So you're thinking of trying problem based learning? Three critical success factors for implementation. Journal of Management Education, 28, 630. Pink, D. (2006). A whole new mind: Why right-brainers will rule the future. New York: Riverhead Books. Project H Design (2011). Studio H. Retrieved from http://www.studio-h.org Sass, E. (2010). American educational history: A hypertext timeline. Retrieved from: www.cloudnet.com Singmaster, H. (2009). Seven skills students need for their future. Retrieved from www.asiasociety.org Smith, J. (2011). Dont pay kids to succeed. Retrieved from www.newsandsentinel.com Smith, L. (2009). Project-based learning tops traditional instruction. Retrieved from: www.asiasociety.org Steinberg, A. (1997). Real Learning, real world : School-to-work as high school reform (Transforming teaching). New York: Routledge.
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References Swaminathan, R. (2007). Educating for the "real world": The hidden curriculum of community service-learning. Equity & Excellence in Education, 40(2), 134143. Washington State Department of Labor. (2009). History of Apprenticeship. Retrieved from www.lni.wa.gov White, N. (2000). High standards: A culture of educational quality. Retrieved from www.edutopia.org Young Entrepreneur. (2010). 100 top entrepreneurs that succeeded without a college degree. Retrieved from www.youngentrepreneur.com/blog/100-topentrepreneurs-who-succeeded-without-a-college-degree
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Appendix Glossary 1. Experiential Learning: Developed by Kurt Hahn in the 1930s, this educational theory emphasizes real-world experiences. The theory rests more on the process rather than the preconceived outcome (Kolb, 1984, p. 21). 2. Multiple Intelligences: Developed by Howard Gardner in 1983, this theory suggests that there are eight different forms of intelligence. Gardner believes it isnt whether you are smart but how you are smart. He suggests that people learn though a variety of different ways, and thus, our curriculum should be taught in a variety of different ways to engage as many students as possible. 3.Place-based Learning: An educational theory that is eager to awaken young people to the classroom that is right at their doorstep. It is based on the theory that students researching and serving within their own backyard and local community creates greater intrinsic learning. 4. Power Standards: The overarching, big idea concepts of the understandings and skills of a particular subject matter. These key ideas represent the subjects central core for student comprehension. They were created to organize the large amount of content expectations given for state and national standards and benchmarks. 5. Problem-based Learning: Problem-based Learning reverses the roles of student and teacher. Students are given more responsibility for their learning and theoretically develop an intrinsic desire for discovery and investigation of a problem. This approach creates a healthy pattern of success for life-long learning to take place. Atypical to the traditional role of a teacher, an instructor using PBL
AUTHENTIC PROJECTS FOR HIGH SCHOOL ART [Problem-based Learning] becomes a Facilitator, Mentor and Evaluator. In the
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role as Facilitator teachers will provide an issue that needs to be resolved, lead class discussions and group students for diversifying problem solving skills. As Mentor teachers will assist in providing valuable resource materials. As an Evaluator teachers will develop appropriate student assessments that will provide the scaffolding in which the students will explore their solution. This hands-off approach creates more proficient problem-solvers, who are selfdirected learners and citizens capable of working in community (Barrows & Kelson, 2001). 6. Project-based Learning: Project-based learning is organized around a driving question. Backward planning by the teacher is often used to develop the curriculum for projects that provide real-world context and framework for learning. Real-world experiences enhance problem-solving skills, critical thinking, collaborative and leadership skills, and aids in personal student empowerment (Gonzales & Nelson, 2005).

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The Value of Authentic Projects on Student Engagement and College Preparation for High School Art Programs

by Rachael Van Dyke

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

sculpture for the schools front entrance in the Fall of 2011.

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

Create picture books in a foreign language to take on school mission trips.

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART References

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART References

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

AUTHENTIC PROJECTS FOR HIGH SCHOOL ART

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