Week 12! 25.11.19
The final week of exploring the arts has present the opportunity where I got to demonstrate and celebrating the development, effort and time that I have put in the two art forms of music and dance in a final performance. The first workshop was as a cohort we get to display our group number which we had been practicing over the last couple of week individually then collectively came together to present a final piece.
This was such an enjoyable experience as highlighted in week 9 I had not been given the chance to resist participation within the dance class, thankfully as I was so proud of the final outcome that we had all delivered. This final piece of dance would never have been attained without building confidence, knowledge and value for the art. We got the chance to watch the performance back and in doing so we were guided to give ourselves two stars and a wish through following this criteria it kept everyone on task. Self-reflection is an essential element with the arts as they are unpredictable and insightful different learning’s can be taken from every single class. Giving the children the opportunity to formatively assess their own work helps empower them as owner of their own leaning and development (Teach. Learn. Grow, 2012).
In order to sustain creativity within the classroom and allow for its natural development teachers must reflect on their own practice and question if activities spark children’s passion, confidence and imagination or if they can do more within the five stages of creativity to develop a better outcome for individual learners. The music workshop underlined similar importance toward reflection without specifically encouraging it but through revisiting instrument notes and an over all knowledge about reading music.
Once revisited the note we played Last Christmas as a group completing our music inputs.
This has been an eye opening and challenging module and one I will remember due to the experience that I have the chance to create.
References
Cone, T.P. (2009). Following Their Lead: Supporting Children’s Ideas for Creating Dances. Journal of Dance Education, 9(3), pp.81–89.
Teach. Learn. Grow. (2012). Classroom Techniques: Formative Assessment Idea Number Six. [online] Available at: https://www.nwea.org/blog/2012/classroom-techniques-formative-assessment-idea-number-six/ [Accessed 26 Nov. 2019].
Week 11! 18.11.19
In my first workshop of the day we visited the music studio to take part in a session that introduction the instrument of the glockenspiel. Specifically working on 4 notes, all notes had different coloured sticker in the hope that it would support our learning. Working with different instruments and notes has made me more familiar and comfortable towards music as a whole. In my last workshop our class’s dance piece discussing the importance of movement and how we provide opportunities to children in allowing them to express their creativity without feeling pressure, embarrassment or anxiety regarding the class. Within our groups we discussed the importance of the teacher having confidence towards the topic of dance, it has been a daunting aspect for many of us and It was positive to reflect and share these worries. In provoking discussion Cone was introduced to the conversation, she supported the statement that “Increased confidence, increase in mental wellbeing, increase in physical wellbeing, ability to communicate and work in groups and improved self-esteem that be carried on to other curricular activities.” (Cone 2009). With Cone’s statement being announced within this topic made me realize that I have to use this opportunity to build my confidence in order to provide children with all the great benefits highlighted by Cone. I must taking all work seriously and fostering the value of children’s work is essential when considering my pedagogical approach when implementing arts within the classroom. Considering children’s potential and not what they present is what lies at the heart of sustaining the creative process.
The connection that I made between these two workshops was the idea of providing the best possible opportunities and creating a positive environment to allow children to reach their best potential. Reflection upon my practice is essential to make sure I am sparking creativity and getting it right for every child.
Reference
Cone, T.P. (2009). Following Their Lead: Supporting Children’s Ideas for Creating Dances. Journal of Dance Education, 9(3), pp.81–89
Week 10! 11.11.19
Creative partnerships are about working collaboratively with parents and other colleagues to learn, teach and ultimately provide the best possible environment for the child to be creative, this idyllic way of working is not always possible and can become a challenge when implementing the Expressive Arts. It has been proven that through the success of positive partnership enjoyment, motivation and engagement for the arts is increased. (Creativity, Culture & Education, 2019). All parties involved in a child’s life are different however; they are intrinsically connected as they share the same aspiration in creating the best chance and outcomes for the child involved. Resistance can be shown from parents due to their concerns over a large focus being placed upon creativity at the cost of a detailed knowledge in subject areas. (Education Scotland, 2013) This challenge can come from parents not understanding the value of creativity to learning or its importance as it was not something that was projected within their own school lives. My role as a future teacher is to educate the children and parents, to reassure them that a balance of creative methods is needed within the classroom in order to develop a deep emotional intelligence and provide success within knowledge-based learning.
Today’s workshops were focused upon the ideas of overcoming this challenge and working together with parents in supporting the learning of children through the use of creativity and displaying that creativity does not take way from other aspect of learning but supports it.
Our first workshop provided Material and through discussed we explored an organisation called figurenotes.org which provides children support with stickers in colours and shapes to help play music and read notations such as rhythm, playing chords, progression and sharps and flats (figurenotes.org 2010). Depicting that children who struggle with music or have an addition need can utilize this in supporting their confidence just as it was displayed to do in week 9 with the Bellsbank pupils. This increase of confidence also increases motivation levels, increasing the work load across the curriculum.
Reference
Education Scotland (2013). Creativity Across Learning 3-18 Transforming lives through learning. [online] Available at: https://education.gov.scot/improvement/Documents/Creativity/CRE1_WhatAreCreativitySkills/Creativity3to18.pdf.
Creativity, Culture & Education. (2019). Creative Partnerships – Creativity, Culture & Education. [online] Available at: https://www.creativitycultureeducation.org/programme/creative-partnerships/?fbclid=IwAR0v_SFPIFnCSNbl3r55BG2YkZna5FfvPGVWubMAPQr5MEht58HqQCOC8gM [Accessed 12 Nov. 2019].
Week 9! 4.11.19
When exploring the aspect of dance we were immersed straight into the practical phase of participating, listening and discussing throughout the workshops. Failing to have the time to think about the expectations of the class, I was unable to overthink or resist participation. On reflection, it was clear that anxiety could be a barrier that many children may face when coming into a dance class. This must be taken into account when setting expectations for the class as this could affect the creative process without having a deep knowledge of the insight stage of creativity, the children’s potential cannot be met fully. Without acknowledging that children face barriers, I could be depriving them of the chance to use movement to provide them with empowerment and confidence.
Within my placement visit, I observed the delivery of a physical movement task, which the children responded to full as it gave them the opportunity to move freely, and broke up their daily routine. The classroom teacher, on several occasions, turned to “Go noodle’ a resource which supports mindfulness, the activity was chosen by the teacher, displayed on the screen and the children were to copy the vocal directions given.
On reflection this task support the teachers request in centring the child back to calmness however this task could have been utilised to grab children’s attention and value their opinion through allowing them to find a movement that spoke to their creative needs. Observing this situation supported me in truly understanding the importance of the way a dance or movement class is address and introduced to pupils and the large scope of options I have when considering this.
In the music workshop, pupils from Bellsbank Primary School brought along their sting instruments that they have been learning how to play for the last year. This is a programme that has been introduced to Bellsbank where they provide children the opportunity to learn instruments, which belong to the school, and it has raised their attendance due to increasing confidence and enjoyment with the school environment. Within this workshop, we got to learn from the children, showing us the visual aids that they use, how to hold the instruments, what they are called and so much more. They were the experts and it was fantastic to witness how much confidence shinned through them while teaching “university students”.
This intrinsically support the idea that children should be in charge of their own learning, as teachers we can not expect ourselves to know everything and must show wiliness in learning from children. ((CAN ONE TEACHER KNOW ENOUGH TO TEACH YEAR SIX EVERYTHING? Lessons from Steiner-Waldorf Pedagogy, n.d.)
References
Cone, T.P. (2009). Following Their Lead: Supporting Children’s Ideas for Creating Dances. Journal of Dance Education, 9(3), pp.81–89.
CAN ONE TEACHER KNOW ENOUGH TO TEACH YEAR SIX EVERYTHING? Lessons from Steiner-Waldorf Pedagogy. (n.d.). [online] Available at: http://www.ecswe.eu/wren/documents/Can_One_Teacher_Know.pdf [Accessed 4 Nov. 2019].
Week 8! 29.10.19
The expressive arts have been explored over the last eight weeks through collaborative, creative and integrated teaching. An essential element within education is to build the foundation for an ambiguous way of thinking in order to expand curriculum providing a wide opportunity for all children to connect to creativity and the meaning it has to their life. As Csikszentmihalyi argues creativity cannot just be understood by just those who appear to make it happen, everyone’s creative process must be validated. (Csikszentmihalyi ,1996). In order to celebrate the importance of creativity and the natural development it takes within the classroom teachers must have an awareness of the unique challenges when implementing the arts.Our first workshop we explored provoking images and we used the Taylors model to discuss finds and as a partnership recorded out feeling and outcomes in supporting Csikszentmihalyi question as to why we must explore creativity on a deeper level.
References
Mihaly Csikszentmihalyi. (2013). Chapter 14. In: Creativity: The Psychology of Discovery and Invention. London: Harper Perennial; Reprint edition. p346.
Week 7! 22.10.19
Todays learning took everyone outdoors to explore a different aspect of visual art, focusing specifically upon Norwegian art. In grouped we investigated a Norwegian artist who worked with the environment around him such as stone, leafs and twigs in order to form his artwork. After, finding out about his art we went outside to start discovering the materials that spoke to us individually and consider how we would start the creative process. It was a different aspect to see, I had never allowed myself to consider the opportunities that are outwith the classroom. Getting outdoors was a great change compared to sitting in the classroom and still hugely supported our learning, it also depicted the wide source of materials that I had available.
In the music workshop I was introduced to the online programme ‘Garage Band’ like I highlighted previously, I am not experienced with music so this app supported me in working towards having a confident outlook on music. Garage band explored a lot of areas therefore I knew I needed to revisit it a few more time to make sure I had a deep understanding of the app. Introducing this into the class allows for the children to take the same process as I did and feel like they have control over their learning, introduce them into different opportunities.
As a future teacher, I must stay ambiguous when implementing the arts, as they are unpredictable and insightful, there are so many aspects to art that I cannot take advantage of if I do not explore them through trial and error. Art can take the children anywhere and if I expect them to think outside the box within the arts I must do the same when implementing them, creating a welcoming environment for children to create and providing different materials when there might not be any within the school.
References
Mihaly Csikszentmihalyi. (2013). Chapter 14. In: Creativity: The Psychology of Discovery and Invention. London: Harper Perennial; Reprint edition. p346.
Week 6! 15.10.19
In visual arts, we explored the artist Edvard Munch, a Norwegian creator who depicting many painting, which tackled challenging issues and conveyed strong messages. Art is not just understood or displayed through purely sight but used to display emotion and often to make a political statement. Within this workshop in partners we has to choice a topic that we want discuss through our art my partner and I choose equality for all, this decision was made as it meant a great deal to us and we knew that would come through in the visual art. Our message was “ Girls just want FUNdamental rights”.
We were to print our message onto paper then we all got a chance to walk around the class reading everyone’s messages. Within this learning it was so essential that I got the chance to see everyone’s messages highlighting that everyone feels passionate about different topics whether that being gender equality, education for all or climate change. No matter these differences, everyone had the power to display their thoughts and it was a great way to understand my future colleagues.
This has been a great activity to display this message in depicting that there is always a message behind the art forms and it related to my way of understanding because it was in the form of writing. This task could be used within a class that find it hard to be creative as it is not something that has been instilled within their learning, if they relate more to words this allows them to start the journey back to creativity.
In our final workshop of the day, we entered a world of drumming, following rhythms on the screen. Music notes were displayed through the use of shapes immediately linking music with other aspects of the curriculum. Rhythm was described in its simplest to resemble a cake, the bottom being the pulse and the filling the rhythm. Once this was clearly explained, we got introduced to the drumsticks and encouraged to find a book, table or wall where we could express the rhythm. Having no music background, I found this easy to pick up and as everyone was taking part in the activity, I felt confidence and knew I had to making mistakes in order to learn.
I connected to this way of leaning just as I did in the art lesson due to familiarities were introduces for the visual arts it was words and in music it was shapes. This allowed me to freely express myself without doubt or anxiety that i was doing the wrong thing.
Week 5! 08.10.19
Today was the first day we were introduced to music, considering how music makes us feel, the emotions and memorise it sparks and where it can take our imagination. Creativity was ignited within this learning as a piece of music was displayed without pictures, the challenge was to fill in the blank and create a story around the music. Everyone’s imagination took them in a different location, it was not a right or wrong practice but an exercise for our imaginations, providing that they are more powerful than I had expected and no two alike.
This week’s drama lesson brought my group and I to the task of micro-teaching, when taking on this role the group had discussed the expectations that had of the other students, when exploring this decision we utilised the standards of education in supporting what expectations we felt like we should be meeting in this specific area. Before starting the drama conventions, we expressed that this was a safe environment and we had high expectations of all students expecting everyone to be mature and respectful during the full lesson. Within my group with was an important issue to discuss, as it was important to us all that we showed value to others expressions. This was a great opportunity as we approached the lesson as if our peers were children in our class, making it as fun and supported as possible. Our group worked our drama conventions around the topic of the titanic exploring the idea’s that were highlighted in week 2 when discussing historical events and there importance in a fun and responsible way.
“The vision belongs to the children” and these two workshops have revealed that with minimal guidance children’s imagination will fill in the blanks and this learning take precedence. The activities of these two workshops have been at the four front of my mind as they both steamed from my own creation which has displayed skills and knowledge that I did not know I possessed.
References
CherylLoughbrough (2015). The Standards for Registration: mandatory requirements for Registration with the General Teaching Council for Scotland. [online] Available at: http://www.gtcs.org.uk/web/FILES/the-standards/standards-for-registration-1212.pdf.
Week 4! 01.10.19
Week four we delved deeper into the painting, which we started to explore the week before that depicted a scene of the Scottish islands. Within today’s workshop, we were to write onto of the piece of visual art expressing the emotions that the scene sparked or we could choice a poem regarding the Scottish islands. I choice write from my own experiences and the trip I took with my dad, this was an emotional class for me because it was the most personal aspect of art I had ever been apart of. When viewing everyone else art I could see that it was completely different to my own however expressed how they felt and resembled the memorises that they have. This embedded Csikszentmihalyi argument that creativity cannot just be understood by just those who appear to make it happen, everyone’s creative process must be validated. (Csikszentmihalyi ,1996). The words that were presented on top of the visual art were not to be displayed through a pattern but I was to consider empty space and thinking away from linear writing as it does not have to define the only form of literacy.
As there was no example of display shown of what the work was meant to look like it increased my confidence and anxiety minimised as I did not overthink my own artistic capabilities (Welch, 1995) as I had nothing to compare my work too. Rather a free flowing enjoyable environment was creates through this approach to the visual arts.
In week 3 we were told that half of the class were to prepare a lesson regarding any chosen topic, this weeks lesson I did not micro teach however took part in the lesson learning, understanding and exploring the ideas that they displayed. On reflection, it was an opportunity to consider others take and experience on the subject and where a wide range of different pedagogical practices were displayed.
The contrast between these two workshops displays that we as teachers should not encourage the art of comparing children to one another with in the class, especially within the arts, as it can have damaging effects on children additionally it can have the same effects on teachers who do the same thing towards one another. With the use of the micro-teaching, it reminded me that our teaching community, used correctly, could support teachers. It is a valuable source that such be utilised in order to increasing confidence, knowledge and passion within the art form that is teaching.
Reference
Mihaly Csikszentmihalyi. (2013). Chapter 14. In: Creativity: The Psychology of Discovery and Invention. London: Harper Perennial; Reprint edition. p346.
Week 3! 24.09.19
One of the first child led ventures of creativity that was introduced within an educational environment was ‘Room 13’ a room that was created in 1994 by a group of innovative students who directed and developed this project. This environment promoted children to enter a world where difficult questions could be asked and explored, where their creativity could be discovered, their passion for the arts to be found and enquiry based pedagogical practices flourish (Adams et al, 2008). Art can take a form of its own and can change direction as it’s an unpredictable aspect of creativity and this must be acknowledged, welcomed and celebrated, by teachers implementing the arts, allowing for the creative process to develop in a way that suits each individual child. Within the workshop some of the challenging question that children presented where asked, displaying that children do face issues and have an aware of situations that adult try to protect them from.
‘Room 13’ has highlighted that creativity can tackle problems, worries and frustration into a positive outlet where everyone is held as equals in order to create and deliver individual creative expressions. It is essential for individual learners to have this outlet as everyone faces different problems and overcome them in different ways, therefore a creative environment can support a whole class’s mental health. Focusing upon art I have been able to reflect on the workshop, which concentrated on Room 13 and its promotion of developing creativity. When entering the workshop we were challenged with the question ‘what age can you start being an artist’. Through discussion within the workshop and little guidance from our tutor I was able to comprehend the aim in this learning: highlighting that there are no rules or boundaries to art, providing opportunity for children to voice opinions creatively allowing for art to be forever developing.
The workshop symbolically developed, we moved from a challenging environment to a supportive and creative one though materials being displayed and an outcome prepared in the hope that all students could make their own unique paintbrush. (Csikszentmihalyi, 1996) Within the creative process the stage of preparation was implemented in this learning to represent the possible curiosity that as a future teacher I can provoke in children’s learning in supporting them to share their life issues allowing them to create there own ideas and identity through tackling individual hardships.
Furthermore when exploring drama a similar link was creates by exploring the top of World War 2, dramatising this historical event through the use of multiple drama conventions. The main concept for this workshop was tiring to relate and/or sympathise with the people represented in the pictures that was given to each group. Using mime as our first convention explored allowed for me to gain a better understanding of expression through the use of body language and symbolically displayed the voice that the generation who lived through this time did not have. Both workshops displayed the opportunities that the arts can provide in educating children in history, culture and global issues. “education has a role in preparing children for life, in particular in ensuring that they have the practical, social and emotional knowledge and skills to achieve a full and healthy life.”
References
Gibb, C. (2012). Room 13: The Movement and International Network. International Journal of Art & Design Education, 31(3), pp.237–244.
Mihaly Csikszentmihalyi. (2013). Chapter 14. In: Creativity: The Psychology of Discovery and Invention. London: Harper Perennial; Reprint edition. p346.
Department of Health (1998) Independent Inquiry into Inequalities in Health Report. (Chairman Sir Donald Acheson). London: Department of Health.
Week 2! 17.09.19
Going into the second week I am more knowledgeable about what integrated arts is through the reflection of week ones class however I still feel like there is still the element of the unknown which I believe has been intentionally created for us as student teachers. This element adds excitement and empowerment regarding the module, as it seems like we as the students guide the learning. Using this simulating as a tool to display the type of learning, we should one-day display within the classroom. This idea was developed within the Art class, as we were given a piece of work to read then encouraged to depicting the text through drawing pictures on top of it.
In the workshop of drama, we discussed popular still image, Windows in the West, where we had to create a story around the picture, which point everyone in different directions. This made me reconnecting with my emotions and memories as it was displayed within my house as a child. The use of this imagines sparked a connection for many people and it allowed for students to introduce their own feeling into the drama.
For me the link that both the integrated art displayed was that drama and art could be utilising in so many more ways than has ever been displayed within my learning or experiences. The arts link to the whole curriculum and introduces an ambiguous way of thinking consider how we introducing the arts in creative and innovative ways. The art don’t take away from knowledge-based learning but support it in widening experiences and think outside the box when viewing literacy, images and marks. Reflecting on Anne Harris perfect illustrates that it’s less about defining creativity but about being more committing to integrating it to our normal way of thinking and welcoming its assorted range of meanings (Anne Harris, 2018).
References
Harris, A. (2018). Creativity And Education. S.L.: Palgrave Macmillan.
Week 1 10.09.19!
An essential element within education is to build the foundation for an ambiguous way of thinking in order to expand curriculum providing a wide opportunity for all children to connect to creativity and the meaning it has to their life. As Csikszentmihalyi argues just those who appear to make it happen cannot just understand creativity, everyone’s creative process must be validated. (Csikszentmihalyi ,1996). Going into the first session of the module Csikszentmihalyi statement could not be more relevant or valuable as the two arts intrinsically linked the importance of taking all work seriously and fostering the value of children’s work is essential when considering my pedagogy approach when implementing arts within the classroom.
Entering the first workshop of drama I didn’t know what to expect but felt open to the unknown and excited to delve deeper into this integrated arts as it is something that has never been something of a great interest in mine. We explored a story about a dragon attacking a village in today’s workshop and used these drama conventions:
- Thought Tunnel is where a child depicts the thoughts and feelings of the character that is being discussed.
- Freeze Frame, where the children stopped, not moving or speaking representing a critical moment in their drama.
- Finally, teacher in Role When the teacher takes part in the drama alongside the children, within the workshop we were guiding by the tutor to reach the eventuality that the tutor predicted for the group.
This guidance was highlighted by the tutor and provoked the feeling that he had taken something away from our learning by not letting us choice the direction that the drama was going to take however through discussion and reflection I understood why. This displayed the power that we hold within providing positive opportunities to creativity and children imagination can take learning in unexpected directions and as a future teacher I must be will to allow for the children to direct learning.
My second workshop involved viewing the artwork of children from primary one up to primary 6, displaying a variety of work, creativity, expression and this is how many young children communicate (McAuliffe, 2007) This workshop motivated me to question what creativity means and how expectations change throughout the years. The work represented children in the earlier years to display free flowing art that did not resemble a specific idea however the work of the children in the higher years displayed restricted and hesitation. A gradual development is display below:
Considering children’s potential and not what they present is what lies at the heart of sustaining the creative process. It also displayed the empowerment, which can be provided through the use of the arts exhibiting an unpredictable outcome, which is beyond an adult’s imagination. Depicting that it is about considering children’s potential and not what they present is what lies at the heart of sustaining the creative process. It also displayed the empowerment, which can be provided through the use of the arts exhibiting an unpredictable outcome, which is beyond an adult’s imagination.
On reflection regarding my own experience of viewing art displayed within a classroom as an adult was in my local school, when entering the environment of the class I witness all the art on the wall was identical to the other ten on the wall, the picture of Martin Luther King connecting to their topic work. I had never truly considered that this is not displaying creativity however I have never been challenged on the meaning of creativity, forcing me to consider what it means to me and children. Empowerment does not come for being told what art looks like weather that is in Drama or Art but how it is how a child views it.
References
McAuliffe, D (2007) Foundation and Primary Settings in Teaching Art and Design 3-11 (Edited by Sue Cox, Robert Watts, Judy Grahame, Steve Herne and Diarmuid McAuliffe) London: Continuum.
TED (2007). Do schools kill creativity? | Sir Ken Robinson. YouTube. Available at: https://www.youtube.com/watch?v=iG9CE55wbtY.
Mihaly Csikszentmihalyi. (2013). Chapter 14. In: Creativity: The Psychology of Discovery and Invention. London: Harper Perennial; Reprint edition. p346.
