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An Investigation o f Conceptions of Teaching Art o f Secondary School

Art Teachers

LAM, Bick Har

Ph.D.

H ong K ong P olytechnic U niversity

2000

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Abstract of thesis entitled

A n Investigation of Conceptions of Teaching Act o f Secondary School A rt Teachers

subm itted by LAM, Bick H ar

for the degree of Doctor of Philosophy

A t the H ong Kong Polytechnic University originally subm itted in A pril 2000

A bstract

The study aim ed to gain an understanding of w hether a rt teachers' conceptions of teaching are related to their approach to teaching in practice. Environmental influences on teaching and the form ation of teachers' conception of teaching were explored.

Qualitative methodology was adopted. The grounded theory approach was used to discover theory from the data. Eighteen art teachers were interviewed w ith questions that structured to examine their teaching conceptions and approaches. Mismatches were found in that teachers changed their approaches to teaching in higher forms because of examination demands. The conceptions and approaches w ere therefore analyzed for teaching at the junior level. Approaches to teaching at the senior level were explored separately.

Four conceptions of teaching art resulted, namely moral development in art, aesthetic development in art (with subcategories nam ed leisure and living and academic), intellectual development through art, and expression and therapy through art. Four approaches to teaching w ere identified, namely instructional, discipline inquiry, social interactive, and personal. The conceptions and approaches can both be visualized by the analogy of a continuum, w ith the essentialist- contextualist conceptual label for the former, and subject-centred and student- centred for the latter. By intersecting the two continua, six conception- approach categories w ere resulted. A fram ework was produced to illustrate the six categories by intersecting the conception and approach continua. The conception continuum was used to represent the vertical axis, and the approach continuum represent the horizontal axis. The terminology of this fram ework can supplem ent the existing literature in identifying teaching conceptions by m easuring teachers aims and rationales of teaching. By gaining


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a composite view of teachers' conceptions and approaches, their philosophy of teaching can be gathered in a deeper sense.

The results of correlating art teaching qualification, and the school academic status to the categories of teaching held by teachers, suggest that the form ulation of teachers' view of teaching is an interplay of factors. Neither of the variables examined can be regarded as exclusive in affecting the form of conceptions teachers hold.

The finding also shows that examination pressure brought radical shifts to art teachers' approaches to teaching. The approach they used for higher form teaching w as skill-based. Follow-up case studies suggested that a teacher holding a skill-based orientation to teaching art had a fulfilling experience in his career, w hile a teacher holding a student-centred view has experienced frustration. Implications for research methodology, direction of education and teacher education, and art education were made.


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Acknowledgements

I acknowledge the enormous contribution o f the following parties.

The participation of the eighteen secondary school art teachers in this study has

been crucial to the success o f this project. They spent long hours in the interview

and their trust was highly appreciated. Particular thanks should be given to the

two teachers in the follow-up study for their tolerance o f being observed and

interviewed for an extensive period. Credit should also be given to Zuni

Icosahedron, the community art organization, who acted as my bridge to the

network o f art teachers.

I am especially thankful to my chief supervisor, David Kember, for his continued

tolerance and support. At different stages, he provided critical commentary

which has enlightened my perspectives. My co-supervisor, Rob Fielding, has

contributed greatly to the art education perspective in this thesis, which was

proved to be significantly important. No words can express my thankfulness to

my husband, Tang Wai Man, who has been supporting me and giving me

inspirations all the way through die making o f this work.

Special thanks to the considerable effort given by Jenny Ledesma and Amanda

Li in doing the transcription, Natalie Tsang in editing and proof reading, Zero

Yiu, and Choi Man in solving the technical problems in editing the text.


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Contents

Acknowledgements

Abstract

Contents

I Background and MethodologyChapter 1 Introduction: Formulation of the Study 1Chapter 2 Literature Review on Conceptions of

Teaching................................................................ 17

Chapter 3 Literature Review on Conceptions ofTeaching A rt....................................................... 45

Chapter 4 Methodology of Study....................................... 74

II Main StudyChapter 5 Categories of Conceptions o f Teaching A rt.. 94

Chapter 6 Discussion of the Characterization andFindings of the Conception Categories 127

Chapter 7 Approaches to Teaching A r t ............................. 151Chapter 8 Discussion on the Characterization and

Findings of Approaches to Teaching Art 200Chapter 9 Relating Art Teacher’s Conceptions of

Teaching to Approaches to Teaching 215Chapter 10 Approach to Teaching Art in Senior Forms.. 237

I

III Follow-up Study

Chapter 11 How Conceptions of Teaching Operationalizedin Context and How they Affect Teacher’s Career................................................................... 255

IV ConclusionChapter 12 Conclusions and Implications.......................... 297

V References ................................................................ 355


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I Background and Methodology


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Chapter1

Introduction: Formulation of tho Study

Values Versus Demands - Issues Drawn from a Case Study into an Alternative Art Education Program in the Context of Hong KongThis chapter illustrates the gap between the view of art education of schools and an art organization originating from an art-in-education program in 1995. The issues identified in the case illustrates the background of studying art teachers’ conception of teaching art. They also help to construct the research design of this PhD project. Since this case study illustrates the relevancy of the study, it is included in the thesis as the introduction. In fact, this introductory chapter can be viewed as a crucial part of the thesis, it acted as a potential thread that linked the issues which emerged in the study in a coherent way, by recognizing the situation of value conflicts existing in the scenario of art education in schools.

The chapter will first describe the background of the arts-in-education program, major findings o f the case study will be addressed and discussed. It is followed by the research questions proposed for the main study.

The BackgroundIn June, 1995, an art organization called Zuni Icosahedron launched a summer arts-in- education program known as ‘blackbox exercise’ which received great attention from the public (Zuni Icosahedron, 1995). Due to its experimental nature, teachers’ opinions to the program varied between two extremes (Lam, 1996).

My interest in the program motivated my intention of researching into the organization’s art education program. By joining as a participant observer, I commenced the research on the ‘blackbox exercise’. The administration and presentation of the program were done by a group of young volunteers recruited by Zuni Icosahedron in the summer of 1995.

Nature of the OrganizationZuni Icosahedron was founded in 1982 with the founder’s commitment to the business of collective art in the community of Hong Kong. Comments and critics from the press had focused heavily on Zuni’s political intention exposed in their stage performance ever since. Some also criticized the stage performance of Zuni in terms of theatre knowledge and skills, since Zuni developed a special kind of stage performance which emphasizes body language and repetition of language that they themselves called symbols.

Since it is a membership funded, non-profit making organization, Zuni has been seeking funds for its art performances. However, relationships with some of the funded parties worsened because of its controversial and sensitive nature. It did not receive any administrative funding from the Government in the 80s. In the late eighties, because the content of a few plays which were said to be ‘politically subversive’ in regard to the

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relationship between China and Hong Kong, Zuni’s faced deficit and underwent a difficult time financially. In the 1990s, Zuni become active again in the international art business. Zuni discovered that young people are another audience source, so they began to put more effort into education programs and started to launch plays and workshops at secondaiy schools and tertiary institutions. In recent years, Zuni has been active in performance overseas and devoted great effort to cultural business and education.

The School Program of Zuni was started in 1987. With its theatre performances staged at secondary schools, it hoped to stimulate young people’s awareness of their surrounding, through multi-disciplined art forms. It was continued in 1988, 1989, 1990, 1993 and continuously in 1995 to the present. The school programs do not take place every year, but they have been developed as a major event of Zuni. The availability of funds also determines the possibility of running school programs. Their programs have been funded by Council for the Performing Art (the previous Art Development Council) and the Urban Council. The rationale behind their school activities is based on free association, experimentation, and exploration (Lam, 1996). The program of this case study was funded by the Urban Council.

Entry to the Case

I received an invitation from the Zuni Icosahedron in May 1995,1 was attracted by the art program they offered since my doctoral study proposed at that time needed to find some artist and school teachers for a pilot study. I went to their program run in Sheung Wan Cultural Centre on the third day of their program. On arrival, I was amused by the special ‘blackbox exhibition’. They addressed the issue of education, but doubted about what education offered to young people nowadays in Hong Kong. For someone who has studied education and was working in this field, I was particularly intrigued.

I talked with Zuni artists and met people in the program. It was at that stage I found they were a good case for study. I started to go to Zuni’s station for meetings. Though I still did not think of a focus for research at that time, I was trying to locate one, and my role was already that of a participant. I joined their committee and worked voluntarily for their program as documenter throughout the summer in 1995, till the program ended. My other role is a participant researcher in the program.

The ProgramFunded by the Urban Council, Zuni and the Urban Council jointly presented a summer school program for young people and the public. In May, 1995, letters were sent to schools to recruit participation. In the whole program, the Urban Council was responsible for providing administrative assistance.

The duration of the program lasted from May 1995 to August 1995. Since the structure of the program allowed flexibility to schools in attending the program, not every school attended all the stages. There were altogether over twenty schools participating in the program. About ten schools participated all the activities in the program, they were the main source to gather information for the case study. However, the source of data was not limited to the full time delegates but also those who came for a particular session who could reveal their opinion on the program.

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Emerging IssuesIn the program the issue that most intrigued me was the values conflict that I sensed on the conception of art teaching of the community organization and schools. Art education in schools is dominated by an academic approach, from which traditional forms of art and knowledge of the discipline are to be taught. The argument that art should be freely explored by students becomes an issue in developing art curriculum or activities. The concept of aesthetic experience has frequently been used to imply the uniqueness of art that is shared by those who makes art, but the interpretation of which is mainly spilt into two camps.

The first idea suggests a form of aesthetic education that concentrates on developing understanding and perceptiveness of visual aesthetic objects or phenomena (Taunton, 1982). The aesthetic experience is essentially gained through the perception of the organizational structure of visual elements which could be developed through appreciation and critique of the past traditions.

The practice of this form of aesthetic knowing is characterized by an intellectual form of aesthetic inquiry in that aesthetic qualities are to be described, analyzed, interpreted, and evaluated within various dimensions. Students are trained to use the aesthetic inquiry framework to evaluate and appreciate art work. They are expected to develop 'aesthetic cognition' (Remier, 1992) and become connoisseurs of art (Broudy, 1976). This way of appreciating art has become an academic model to be used in school or university for teaching students and student teachers.

The other idea of aesthetic experience in art education is to help students to cultivate the '(aesthetic) sensuous immediacy1 so that direct experience with the world can be achieved. This approach distinguishes itself from the preceding type by relating aesthetic experience to every experience that can be generated from human perception and thinking. It aims to enhance the consciousness of sense experiences that human can feel by tactile and emotional senses. The senses experience is nourished to a level that is not influenced by predetermined notions, concepts or theories of reality; sensing the world is to directly experience the world. This kind of experience is also termed aesthetic, which pertains to sensuous perception, which will result to 'true' understanding to the full range of life phenomena, not to works of art in particular (Bersson, 1982).

The idea of this approach has been tested in different programs in different countries. Though it has not developed a particular methodology to be followed, implications are suggested from the experimental projects. The revolutionary nature impedes the development of this approach of art education in the formal art curricula in schools. Yet, the idea has become an alternative force of aesthetic education in the community.

The two different interpretations of aesthetic education may cause different implementation of art education. It also leads to different assessment and evaluation methods. The rationale promoted by the program under study assimilates the latter conception. The investigation o f the program m ainly addresses three m ain research questions in the case study:

1. what is the rationale of the program offered by Zuni working group

2. what strategies the group adopted to implement the rationale of the program?

3. what can be informed from the evaluation of the program from different voices of the program participants

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Methodology

Case Study

Case study research attempts to reach understanding through detailed study and portrayal of individual instances, persons, ideas, institutions and events (Adelman & Walker, 1975). The general design of the case study is best represented by a funnel (Bogdan & Biklen, 1982), the start of which is the wide end. From this exploratory beginnings to directed data collection and analysis, the researcher scouts for possible places and people that might be the subject or the source of data, find the location they think they want to study, and then make a decision in order to narrow down a focus for the study (Robert,1984). The above issues have been identified as the starting point of the study.

The Research Relations

In observational case studies the researcher participates in the events of the researched and gets to know their culture. This kind of ‘getting into the natural setting’ of the researched means that it is best for the researcher to keep a less formal relationship. On the other hand, being a researcher, I have to join the subject, and remain detached in another way. In most situations, I learn how the subject thinks, but may not think like the subject.

It is sometimes to mix with the subjects in the field to enhance rapport, however, the problem of ‘over-rapport’ (McCall & Simmons, 1969) should be avoided. Therefore, I tried to remind participants of the research relations in the process of study. It is useful to state the purpose of researching and explain to the researched (Bodgan & Biklen, 1982).

Research Instruments and Data Analysis

The strength of doing observational case study is to enable a wider source of data to be gathered in a fieldwork situation. The effort of fieldwork required not only that done on site but also the in-between analysis and reflection during the research period. (Stenhouse, 1985). This case study used a number of methods and techniques including observation, informant and respondent interviewing, document analysis, and participation with self analysis.

Interview is used to collect the views of the subject in the case. It is conducted in both semi- or open-structured maimer. Direct observation from the field is used to gather data most directly representing respondents’ point of view. My participation into the preparation, implementation, and evaluation of the program enables first hand data to be gathered.

Historical document analysis is collected to allow me to gain understanding of the social group and discover the culture inside the organization. Other methods such as diary and journal keeping are used to help self analyze my participation in the group. Audio and video recording is used to assist note taking. Journal record sheets are used to gather other forms of data for moderation of participants’ views.

The three questions stated above have been developed to guide the case study. For observation from fieldwork, fieldnotes are developed, observer’s comment has been put

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immediately after the observation. Interviews are transcribed. Video tapes are analyzed by the method of note taking.

A coding system of rationale, strategies, and evaluation outcome for all the instruments is developed so that data can be manipulated easily for analysis. For final data analysis, all related categories of data are to be integrated and categorized according to the codes developed. In each groups of data, characteristics are highlighted and quotations to support the finding are marked.

Based on the analysis, I produce the following account in a summary version, quotations from different sources of data will be displayed. The case report discusses issues about art education in the secondary school context in Hong Kong. Implications of the case are discussed which bridges to the formulation of the main study on art teachers’ conceptions, and approaches to teaching.

Report on the Program

Theme

Blackbox Exercise: Blackbox As A Metaphor o f School

The program was titled ‘ blackbox exercise’, the meaning of which was a metaphor o f ‘school \ or ‘classroom ’ in Hong Kong. It denoted that we are not able to see clearly about the happenings inside the school or classroom. Stubbs & Delamont (1977) has also used this name when referring to the complicity of the classroom scene. Zuni decided on this topic as a starting point for artists and people involved to meditate on the subject of education. They also incorporated this metaphoric meaning into visual form. The program, which had chosen installation as the form of creation, invited facilitators, students and all participants to create within the space of a 12”x l2”xl0” standard blackbox, a wooden box which is painted black outside.

Rationale

As defined in the activity leaflet, it was hoped that through exploration and experimentation with multi-media, young people would be encouraged to take the initiative to know more about arts, individuals, identities, environments, societies and culture. The overall aim of the program was not confined to visual art. Although installation was used as the main media in the program, in regard to its flexible nature, it is only a suggested form of expression to encourage students to express freely with less consideration of skill and techniques.

An objective under the wide open aim was to develop students concepts of expressive arts and performance.

We try to make students know that art expression can be found in different events with multi-media. In each activity, we emphasize the development o f the individuality and originality o f the person, we try to make the student the owner o f his/her own action and he/she is free to interpret the events and situations, (facilitator)

The intention of erasing the traditional concept of art that might influence young students conception of art expression was suggested.

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We try to relate the activities in the workshop to expression, it aims to widen their thinking towards art as a mean o f expression. We also open possibilities for students to explore art o f their own preference, since traditional art might have dominated their thinking, (facilitator)

To achieve this end, the working group tried some methods to stimulate students’ thinking towards relationships with the others in the activities.

We let them explore how to express themselves and at the same time coordinate with the others in the physical space, we also extend their concept o f art expression to other elements like stage and audience and how they can be interacted or related in physical and mental space, (facilitator)

Implementation Strategies

The above elaboration suggests the rationale of the ‘blackbox exercise’ project and the conception of teaching of the working party. It aims to stimulate students’ interest in art expression with the use of multi media, such as sound, body movement, video, photography, etc. The rationale that indicates learning in the program was in an active experience, from discussion to activities and games for students to experience and experiment art. The activities were not geared towards any predefined outcomes, they were exploratory.

First Stage Exhibition

The exhibition lasted for about two weeks. In the exhibition, students were allowed to explore the concept of installation. The exhibition is the collated effort of eight artists of various disciplines. Among them were video artists, literature writers, comic artists, installation artists, photography artists, and sound artists. They agreed to choose one of the secondary school subjects as their area of development for the initial exhibition. The director thus proposed to work around this theme. The working committee also discussed some of the issues in education like school syllabus, pressure from examination, teacher and the physical environment of school, etc. The following subjects were then to be chosen: Home Economics, Physical Education, Literature, Biology, Religion, History, Art. However, what developed from the subject was free to the artists, and their idea were then developed within a room of 10’x l0 ’x l2 ’. The structure of the rooms in the exhibition hall is illustrated in the diagram below.

From the diagram, the big square in the middle of the exhibition hall was the big wooden house with a total space of 30’x30’x l2 ’, in which rooms are separated by wooden doors from each other. From outlook, this is a big black box. The audience can approach inside by opening the outer doors from which they can proceed to other rooms. However, the doors outside and inside are minimized, provided that every room can be reached by getting in the box. So for participants who want to have a look at every room, they need to have a rough plan in mind so that they would not miss any of them.

* See Figure 1.1

The participant at this stage included secondary and primary school teachers and students, a parent organization of the District of Mei Fu, and also the walk-in public. The participant schools and students were invited to the exhibition hall at an appointed time. Students of both senior and upper forms were led by their teachers which are usually their art teachers. Students from tertiary schools usually came on their own.

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Figure 1.1: Exhibition Hall Plan

Art Literature HomeEconomics

History Religion

Biology Maths P.E.

Exploration of the Blackbox

The exhibition hall was designed as a special feature (refer to the exhibition hall plan). When the audience entered the hall, they saw a big blackbox. Doors can be opened at every sides of the blackbox, and if the audience opened a door, they could enter a particular room which was installed by one of the eight artists and represent one of the school subjects, and from which the audience needed to find another door inside that led to another room, which was installed by another artist. So the whole blackbox was divided into nine rooms, each of which can lead to the other. We have mentioned that there were eight artists, and the remaining one is decorated by Zuni.

T our-And-Chat

Participants were asked to explore on their own once they entered the exhibition hall. They were encouraged to be free to enter any doors from outside and get into the installed room, where they were really ‘in the exhibition’. Sometimes, the coordinator and helpers joined the tour at the early stage where they were trying to explore the blackbox.

Dialogue and Discussion

After about 30 to 40 minutes, the school tour were ushered to the outset of the blackbox and had a dialogue with the stationed artists and helpers for approximately an hour. The topics in the discussion started with the theme ‘blackbox’, and people’s view and opinion on the installed rooms. The focus of the dialogue was the feelings, emotions and ideas participants gained from the exhibition. Questions were asked to initiate talk among students, like “Which room do you like the best?”, “Which room pleases you ?”, “Which room made you feel discomfort?”. However, the discussion was extended to

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other topics related to wider perspectives of understanding art, such as philosophical inquiry into art expression and appreciation.

Second Stage Activity Workshop

In the second stage, students were enrolled in a series of activity workshops. The activities took place at schools, the working group therefore went into schools to chair the workshops. The activities were scheduled as a summer school program. The activities were designed to enrich their understanding about expression, to let them appreciate their own view, interest, and also other kind of human emotion which is pertaining to art expression.

The games and activities are categorized under different themes referring to multiple forms of media, the activities were accompanied by dialogue and diary writing. The activities and games of the program were designed on individual and group basis, they were used interchangeably in the workshops. The content and methodology of the major activities of the program are discussed below.

Sound

This was a game to explore how people interpret sound and how many possibilities can be used to interpret sound. Each student was asked to prepare one minute of sound on options like noise, voice, music, etc. and had it recorded in a cassette tape. The tapes were played one by one during the workshop. Students were asked to write down how they felt about each piece of recorded sound. The result of this workshop was used in the final performance.

Form and Content

This was a game to show students the possibility of using different ways o f presentation of the same content, and they can be numerous depending on the owners. Each student was asked to say three words only, and then link them up into a story within the group. After the story was developed, students were asked to divide into groups and choose any form they liked to present the story, be it a horror movie, a talk show, a TV report, an educational TV program, a cartoon, a fairy tale, of their imagination. Characteristics of each form used were discussed after the presentation.

Body Movement

At the beginning of each workshop, students usually had a session of physical exercise of about half an hour. It aimed to exercise students kinetically, develop body movement patterns, practise bodily coordination, and develop individual expression. Above all, it is a chance for students to develop relations with each others. There were many ways to do exercises together. For example, the facilitator initiated one body movement, and then students followed the same movement one by one. Then another person in the group initiated another movement for the group to follow. Sometimes the actions were in the from of a game like ‘throwing handkerchiefs’, the movement can also be silent such as ‘walk but do not make any sound’, Tying on the floor and pretended to sleep’, or just ‘slowly move in the space’.

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Space and Video

The activity was to evaluate and explore ‘real space’ versus the ‘space perceived through video’. It hoped to extend students’ vision of the artist (performer) and the audience (recipient), and how they are related to art expression.

The activity started with the task of filling up the space of the classroom or hall where the activity took place. Students went in the space one by one and were asked to be aware of where and how the others occupied the space before him/herself. Students could choose to perform freely with any postures, with and without the aid of other objects in the venue. Students then could explore the possibilities in the space with their bodies, with or without thinking of the others in the group.

The task was repeated a second time. At this time students were required to look through the video camera set before the space before they went into the space, so the space perceived through the video was made known to them. Without restriction on how they themselves performed in the space, students were free to make postures with or without other aids. This time they could also think of or not think of whether they wanted to be captured in the space perceived through the video camera.

Video and Photography Hands-on Practice

Students were grouped to attend a brief session to learn the basic techniques of using a camera to capture motion and pictures. They were allowed to film the environment of die school that interested them. They were free to explore images in the visual environment by playing with different skills. From the activities, students had the chance to explore space in the environment. They looked at each others' work together and learned the different perspectives of perceiving the environment. Different elements such as time, space, and their relationship were discussed.

Vocal Practice

Vocal sound is a natural means to express emotions and create moods. This is an exercise to practise voice projection in different pitches, beats and melodies. The exercise aims to offer students a chance to make vocal practice and listen to its effect when practising it. There were altogether three exercises under this theme.

Students were divided into groups, each group needed to play the game in turns. The group members had to line up in a straight line facing the audience. Starting from the first person on the left, he/she had to stand before one of his/her group member and sing the first four verses of a song to him/her, when finished, he/she had to go back to his/her place. Then the second of the left continued the first person’s practice, till all the persons had their turn to sing.

With the same group basis, students were required to select a song. At the first round, they just take turn to sing the song together to the other groups. At the second round, the group was required to sing the song with a different beat. While students may not know music theory, they were told just to invent ways of modifying the flow of the song. At the end, each person in the group needed to sing one sound of the song until the whole song had been sung.

Students were free to group themselves again in this task. Each group occupied a comer of the hall, each member went over to the diagonal of the other side to make a sound as

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loudly as they could and repeated that in various ways. Each of them then take turn to make a sound just audible to their group from the same distance.

Final Stage: Blackbox Installation Exercise

After students have developed concepts from the exhibits, and given chances to learn different expressions in relation to their own feelings and physical body. They had a chance to experiment with art expression in installation. There were over fifty school students participated in the workshops, most of them were secondary students. Students were given a mini blackbox of 12”xl2”xl0”, in which participants were encouraged to transfer their thought into visual elements, and made a 3-dimensional installation in this small space. This section lasted about one and a half hour. Participants stayed and talked on their own ideas and methods in the installation work.

Experimental Nature

The mini blackbox installation was an experiment for all participants. There was no topic assigned, no fixed rules given, participants mainly developed ideas of their own and experimented with installation techniques. The facilitators of these hands-on workshops were mainly the coordinator and volunteer helpers including one secondary school art teacher who was intending to find some ideas for her own teaching in installation art. A few artists came to several sessions, joined in the discussion and also did their own small box installation. At the end, the audience was told either to bring the box home and take it back to the exhibition venue when the installation was finished. Alternatively they could go to the main station of Zuni which is in Happy Valley, where a studio was provided so that participants could finish their work there and send the boxes back to the exhibition hall.

The blackbox was presented in a creative way, with different media effect including the exercises students did during the program, such as the projection of video and pictures, and the recorded vocal sound, etc. The final exercise can be considered as a student learning outcome.

Evaluation of ProgramThe evaluation of the program was done in a participatory, responsive manner (Stake, 1985). The opinions of students, teachers, and facilitators in the working party were used to analyze the outcome in a way to represent different voices. With this approach, the researcher has to know the background, concern, or needs of each groups involved in the evaluation, so as to make an analysis to illuminate perspectives and issues arisen from the case (Elliott, 1986). The description in this chapter aims to illustrate the issue of the conflict in values towards art education of the participants involved in the case. The evaluation will relate participant’s views to the overall aim of the project. The working group’s attempt to improve the project during the project process will be discussed. Issues emerging from the program will be highlighted and discussed.

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Student Learning Outcome

Motivate Student Interest and Encourage Participation

This program was an experiment for all participants. There was no topic assigned, no fixed rules given, participants mainly developed idea of their own and experimented together at different stages in the program. In this environment, students seemed to feel comfortable to express and explore new ways of presentation.

I like this way o f learning, I can say what I want to say and I don’t need to be frightened about saying the wrong thing. The people allow us to talk about anything and whatever I feel, I feel happy because I don’t need to learn particular skills which I am not interested in. I can do something on my own and create something together, (student)

Some of the facilitators were also impressed with students' interest and motivation, and their creative learning outcomes all gathered from the use of the exploratory format of the activities in the project.

The students are really creative, they started with embarrassment but ended with enthusiasm and interest. In the activity workshops they made a lot o f creative body movement and pattern to express ideas and feelings, because they didn’t have a framework or model to follow, they become bold and free to create possibilities. This is the kind o f learning they missed and the program has promoted it quite significantly, (facilitator)

Dialogue to Promote Self Reflection

Discussion and conversation promotes dialogue between participants, which was the main part of the program. The focus of the dialogue was free, mainly referring to the experience participants gained from the activities. Questions were asked to initiate talk among students, like “Which aspects do you like the best?”, “Which thing pleases you ?”, “What makes you feel discomfort?”, “Do you think this is art, why?”. The techniques of highlighting main points from students’ conversation and to challenge or rephrase the points to initiate further responses to the same issue were used. This enhances the depth and breadth of the conversation, students can also understand multiple points of view to a single problem.

The question was asked to gain the direct response of students. Positive feedback about the use of conversation was registered by students.

The conversation helps us to think more. By thinking more and knowing about others perspectives I discovered more about myself and the environment. I also feel easy in joining the program because I can raise my opinion and idea without afraid o f making a wrong answer, I feel happy to learn, (student)

Before the workshop ended, participants were asked to note down their comments and feedback on a leaflet designed for collecting student reflection, on which they can also express their interest in the forthcoming workshops. Students expressed their positive attitude towards different forms of reflection and suggested how they learned from the reflection.

They (the facilitators o f the working party) are friendly and talked to us, they asked us many questions, at first I was not used to answer their questions, because it is difficult and require us to think out something, make a reason. Later I got used to the discussion, and asked them questions that I found from the program, I think I think more about art and performance, and know more about them. I think I need to think before I try to learn it for myself, (student)

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Break Through Traditional Concepts o f Art

In the program, students have shown appreciation and interest in different ways of presenting art. They suggested their delight in discovering the flexibility of making art, and seemed to enjoy the freedom of making art in such a free context.

I never thought that art can be done in this way, it is different from what I have done in art lessons, I found that I can express and communicate through this channel which is so natural and true to myself, and I feel good by interacting with others in workshops and working on the installation, (student)

Students seemed to appreciate the expressive quality in art. The notion of art as technique has been commented on as too narrowly focused by students. They break through the idea of skill development in learning art.

In school I have to do a lot o f work that I am not interested, and I can’t find any relationship between myself and my work, but I like what we did together in the program, it is something related to my body, my thinking, and the environment, and how I put them together. It is not just fun, it helps me to think, and I start to think about the environment and myself, I think that art should be something more than a skill, it is something personal indeed, (student)

The blackboxes students made were the exhibits of the final exhibition. The boxes were open to exhibit the content and at the same time students’ idea and creativity to the audience. There was a lot of sharing from the blackbox owner with the coordinator when they come to the exhibition. Reflections of some are provided below:

If I need to conclude and find a topic for it, it could be my feeling to my own future, the rainbow here represent the achievement, the papers inside mixed with examination papers and the certificate I obtained, (student)

This is how I feel about the space o f the box and how I can made use o f which to communicate to the audience, it integrate my expression to the environment, (student)

The intention of including multi media expression in the program with students exploration in form, content, and emotion proved effective in leading students to understand art expression in the accomplishment they showed in the exhibition.

Psychological Therapy

Positive influence was found on some students who lacked motivation and interest in school life through participation in the program. It was suggested by the reflection of both the teacher and the facilitators in the working group.

At first, they didn’t like to come. They posed challenge to us and were hostile when we tried to talk with them and discuss the activities with them. The teacher didn’t think we could continue the program in their school, but later through the games and performance, they seemed to find some interest from the events, they were less unfriendly, although there was still a great distance in between. It was towards the end o f the workshop, we mixed together in rehearsing some expressive body actions, and other games with students from different schools, we felt enjoyable about the relationship, and they started to talk to us about themselves, what they like and dislike, we understand them more and became friends. We also observed that they made friends with each other and became involved in activities that developed their social relations with the others. I found the program has made some effect on the psychological status on the students, through the media o f art, or the chance o f exploring themselves and the environment, they learned something, (facilitator)

I think they learned something, not explicitly the skill o f installation or art, but in social and emotional growth, I am contended about this as their teacher, (teacher)

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The media of art was used to achieve therapeutic value in the program for the students who may be low in self image, lack of confidence and attention, or in need of care and friendship. This was especially revealing in students participation in the activity workshops.

I observed that students released their emotion freely when they were together in the workshop, they did the exercises with their inner self, they release the pressure loaded on them by school or parents. You can see that they destroyed all the rules, and they also showed you how they developed their own pattern, showed you what they have developed and the things they liked to do. The program has achieved some very important things in education, as a teacher, I feel impressed, (teacher)

I think sometimes we have taken the role o f counsellor, or doing therapy on students. We have developed intimate relationship and trust, and I found it does help in their study, they may find it more meaning if teachers can observe their feeling and needs inside them, (facilitator)

Issues and Difficulties

Learning Orientation and Style

In the program, the facilitators of the working encountered a problem of adjusting to individual learning styles of students. According to the program, students were encouraged to explore themselves in the program context and learn about art expression or anything related to themselves and the environment, they were not supposed to be intervened in learning. During the program, it was discovered that to facilitate students to learn in this way is not easy, students were already used to the traditional learning method of learning in school and found difficulty in adjusting to this approach.

I don’t know what they are doing in the program, sometimes I feel lost because I don’t know how to participate, (student)

I: What do you expect from them in doing the activities? (researcher)

Perhaps I need more directions before I can do anything, I just cannot do anything with nothing being said, (student)

The exhibition was misleading to some participants, students felt ambiguous because of the free exploration nature of the discussion and the activities. Hence, some of the students left the program, or only showed occasional presence.

We discussed about the problem o f individual learning needs among the working members, I found it a problem, because by engaging them in sort o f exploratory activities, we mean also to fit them into our system, our goal and expectation. On the other hand, they have their own style o f learning, and some students are used to their own style, and they expected something different. This is a problem we have to tackle, because some o f the students have left at once, or some only showed up occasionally, when the others are playing happily in the program, (facilitator)

In view o f this, the facilitating group tried to adjust their method to one that could accommodate different learning styles among students. In this way some students who want to pursue particular goals can also achieve through the program, and they were assisted to understand the wider meaning of art.

We do our program in a different way from that which school teaching does. The presentation o f the final performance is also a format that differs from traditional presentation that students used to see, or do in their drama club. In order not to arouse too much discomfort, we do allow them to pursue something they want in the program, so we try to give freedom for students if they want to do it their own way. For example if they want to do something more traditional, we would assist them by addressing to their intention o f doing it, so that they have developed their thinking along the way, we

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try to bring them out from just sticking to the format, but doing something o f and with themselves, because we consider it as art. (facilitator)

Demands from School

Some teachers seemed to expect different things from the program, they did not think that learning from self exploration in such a loose way can guarantee learning, their expectation was some concrete knowledge and skill.

I think the program has led me to the wrong direction. I supposed that you will teach them to use different methods and media to make art, but in turn, they could not gain anything concrete to be used for their performance. I think what I expected was not found in your program, (teacher)

In fact I expect more from the program, not just students own exploration, I can see that student can learn something by your methodology, but it is not specific, students may get lost on the way, or they may not get the thing you supposed them to get, they need very specific instructions so that they know how to respond and react. Perhaps it is the practice o f the school, but to do something with secondary school students you have got to understand this agenda, (teacher)

The whole philosophy of the program is not consistent with those held by schools. What the program expected is student personal development, which contrast with the idea of knowledge development dominated in school. The group felt under pressure about the school demand on art knowledge, as this expectation contradicted their rationale of teaching. A positive resolution has been made was to give a clearer indication of the rationale of the program to school teachers, and inform them about the advantages and positive outcomes students gained from their methodology of learning.

I sense the pressure when teachers came to observe their class, or students may communicate what they have learnt to teachers and they may think what we do is not agreed by them. They are looking for something very specific, as we found by talking to them, they also want more directions. At that time we discovered this point, we tried to send them a note to clarify the rationale o f the program, by addressing students self exploration with the environment and self development, and the art media introduced in the workshop. After reading that teachers may have a better understanding o f us. Perhaps more discussion between teacher and the members in our working group would also help, (facilitator)

The working group also felt the limitation of chairing workshops in schools, since the space in school activity room is small and the setting cannot accommodate special facilitation for the workshops such as video, projection, and sound. The facilitators could only modify the activities which may sacrify the actual impact.

Implications

What Kind of Aesthetic Experience Should be Promoted in Schools?

The case study has illustrated positive learning outcome of students through the program. It also portrays students ability to break through traditional knowledge of art. This projects the issue of what should be provided for art education in schools. The academic model adopted for school art teaching usually guides students to learn in a rational and systematic model, with certain frameworks to guide student understanding. This approach may act as a stimulus, but it may also confine student understanding and development.

The program opens another perspective of gaining aesthetic experience by sharpening students perception, it has helped them to develop their own understanding of art and use

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it as media of expression, through which students are developed. Current art education in Hong Kong has laid the focus of art on skill and knowledge, teaching is confined to classroom instruction, wider learning outcomes can hardly be achieved. The program has presented an alternative model of learner-focused teaching which can be integrated into school activities. The learning outcomes presented on widening students conception of art, achieving emotional therapy, developing motivation and interest in learning, etc. have been evidence of student learning, that are worth promoting in schools.

Values versus Demands in Implementing Wider Educational Aims

The implementation of alternative art education in school has met with obstacles, such as teachers’ expectation of knowledge, students’ demand on guidance and direction, and other administrative problems. This has been reflected above. The working group and the schools have suggested different values about education, and they are in fact contradictory to each other. The conflict has created difficulties for art programs which seek for wider educational meaning to be actualized. Today, the Hong Kong Education Commission (1999a, 1999b) advocates a quality, balanced education in schools. To effect the change in schools in regard to the new ideology, a need is perceived in orientation change on schools, teachers, and even parents. The structure of school curriculum and administration should also be changed with regard to this vision.

The school authority should give up past conceptions of developing elites, and allow students to develop themselves in different dimensions. Among different areas of learning, art education can be utilized in different ways to enhance student learning with the idea of providing aesthetic experience. The program has provided a sample case for teachers and administrators in designing curricula in schools. They should make use of the flexibility of school based development to effect meaningful learning for students. The idea of a comprehensive curriculum can help integrate art education in a formal curriculum. There is no single way to implement education, it all depends on educators creativity, insight, and their willingness to change.

Student-Teacher Collaboration in Education

In the program, students were allowed to pursue study on their own, and they were given chances to express their ideas and problems with the facilitators. Communication through the teacher-facilitator relationship enhances student learning. Students are willing to share their opinions and problems in the education process, since their problems are listened to and tried to be resolved by the facilitators, the program is able to be fine-tune according to contextual needs, based upon the overall aim of the program.

In traditional school settings, teachers and students do not maintain a balanced status in the classroom, and the curriculum is rigid without the flexibility to accommodate changes that emerged as important in the process of learning. The case has illuminated the importance of upholding a reflective norm in teaching, with the spirit of action research to continuously seek improvement. This attitude can encourage a closer teacher-student relationship, which promotes the morale of both parties and enhance effective teaching-learning outcome.

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Formulation of the Subsequent StudyThe above case has identified the gap of the expectation of teaching art between the program working group and some of the school teachers and students. It has been seen that teachers’ opinion on both sides are documented in the case study. Some teachers have recognized the limitations of school art education and appreciated an open conception of art education similar to that implemented by the art organization. The case illustrates that there are indeed different conceptions of teaching art among art teachers. It is queried that whether teachers holding different conceptions of teaching can teach according to their view, and how teaching methods may differ about teachers who hold different views to teaching.

In the art education literature much has been said about the context of teaching art that provides evidence of the special nature of art teaching compared with other subjects.The main argument is that art teaching is not constrained by textbooks and great flexibility is allowed to teachers own imagination in designing the content of teaching. Because of this art teaching has relied much on art teachers’ own conception or view to art. This assumption further support research on teachers’ conception of teaching art to inform about how art teaching has been implemented in school realities.

The answer to these questions may also help in the development of art education in the present situation in Hong Kong. With the establishment of Art Development Council, art education is considered as the priority of development to enhance the cultural business of Hong Kong (HKADC, 1996). The implementation of art curriculum in primary and secondary school in 1995 and 1996 respectively also shows the intention of the education department in developing the subject. However, not much baseline data is available to inform about the situation of art teaching in schools at present. The investigation of art teachers’ conception of teaching can provide information for educators in constructing a plan to improve art education.

A study on art teachers conception of teachers addressing the questions below is proposed:

What are the conceptions of teaching art among art teachers in schools?

What are the approaches they used for teaching in implementation?

Is there any gap found between conceptions and approaches?

If there is, what has caused the gap?

Based on these guiding questions, it is hoped that a general picture of teaching art can be sketched to inform about the situation and the problems existed so as to seek improvement.

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Chapter 2

literature Review on Ceneepdens of Teaching

Conceptions of teaching is a research construct used by educational researchers which generally means the study of teachers’ views or ideas about teaching. There is a substantial amount of literature related to teacher’s conceptions and it belongs to a wider field which is termed broadly as teacher thinking (Yinger, 1977; Ben-Petrez, Bromme, & Halkes, 1986; Pope, 1993).

An inherent problem in this field of research has made the review a difficult task. The study of conceptions of teaching has been framed by different constructs and researched with different methodologies. With the diversity in conceptualizing teacher conceptions, the scope of study in this topic is wide which involves different variables. The situation has caused a problem of two sides. One is that an enormous amount of relevant work coming from the search has made the task difficult to manage. Also, the lack of consensus among teacher thinking researchers in defining research constructs and therefore in operationalizing research objects have made comparison of results of this large quantity of data less straight forward. In view of this, a working rationale was developed to govern the review to ensure a worthwhile outcome.

First was to locate the major foci or topics of research related to conceptions of teaching in the light of the whole teacher thinking research. Discussion of constructs that have been used with similar meaning as conceptions of teaching will be made. By doing so the differences and consensus of the constructs used by the research community was sought. Discussion of the findings on major topics was also made. From this review, directions are drawn to inform how this research can be carried out and structured. It will clear some of the ambiguities which have emerged from the teacher thinking literature, while presenting a basic and broad examination on the topic. On the other hand, the review aims to identify possible ideas and issues related to the topic proposed on school art teachers’ conception of and approach to teaching, to discover whether the topic is o f common interest in this field, and which aspects o f the proposed study are likely to bring new input to research in this field. The aim of the review is therefore not simply a matter of consultation for building up reasonable hypotheses or theoretical models to guide the study, it is itself a process of discovery to sensitize myself as a researcher in making sense of the data gathered from the subsequent study, which is helpful for me to generate the result into meaningful theories and knowledge.

This review was conducted by an additive process with consultation of both primary and secondary sources. The method of doing this is to first identify materials from the library catalogue and the ERIC database by running a keyword search on ‘conception’ and its related terms such as ‘belief’, ‘personal theory’, etc. From the result of the survey a number of reviews and edited volumes published at different periods are identified as the key documents of this field. Work published in recent years have to be added to the report as they are not included in the aforementioned documents. The materials are to be compared and analyzed in the light of the topic I am interested in, namely school art teachers’ conceptions and approaches to teaching, with which issues and highlights are noted to both suggest parameters and potential of discovery of my study.

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Out 2

Education

Transcript of Out 2