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INVESTIGATING A SENSE OF PLACE: THE SIGNIFICANCE OF ECO-ART EDUCATION
IN
AN ELEMENTARY ART SCHOOL CURRICULUM
By
MARY FINNEY
A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS OF THE
UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS
UNIVERSITY OF FLORIDA
2016
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©2016 Mary Finney
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Acknowledgements
First, and most of all, I would like to thank Dr. Craig Roland, for your expertise, and
guidance, throughout the process of this research. Without your help this paper would not have
been possible. I would like to thank my co-chair Jodi Kushins, for your support, guidance, and
many helpful suggestions.
I would also like to extend my sincere gratitude to my friends and family for their support
through my time in graduate school. Each of you, Stacey Robinson, Shakira Bryant, Natalie
Hyder, Vicki Nowlin, Susan Adams, Carina Rachow have assisted me and encouraged me in
numerous ways that words cannot express my gratitude to you. I am grateful to you and blessed
for you being in my corner, being a part of my journey, and for being a part of my life. Thank
you.
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ABSTRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS
OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS
INVESTIGATING A SENSE OF PLACE: THE SIGNIFICANCE OF ECO-ART EDUCATION
IN AN ELEMENTARY ART SCHOOL CURRICULUM
By
Mary Finney
December 2016
Chair: Craig Roland
Committee Member: Jodi Kushins
Major: Art Education
Abstract
In my capstone project, I focus on the impact that place-based education (PBE) can have
on young students. By creating and implementing a unit plan that incorporated the basics of PBE
in a 5th grade art curriculum, I discovered that a unit plan that meets all the important points that
PBE has to offer cannot be included in one unit plan. In my supporting paper, I discuss the
requirements of place-based education; such as self-awareness, civil engagement, and
understanding environmental sustainability, which were necessary for this study. Then I describe
how my students were engaged in the course of the unit but overall lacked the ability to convey
this visually in their work. Finally, I share some of the results that their artwork reveals. My
recommendations for future studies include more time to ensure a deeper understanding of the
unit goals. I conclude this capstone paper with final insights about the potential that a place-
based unit could have in an elementary art curriculum in encouraging student understanding of
their individual place in their world and their community.
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Table of Contents
Title Page .........................................................................................................................................1
UF Copyright page ...........................................................................................................................2
Acknowledgements ..........................................................................................................................3
UF Formatted Abstract ...................................................................................................................4
Table of Contents .............................................................................................................................5
Introduction ......................................................................................................................................7
Statement of the Problem .....................................................................................................8
Purpose of the Study ............................................................................................................9
Assumptions of the Study ..................................................................................................10
Definition of Terms............................................................................................................11
Study Limitations ...............................................................................................................12
Literature Review……………………………………………………………………………………………………...….12
Methodology ..................................................................................................................................17
Subject Selection, Site, and Description ............................................................................18
Research Methodology ......................................................................................................19
Data Collection Procedures ................................................................................................20
Data Analysis .....................................................................................................................20
Limitations .........................................................................................................................20
Findings .........................................................................................................................................21
Inconsistent Level of Interest .............................................................................................22
Disconnect between Understanding and Artwork .............................................................22
Time Allowance .................................................................................................................22
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Summary across all Findings ............................................................................................23
Discussion and Conclusion ...........................................................................................................23
Discussion and Interpretation of Findings ........................................................................24
Implications and Recommendations ..................................................................................26
Conclusion ........................................................................................................................26
References ......................................................................................................................................28
Appendix ........................................................................................................................................31
Author Biography ..........................................................................................................................33
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Introduction
When I was younger, I recalled seeing several things that informed me about how
important my relationship with the environment was. I remember there were a bunch of
television shows that filled children’s programming with themes of environmental preservation:
“Bill Nye: The Science Guy,” “The Magic School Bus,” “The Mighty Morphan Power Rangers.”
I remember walking straight home almost every day right after school just to sit down and watch
one of my favorite shows, “Captain Planet.” In this show, a group of five teenagers from
different nationalities come together to save the environment from destructive humans. I
remember the lyrics of the theme song singing, “Saving our planet is the thing to do; looting and
polluting is not the way, here’s what Captain’s Planet has to say!” I remember walking along the
city streets with my family, seeing bright green signs with the bold white word “RECYCLE.” I
even recall my teachers playing simple games and quizzes, inquiring about the “3 R’s,” reduce,
reuse, recycle. It wasn’t until I got older that I understood the big push to “Save the
Environment.”
In the 1960s a response of the growing concern for environmental issues resulted in a
number of events and governmental acts being passed on behalf of the environment: The Clean
Air Act in 1955, The Wilderness Preservation Act in 1964, National Earth Day on April 22,
1970, the Solid Waste Disposal Act in 1970, The Creation of the Environmental Protection
Agency and the Endangered Species Act in 1973 (Krug, 2003). In the 1980s however, there was
a huge environmentalism setback where the government became more responsive to demands of
the industry and development (Krug, 2003). Due to this turnaround, budgets were cut and some
environmental efforts discontinued. In the 1990s, ecologists mediated the relationships between
the environment and humans by reintroducing native plants and animals into sites in order to
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help sustain biodiversity (Krug, 2003). There is no denying that there have been many efforts in
the aid of the environment, however without more effort to rethink and revise our dominant view
over nature, our environment, and the world as we know it, will cease to sustain life for us and
generations to come.
Statement of the Problem
As a second-year art teacher, I have noticed a shared perspective amongst my students.
Despite the essential role that our environment plays in sustaining life in our society, my students
are significantly more focused on material things rather than taking a vested interest in protecting
their environment. Life, as we know it, would not exist without the environment that we too
often take it for granted: from the air we breathe, to the water we drink, to the trees that offer us
shade and the land that enables us to grow the food that we eat. When I was younger, I remember
being bombarded with visual aids in the form of flyers and TV commercials that served as
reminders of our impact on the environment and the importance of environmental conservation.
Today as an adult looking at my students, the concept of environmental sustainability has taken a
backseat. I believe that my students need to broaden their horizons over the things they hold so
dear. Instead being so enthusiastic about their possessions, I encourage them to share the same
sense of pride and ownership over the community and environment in which they live, as they do
for the next new thing they acquire in life. Theodore Roosevelt stated,
“Here is your country. Cherish these natural wonders, cherish the natural resources,
cherish the history and romance as a sacred heritage, for your children and your
children’s children. Do not let the selfish men or greedy interests skin your country of its
beauty, its riches or its romance” (Change.org).
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The environment has been in some cases irreversibly damaged as a result of our careless
actions. We, as citizens of this planet, must make it our duty to stay informed, be proactive and
ever conscious of how our actions affect our environment. If we fail to change our perspective on
how to treat our environment, the place we know as home will cease to sustain life for us and for
future generations to come.
Purpose of the Study
According to Blandy and Hoffman (1993), the “ . . . reasons for the consideration of an
art education of place reflect environmental concerns that are globally imminent and personally
felt” (p.23). The purpose of my capstone project is to observe whether a focus on place through
eco-art integrated into my art curriculum can assist with informing and bringing a sense of
ownership amongst my students when relating to their environment. Students should be aware of
the impact their actions are contributing to the damage to the environment as well as guide them
in how they could be advocates for positive change.
Research Questions
My capstone project will be guided for the following questions:
1. How will my students respond to an art unit plan that addresses ecology and the
environment?
2. Will incorporating place-based education into an art curriculum increase levels of
interest in the environment and community for my students?
3. Does the students’ work show an increase in understanding environmental
sustainability?
4. What characteristics are associated with the students who have successfully integrated
learned information from a unit of study on the environment into their daily lives?
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Rationale and Significance of the Study
According to Psychiatrist Dr. William Glasser, children have four basic needs that
motivate behavior: (1) belonging which can be fulfilled by loving sharing and cooperating with
others; (2) power which can be fulfilled by achieving, accomplishing, and being recognized and
respected; (3) freedom which can be fulfilled by making choices; and fun which can be fulfilled
by laughing and playing (cited in Stern, 2010). Place-based education offers students engaging
learning experiences that also contribute to their school and community. Sobel (2012) defined
place-based education as:
. . . the process of using the local community and environment as a starting
point to teach concepts in language arts, mathematics, social studies, science
and other subjects across the curriculum. With emphasis on the hands-on,
real-world learning experiences, this approach to education increases
academic achievement, helps students develop stronger ties to their
community, enhances students’ appreciation for the natural world, and creates
a heightened commitment to serving as active contributing citizens (Sobel,
2012 p.6).
My desire was for this capstone project to determine if there are benefits from intertwining a
sense of place with eco-art education for my students.
Assumptions
Ecologists’ ideas and issues involve differences in peoples’ perspectives of human and
environmental conditions that are deeply rooted in history and existing social, political and
cultural issues (Krug, 2003). I assume having a better understanding of the environment will lead
my students to be advocates for the environment. Having a better understanding of how their
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actions affect the environment will trigger a reflection of their actions. Knowledge of how other
people and artists have been successful in being advocates for the environment will show them
that it is possible to do the same.
Definition of Terms
When it comes to the history of the land and its relationship with society there are three
main perspectives or views on interdependency: Union, dominion and stewardship (Heiklich,
1992; cited in Krug, 2003).
According to Krug (2003), “Interdependency is a concept about the relations of nature
and culture” (p. 3).
Dominion is a view that humans should dominate or control nature (Krug, 2003).
Examples of this are seen in the media today television shows such as the “Man VS. Wild” series
on Discovery channel or Steven Spielberg’s famous 1975 movie, “Jaws”. Even in history, stories
of the first European colonists that arrived to what is now known as the United States, reflected
their need to control the natural environment as part of their struggle to survive (Blandy, 1998).
Nature was just an object to be used, crafted, elaborated on, but never considered as more than a
resource” Norberg-Schultz pointed out that the alienation or loss of identification with our
environment is the root cause of our placelessness” (cited by Gradle, 2007, p.407).
Stewardship is when you affirm belief and responsibility about caring for the natural
world (Krug, 2003). Some civic leaders diligently work to understand ecological relationships to
achieve a careful balance between nature and constructed spaces (Krug, 2003).
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According to Krug (2003):
Union is an orientation that values ecologically sustainable development. It
is an approach to understanding interdependency arrived at by locating and
not privileging humans within complex ecosystems of nature. Views of art
and ecology premised on this perspective strive to understand the
relationships of all living organisms within particular places through art.
(p. 6)
Eco-art education is the incorporation of ecological issues into the art education
curriculum. It is an interdisciplinary endeavor that draws elements from the more established
fields of visual art education and environmental education (Inwood & Taylor, 2012).
Literature Review
It has been said that the earth is on the brink of irrevocable and damaging ecological
change and we humans are to blame (Carson, 1962). Steffen (cited in Milman, 2015) stated:
“It’s clear the economic system is driving us towards an unsustainable future and people
of my daughter’s generation will find it increasingly hard to survive. History has shown
that civilizations have risen, stuck to their core values and then collapsed because they
didn’t change. That’s where we are today.”
Carson (1962) warned more than three decades ago that Americans would have to answer
tough questions about population control, nuclear waste, water contamination and the loss of
biodiversity (cited in Blandy, Congdon & Krug, 1998).
Acknowledging the negative effects done to the environment is not something that has
gone unnoticed. Blandy (2003) and Krug noted the necessity for a change in aiding the
environment and the benefits that artists and educators can bring. Graham (2007) along with
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Gradle (2007) both emphasize the significance that comes out of place-based education and the
effects of the lack thereof in our classrooms. Inwood’s (2010) work explores effects that
incorporating eco-art education into the curriculum of four different elementary schools.
There have been some efforts to decelerate the harmful effects done to the earth such as
the passage of a number of federal laws like the National Environmental Policy Act and the
creation of the Environmental Protection Agency in the 1970’s (Krug, 2003). Artists like El
Anatsui (http://www.pbs.org/art21/artists/el-anatsui) and HA Shultz
(http://www.haschult.de/action/trash) have taken on the issues through art activism; however
more can be done on the side of art education to contribute to this environmental issue. Krug
(2003) stated “the arts often served political, institutional, expressive, sacred, and/or utilitarian
roles simultaneously in society” (p. 1).
Although it can be especially challenging for art teachers to truly understand why young
K-5 students would be interested in the environment and the preservation of ecology; the
advantages of eco-art education far outweigh the challenges (Inwood, 2010). As educators, if we
are able to teach about ideas that invite questions from students about their sense of place in the
world through curriculum study, we cannot only do our part in being advocates for the
environment but also instill in our students’ positive ways to co-exist and advocate for the
environment (Krug, 2003; Graham, 2007; Gradle, 2007).
A Sense of Place
How is the study of art and ecology linked to our understanding of a sense of place?
Place-based education draws connection to one’s sense of place. Place-based education holds out
to students the promise that they can become valued members of a community (Smith, 2002).
The use of pedagogical studies such as system thinking, cooperative learning and place-based
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learning also result in a close connection with environmental education (Inwood, 2010). In order
for students to achieve a deeper understanding the subject must be one that is relevant to their
understanding (Stankiewicz, 2001). The exploration of place, as an enduring idea, is one that
enriches discussion in art curriculum and is an essential component of art education scholarship
(Blandy & Hoffman, 1993). This exploration has validity, for “the sense of place has to do not
only with that we personally feel and think about the environment but also how we suppose
others may thing and feel about it” (Anderson & Milbrandt, 2005, p. 170; cited in Gradle, 2007).
According to Graham (2007), “there is a widespread commitment to prepare students for
success in an economy that is often individualistic, unsustainable, and inequitable” (p. 376).
With eco-art education incorporated into that commitment, it promises an innovative approach to
environmental education, one that balances the traditional roots of this discipline, found in the
cognitive, positivist approaches of science education, with the more creative, affective and
sensory approaches of art education (Inwood, 2010).
Eco-Art in the Art Curriculum
What would an art curricular unit include that engages themes of ecology, the
environment, and place? According to Blandy and Hoffman (1993), “Eco-art education is one
that teaches students about art in a way that promotes an understanding or the interdependence
and interconnectedness of all things” (p. 28). Ecological ideas and issues involve matters that are
deeply connected to the past and existing social and cultural contexts. These ecological concerns
are also associated with location, time, material and change (Krug, 2003).
Any inquiry that allows a way to critically question relationships and interactions of all
life forms within their ecosystem are good places to start planning a unit. Inwood (2010) did a
research study focusing on eco-art learning in an elementary setting. Her study consisted of four
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Canadian elementary school teachers who came together, collaborated and created several
different eco-art unit plans and lessons that incorporated co-learning, theoretical knowledge and
pedagogical expertise of the teachers involved. They collectively created lessons, explored
artists’ choices of medium and materials, as well as lessons that inspired questions by framing
discussions about art to highlight its connections to environmental concepts and issues.
During their study, the teachers discovered that branching out from traditional dominion
over the natural world was a familiar place to begin, that the pedagogy of the eco-lessons were
similar enough to general art lessons, that no training was needed, and that a supportive
atmosphere also inspired the teachers own learning. Inwood concluded her study with practical
ways that teachers and students could deepen their understanding and contribute to the
environmental movement: reducing the amount of waste, consider the use of the classroom
energy, minimize toxins, consider greening their pedagogy or making their lessons more
environmentally friendly, sharing students’ efforts with the community and encourage students
to use their artistic skills to engage activism outside of class.
Ecology and the Artist
How have artists dealt with the ecological issues through their artwork? Ecological art
emerged from the environmental art movement of the late 1960’s through the early 1980s. The
movement consisted mostly of expressions of artists who were disenchanted with the technology
of industrial culture (Blandy, Congdon & Krug, 1998). Methods commonly employed to initiate
ecological sustainability include artistic actions, rituals, performances, and process dramas. It is
important to understand however, that ecological sustainability has many meanings (Krug,
2003).
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El Anasui is a Ghanaian artist has made a name for himself by creating radiant sculptures
of discarded bottles, glass, wood and metal and turns them into items of contemplation. The
focus and idea of many of his art pieces trace a broader story of colonial and postcolonial
economic and cultural exchange in Africa (Anatsui, art21.org). Other works of his have been
inspired by the things seen in his country, like his piece titled “The Peak Project.” In this piece
Anasui was inspired by the “huge piles of detritus from consumption," such as the mountains of
milk tins and bottle tops that have been growing throughout West Africa due to limited recycling
technology. This work examines consumption and the various physical landmarks that trash
generates in different parts of the world (https://africa.si.edu/exhibits/gawu/artworks.html).
H.A. Schult is a German installation and happenings artist, is mostly known for his work
and collection of trash men, who are life size people made completely out of trash
(http://www.haschult.de/action/trash). This 1000 figure Trash People or “Schrottarmee” art
exhibit is, according to HA, a critical reflection on our waste society. One of his trademark
quotes are “we produce trash, are born from trash, and will turn back into trash
(http://recyclenation.com/2010/06/amazing-trash-people-sculptures-ha-schult).” According to
Recycle Nation Recycling Blog H.A. stated this on his website in regards to artist ability to use
any material to make a statement:
During the past three decades, everyday elements have been influencing art
more and more strongly, and art has been responding to everyday life more
and more quickly. In no other era has been anything like this dialogue
between art and everyday life.
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Why is Environmental Art so Important?
I currently work in a low performing elementary school. In my opinion, in schools such
as this the arts curriculum is important but not as highly valued as areas like reading or
mathematics. I believe that only through art will the integration of eco-art increase the likelihood
that educators can help to shift students’ attitudes as well as alter their behavior in positive ways
towards the environment and daily life. There are many ways to accomplish this goal.
So, why is it important to for artists and art teachers to be environmental advocates?
Involvement in art provides a means of gaining insights into changes in one’s life and how subtle
and profound forms of transformation expressed through art can convey ideas, expressions and
reactions to local community environments (Krug, 2003). Kolb (1984) wrote, if education
begins by bringing out the learner’s belief and theories, examining and testing them, and then
integrating the new more refined ideas into the person’s belief systems, the learning process will
be facilitated (p. 28).
Methodology
According to Gregory Smith (2002) there are common characteristics of a place-based
education curriculum such as: teachers being more of co-learners and guides of the lessons and
objectives that adopt social, cultural, and natural features of local environments as the context for
learning. When students can directly experience what they learn in contexts familiar to them,
their capacity to understand and communicate its meaning increases (Cummins, 1996). With this
in mind, I developed a curriculum unit plan that I believe centered around the students’ self-
awareness of ‘home’ in their homes, community and their environment. Sobel (2012) said if we
want children to flourish to become truly empowered, then let us allow them to love the earth
before we ask them to save it. I began this unit by asking the students, “what kind of impact do
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you have on your environment?” “What choices will you make to take care of your environment
and the place we call home?” In this unit for 5th graders the students will explore their own
definitions of home throughout their environment and community by exploring the works of
artist like Barry Rosenthal, Monika Margrett, Carson Ellis, and Robin Wood.
Subjects
For my research, I studied a 5th grade class of 14 students at a Title I elementary school.
There are a total of 7 boys and 7 girls all between the ages of 9 and 11 years old. I chose to do
this age group because they are the oldest group in the elementary setting that I believe is truly
capable of grasping the concept of place-based education. Being that I observed the lesson,
interacted, interviewed and discussed information with students regarding to the integrated
curriculum; I also chose to take pictures of the students while they worked and of the students’
completed works. I was not however permitted to use any pictures of the students’ faces due to
their privacy rights. Prior to any data being collected I made a point to ensure that I had research
permission from the University of Florida Institution Review Board and the permission from the
Elementary School’s Principal to conduct the research.
Research Site
I conducted my study on a 5th Grade class at a Title I school, Westarea Elementary in
Fayetteville, North Carolina. At this school where I teach, I anticipated the timeline of the study
to be 3-55 minute class sessions over a span of 3 weeks. However due to unforeseen
circumstance of school closure due and the resulting damage of hurricane Matthew, the class
sessions took a total of 4 class sessions. Fortunately my school itself was not affected, however
due to county and school-wide safety precautions, class time was limited to 30 minutes on some
days.
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Data Collection Procedures and Instrumentation
In Lesson 1 titled “Home Sweet home: My Home and Me,” we discussed the students’
own definitions of home as well as popular statements such as quotes about home and the Pixar
film “Finding Nemo” to further define the students understanding of home. The students then
reviewed Carlson Ellis’ book Home which revealed home is about individuality and what makes
you part of who you are. Using each of these examples as a reference, I asked the class to write
down what their definition of home is and if they could visually symbolize it, what would that
symbol look like? Next we had an open discussion and shared everyone’s symbols of home. In
Lesson 2 titled “All in the Numbers: The Environment and Me,” I originally planned to have the
students review a 19th century Cree Indian poem that spoke about how the greed of men can
affect the environment. The class would also review and discuss environmental awareness works
by Barry Rosenthal and Robin Wood and discussed the main ideas behind their works. The
students were then to use statistics about marine animals in the environment affected by plastic
debris and created a mixed media statement piece or informational graphic using plastic beads.
In the final lesson, titled “My sustainable ways: My community and Me,” the students reviewed
works by David Bonazzi and Boris Pelcer to see successful examples of pollution awareness
done by artists; using all the information learned as well as reviewed from prior lessons, the
students were to create a work of art or information graphic that raises awareness about both the
positive and negative effects human can have on the environment.
As mentioned above, the planned 3-50 minute classroom sessions, where the students
were to create 3 mixed media pieces had to be adapted to the time constraints, which resulted in
only one completed project in 3-40 minutes sessions. During the discussion part of the lesson,
while students were about to discuss their ideas with the students seated near then, I walked
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around and spoke with the students on the ideas and thoughts of what home meant to them; as
well as their three symbols that described their homes. Of the 4 students that I spoke with 2
needed addition explanation. As I continued to engage with the students, I took pictures, wrote
down any notes about the classes behaviors, dialect and comments the students had. Following
the extended day, I asked each student to complete a questionnaire on his or her thoughts about
the completed assignment.
Data Analysis Procedures
Following the end of the first lesson of the unit plan, I reviewed each student’s journal
entry as well as the product of their milk carton houses. I searched the artwork for the basics
requirements of the carton house, which were the use of materials and the visual creations of
windows, a door, roof, walls and their 3 symbols. As I continued to review the works, I noted
how many homes were close to being complete, and which journals had complete journal entries.
Following the extended class session, where the students were able to complete their
projects, I noted which students had trouble initially forming their connecting symbols with their
art work, were able to complete the art project with the required symbols. I also reviewed with
students with behavioral issues those behaviors that prevented them from completing their work
vs. those who did not have behaviors.
Limitations
Although this research was carefully prepared, I am now more aware that there were
some unavoidable limitations and shortcomings. The research was to be conducted in three-50
minute classes; which covers the span of meeting one day a week for three weeks. This time
frame, however, did not account for the time lost if the teacher was late bringing the class or had
to leave early to meet some other priority. The lack of available time also limit the possibility of
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there being reliable data to collect. For my students, it sometimes takes many perspectives and
examples for them to truly comprehend some essential ideas, and limited time can affect their
response and understanding. Additionally, the size of the study group was smaller than originally
intended and does not adequately represent the majority of my school’s 5th grade body. There
were even fewer students/parents than expected that had an interest to participate, which also
contributed to a smaller select group and accurate generalized results.
Furthermore, traits of place-based education include working and problem solving in the
local environment and community. Without including some aspect of both our local community
and environment, the lessons in the eco-art unit I taught could not be as effective. A limit on time
also affected the choice of material used and the overall lack of interest my students displayed in
a project. The low student interest in the lessons, as well as a general lack of focus and an overall
determination to complete the work involved negatively affected the overall behavior and
participation in the project.
Findings
This research explored the significance of place-based education in an elementary art
curriculum. My aim was to determine how my students respond to such an art curriculum and if
a place-based education increases levels of interest in the environment and community among
my students. My research also aimed to determine if my students’ artwork would show an
increase in understanding of environmental sustainability and what characteristics are associated
with the students who have successfully integrated the learned information into their daily lives.
For my capstone project I created and taught a place-based art lesson centered on fostering their
place in their home, their place in the environment and their place in the community. I collected
data through observation, summative and formative assessment, as well as review of the artwork
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and journal entries. I have combined the results and data into 3 major findings: Inconsistent
Levels of Student Interest, Disconnection Between Students’ Understanding and Artwork, and
the Time Allotment and the Curriculum.
Inconsistent Level of Interest
In terms of levels of interest, the students began the study with a large amount of interest
and eagerness in completing the project. They enjoyed speaking about themselves and their own
family. When directed with the guidelines and materials of the project, the students were eager to
get started. The interest level greatly decreased as time progressed which led to distractions and
behaviors problems.
Disconnect between Students’ Understanding and Artwork
Each student wrote in their journals and discussed their own understanding of “Home”
and the many relations to the word. The students were then instructed to find three symbols that
remind them of home and creatively find a way to incorporate each symbol onto their milk
carton houses. Although the students completed the journal entry portion of the assignment,
adding symbols into the artwork was a challenge for some. Some house were merely a covered
milk carton while others were very detailed.
Time Allowance and the Curriculum
The allotted amount of time for this unit was not sufficient to produce consistently high
levels of understanding and artistic performance across this group of students. The time allotted
for the unit plan did not allow for students to complete their work in one setting. Other students
began to rush to complete their work. Some students focused on creating works that were very
detailed and exceeded the minimum guidelines. Still other students began to lose interest when
given more time to complete their work. The allotted time also did not account for unexpected
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setbacks such as school closures due to unpredictable weather and extended time allowance for
student understanding or the main idea.
Summary Across all of your Findings
My students’ reactions included interest, eagerness, and intrigue in the lesson. Due to the
lack of unavoidable time lost, my findings did not verify whether my students’ work show an
increase in understanding of the importance of environmental sustainability outside of
repurposing the used material for the project. Furthermore, the results of this project offer no
definitive answer regarding what characteristics are associated with the students who have
successfully integrated the learned information into their daily lives. My findings reveal that the
amount of time that was used on the project was not enough to keep the student engaged, nor
was it enough to complete the art project in one session. Without enough time to keep the
students engaged, the students have more of a chance of being distracted and/or having
behavioral issues. Some students rushed to complete their work in the allotted time while others
capitalized when given more time with adding more detail to their work. Many students
comprehended the instructional portions of the lesson, but struggled to translate what was
learned onto their artwork.
Discussion and Conclusion
Kolb (1984) wrote that if education begins by bringing out the learner’s belief and
theories, examining and testing them, and then integrating the new more refined ideas into the
person’s belief systems, the learning process will be facilitated (p. 28). To discover if the benefits
of place-based education could assist my students, I created a place-based, three-part unit plan
that focuses on the student self-awareness at home, in their environment, and their community. I
collected data using the action research methodology of planning, action, then analysis; with the
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help of field notes, formative and summative assessments and the use student work and journal
entries. Following my analysis, I found a shortness of time was a major factor in the outcome of
the unit taught, along with my students’ interest levels, comprehension and ability to make
connections between the lessons big ideas and their artwork. Next, I discuss my findings and
possible explanations regarding the success or lack of success in the lesson with respect to the
time allowance, conceptual disconnect and my students’ interest.
Discussion and Interpretation of Findings
I believe that time was a one of the major factors in the outcome of the lesson. The
unit was planned where each lesson and project was to be completed within each 50-
minute session. I did not account for the time it would take for the instruction to be
understood by students. I finished each example and discussion with an opportunity for
students to write their ideas and opinions about what they learned in their journals.
Following the first discussion, only 4 of the 14 students completed each entry with an
answer associated with home. However, when provided with more time, 12 of the 14
students went back and fully answered each question. If you look at Figure 1(see
Appendix), you can see the journal entry of a student who once given the opportunity went
back to write a more comprehensive entry (on the right) and another entry of a student
who chose not to complete the entry (on the left). This same example of effort can be seen
in the works of some of the students who choose to go back and rethink their project like
the example seen in Figure 2. In Figure 3, you can see from a picture taken after session 1
(above) and then another picture after the session of extended time (below), Student A13’s
project really developed from having extended time to work. Due to this observation, I
believe that if there was more time given than just a 50-minute session, perhaps an hour
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and a half, there would been enough time to explore the deeper meaning of the subject as
well as time enough for my students to complete the assignment, while motivated and
interested. Additionally, there was a major setback in my unit lesson completion because of
Hurricane Matthew. Some of the areas where my students and I live and were heavily
damaged. If it wasn’t for school closures and hourly delays, the opportunity for extended
time to use to work on and complete the other lessons of the unit plan could have been
explored.
My students sometimes have a mindset to rush, moving quickly or finishing soon
with many of their art projects. When implementing this study, my students appeared to
have been very interested in the place-based centered lesson from the start. I believe a
lesson that focuses on the students’ perspective on life versus information for passing a test
is overall more interesting for them. I made a point to use multiple ways of discussing the
students own ideas of what home meant to them to ensure that those ideas that are already
associated with home can be communicated through their art; there was however a
disconnect. The students were instructed to find 3 symbols that remind them of home and
creatively depict them on their milk carton house. Figure 3 shows the journal entry with
one student’s symbols, beside a picture of his milk carton house. In the photo you will
notice that the student merely covered the milk carton to look like a house, but failed to
depict his symbols. Out of the class there were a total of 8 of 14 students who fully
completed their projects with the depicted symbols as instructed. The only explanation
that I can conclude from the visual disconnect in the students’ artwork is that perhaps the
extended time made the interest of working on this project decrease. Perhaps if more time
26
was needed for the project, the use of a different and more interesting material could have
enticed the students to finish their work.
Significance, Implications, and Recommendations
If an art teacher is interested in using place-based education in an elementary
curriculum, I would recommend creating lessons that use material that entices their
students’ interest. I believe that if my lesson used materials such as clay or cardboard, the
level of interest for my students might have been more consistent, regardless of the
number of class sessions required or available to complete the project. When planning your
instruction, leave time for the unexpected, as well as time if your students need further
explanation or activities to foster understanding. Without that deep comprehension of the
lesson content the benefits and time taken implementing this type of curriculum would be
wasted. For further research of place-based education, I suggest dedicating more than just
a brief unit plan in your art curriculum. Lastly I wish to acknowledge that a major benefit
of the research I did on place-based education was that it really increased my enthusiasm
and knowledge for creating lessons dealing with place and the local environment. I wish to
revisit the lessons plans and develop the lesson plans that I’ve created to perfect them in
hopes of finding better practices with studying the environment for my classes. In regards
to implementation, my research has encouraged me to search for big ideas that will entice
my students’ interest, hold their attention, as well as provide different ways to incorporate
different concepts to increase their learning.
Conclusion
In my short time of teaching, I can truly say that I am still on a journey of learning
and I love the impact that my job has on my students; from the memory of them having a
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great time amongst their peers while making something new to teaching a lesson that could
be applied outside the school walls. One of the greatest things that I’ve learned throughout
this research is that yes, it is important to make sure the overall lesson and main objective
is one that benefits the students at the end of the day. However, making sure that it’s fun
and provides an opportunity to learn is more significant for the child and the educator.
Although every lesson implemented isn’t always as accurate as I’d like, I’ve come to realize
that if I, as an art educator, continue to search for the best way to assist my students in
being prepared for the world, running into a dead-end will never end my journey. If you’d
like to check out my journey as I continue to add onto my lessons learned, you can visit my
website at www.weebly.maryfinneyufstudies.com.
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Appendix: List of Figures with Figure Captions
Figure 1. Journal Entry about Home. This photo illustrates a student’s filled out completely
(right) and work of a student who didn’t complete journal entry (on the left).
Figure 2. Comparison of Session 1 and the extended time session. The top two images illustrate
the students’ progress after session 1. The bottom two images illustrate the students’ progress
after the extended session.
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Figure 3. Journal entry of student’s house VS. Work. This figures illustrates the students’
written definition of home as well as their symbols of home. The bottom two pictures show the
students’ work completed with no symbols incorporated.
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Author Biography
Mary Finney is an Elementary art school teacher out of Fayetteville, North Carolina. She
received her Undergraduate degree from Fayetteville State University with a concentration in
Graphic design. She is currently studying to receive her Masters in Art Education from the
University of Florida located in Gainesville Florida. Other commutable work includes 4 years as
a Youth Training and Employment Case Manager with the Workforce Development Center of
Cumberland County. She is a member of the Gamma Upsilon Zeta Chapter of Zeta Phi Beta
Sorority Inc. and gives back to the community in her free time. She is an art instructor at one of
the local community centers, as well as a volunteer for the local university when she is not
teaching. In her free time, she works on her up and coming business Beasty Designs, a face and
body painting business. She currently resides in North Carolina.