Chapter 7: What Works? Exercises

Chapter 7: What Works? Exercises

Mindwork

·    Possible timeline for research project:

o   Length of project: 3 months

	Month 1	Month 2	Month 3
Observing	Observe students interactions through lens of empathy and record thoughts	Teach empathy unit and observe student responses	Observe student interactions through lens of empathy and record thoughts post-project
Interviewing	Develop and test empathy survey, revise if necessary	Administer pre and post empathy survey
Gathering Materials	Develop empathy unit, create teacher exemplar; gather needed materials. Collect permissions.	Photograph student works in progress; gather copies of student reflections and peer responses
Reading	Read previous related research	Read student responses
Writing	Journaling on process and observations.	Journaling on process and observations.	Compile findings into short article and curriculum unit
Analyzing and Interpreting		Compile data that relates to my research question	Review findings.
Revising			Revise as necessary

·    I feel that this project can fit comfortably into my normal schedule if I allot time after on most days, plus a few weekends, to prepare, review, and compose my material. This project is intended to be on a small-scale, probably among 2-3 classes of a particular elementary grade (5^th?).

·    Again, the change I would have to make at school would be minimal, as this is a unit plan I could fit into my normal curriculum. I would just need to make sure that I had adequate storage and space, and that I planned my time wisely, so that all components could be completed. I would probably have to adjust my schedule to have a “writing day” of class where students complete surveys and write reflections and peer responses. I would also have to allot a “presentation day” for students to share their works, they key factor to getting an empathic response from my students.

Mindwork:

·    Agency

o   National Art Education Foundation

·    Goals and purposes

o   To further research in the art education field

·    With whom does the agency associate

o   They are associated with the National Art Education Association, art educators, art researches, etc.

·    Other funded projects?

o   NAEF funding supports a wide variety of professional activities, including promotion of art education as an integral part of the curriculum; establishment and/or improvement of art instruction in public and private K-16 schools; promotion of the teaching of art through activities related to the instructional process, curriculum, student learning, student assessment, classroom behavior, management, or discipline; purchase of art equipment and/or instructional resources; and research in art education. Additionally, the NAEF provides professional development scholarships. (taken from NAEA website)

·    Criteria I meet?I meet the criteria for the Mary McMullen grant scholarship, which asks for research projects that “promote art education as an integral part of the curriculum; to establish and/or improve the instruction of art in public and private elementary and secondary schools as well as schoolsof higher education in the US. The following areas will be considered for funding: 1) Curriculum Models, 2) Pilot Projects, and 3) Policy Models” (NAEF Grant Guidelines PDF)

·    Criteria I’m missing?

o   None that I can find

·    What assumptions does the agency have about education?

o   This agency promotes the value of an education in visual culture for today’s students, and that this value is not acknowledged enough culturally

·    Does this fit into my philosophy?

o   Absolutely, it promotes the development of a wider and more relevant arts curriculum toward the cultivation of a more visually literate society

·    Analyze language

o   The language of this agency is very proactive and very forward in terms of advocating art education. Any tones or words that are strong, bold, or give the impression of “spreading the message” seem to be favored.

Mindwork

·    Working title

o   Visual Arts: A Curriculum for Empathy

·    Background

o   Through my education and experience in the arts, it has become clear to me that visual imagery has its own power to develop the emotional, cognitive, and social behaviors and understandings of students of all ages. It has been my personal experience that students, especially during those vital elementary years, are at that time in the midst of discovering the world around them, and many of those students struggle with how to navigate that very world.

Art education provides an incredibly rich opportunity for all students to investigate complex and universal themes – especially that of empathy, which is reportedly on the decrease – in a creative and open atmosphere of discovery and sharing. It is empathy, the ability to recognize and share in the feelings of others, that above all promotes connectedness among fellow citizens: a vital characteristic in such a small and diverse world.

·    Research question and subquestions

o   How can empathy be taught and developed through the visual arts in 4^th grade classrooms?

§  What is the 4^th grade understanding of “empathy?”

§  How can the use of images promote empathic connection among classmates?

§  How can empathy be measured?

§  Why is it important to teach empathy?

·    Related Research

o   There is much research already done on the topic of empathy and its neurobiological response in the brain, called mirror neurons. Studies have found that the use of visual imagery sparks a response from the mirror neurons, resulting in an empathic response (Bower, 1985; Jeffers, 2009, 2009, 2010). Other research has already tested the use of visual images to enhance empathic reactions in pre-service art educators and in nursing students (Jeffers, 2009, 2010; Wikstrom, 2003). I have also come upon related curricular units that promote a “portrait” methodology when having students investigate heritage and identity in order to promote a personal connection to the self and to others (Chapman, 2007).

·    Permissions

o   I will require written permissions from my supervisors, students, and parents of my students in order to use their created, written, and spoken works.

·    Data Sources

o   Pre-unit data sources will include my own observations and recordings about 4^th grade student interactions regarding empathy, as well as open-ended surveys that ask students about their understanding of empathy, as well as questions about how they relate to their classmates. The purpose of this survey will be to stand as a comparison to the end of unit “assessment.”

Data sources during the unit will include the students responsive artwork as well as recorded oral presentations, written reflections, and written peer responses.

Post unit data sources will include a re-administration of a empathy survey as well as my own recorded observations of student interactions.

·    Methods and Analysis

o   The project will begin about a month before the actual teaching of the unit, when I will test my empathy survey with a selection of uninvolved individuals perhaps in another school. I will also spend time each day observing and recording my findings about student interactions regarding empathy and lack thereof.

The unit will begin on month 2. Each 4^th grade class will go through the process of filling out the survey first. Then, each class will progress through the empathy unit, which involves: reading and discussing The Arrival, viewing works of art about empathy, developing a vessel or “suitcase” 3D project (mirroring the suitcase of the book’s character) that investigates the inner and outer self leaving home, oral presentations of the projects, and then a series of written peer reflections. This process is adapted from studies already done by Carol Jeffers on pre-service teachers.

Month 3 will be spend consolidating and finishing the study.

·    Timeline: beginning of semester

	Month 1	Month 2	Month 3
Observing	Observe students interactions through lens of empathy and record thoughts	Teach empathy unit and observe student responses	Observe student interactions through lens of empathy and record thoughts post-project
Interviewing	Develop and test empathy survey, revise if necessary	Administer pre and post empathy survey
Gathering Materials	Develop empathy unit, create teacher exemplar; gather needed materials. Collect permissions.	Photograph student works in progress; gather copies of student reflections and peer responses
Reading	Read previous related research	Read student responses
Writing	Journaling on process and observations.	Journaling on process and observations.	Compile findings into short article and curriculum unit
Analyzing and Interpreting		Compile data that relates to my research question	Review findings.
Revising			Revise as necessary

·    Possible finding

o   I feel that my project will find a marked increase in my students’ understanding of the concept of empathy, as well as a shift to more positive interactions among the classmates who have developed a greater understanding of “walking in the other’s shoes.”

·    Dissemination

o   I will compile my findings in a research article, as well as develop and hopefully publish a finished and refined curriculum unit for the 4^th grade classroom.

·    Budget

o   My budget will include the cost of materials: the book The Arrival, 3D collage materials, etc. I will also need to invest in photocopying as well as, possibly, materials for organizational and management purposes (files, folders, etc.)

Chapter 6 What Works

Chapter 6: What Works? Exercises

Mindwork

·    Possible numerical data

o   Number of times a teacher notes “unempathetic” behavior in a class period (teasing, bullying, intimidation, etc.) before unit versus after unit

Mindwork

·    Ethnographic exercise

o   The bulletin boards are on the two side walls. They are decorated with handmade vocabulary terms and crafts, as well as with posters of artwork that the teacher has collected, been given, or finds interesting.

o   The teacher’s desk is in the front right corner, very near to one of the student tables. The desk’s position does not seem authoritative, as it opens up to the room, but at the same time seems to ask for privacy.

o   The teacher spends about half of the class period at her desk, after she delivers instruction and before clean-up time. She does not circulate often, however, I think that is because I am there to assist.

o   The student’s desks are tables that seat 4-5 per group. The tables are arranged in a U shape around the classroom, with the SmartBoard in the center front of the room

o   Supplies that are commonly used are in the front of the room in cube-shaped shelves near the floor. Supplies that only the teacher can access are in various cabinets around the room.

o   The SmartBoard and a sewing machine are special items in the room.

o   The teacher interacts with the students primarily in the beginning of class and at the end, when instruction is delivered. However, with younger classes, the teacher interacts much more often, chunking information at various times and bringing students back to carpet.

o   One student I’ve observed closely has trouble focusing and moves around in her seat often. She writes and clings for attention when an adult approaches. Her language also seems to ask for attention, as she often asks for help with tasks she is capable of, as well as complimenting and asking a lot of irrelevant questions.

o   The teacher’s behavior is very calm, almost seeming bored or unemotional. She deals with interruptions with an air of irritation, but rarely shows actual anger. She sits in a chair in front and above the younger students, showing her authority and leadership.

o   There is some computer equipment on a cart, as well as the SmartBoard, that I have not seen used much. However, the projector is used fairly often, with Powerpoint or a DVD.

o   The arrangement of supplies is interesting to me. The pattern of organization seems chaotic and hard to understand. Different classes’ works are stored in various locations around the room, and piles of papers lie on the cabinets.

o   Theme I’ve seen: after given directions, “what do I do?”

§  Were the students too distracted to hear instructions?

§  Would writing down instructions help?

§  Do instructions need to be limited?

§  Should students be asked to repeat?

§  “Ask 3 before me?”

Chapter 5 What Works

Chapter 5: What Works? Exercises

Mindwork

·    Possible new data sources

o   Discipline records that relate to situations that might lack empathy

o   Interviews with parents: what is empathy, how is it taught in your household, how does your child exhibit empathy, etc.

o   Interviews with students: what is empathy, how is empathy taught at home, how empathetic are you, etc.

o   Student doodles/notes that exemplify harmful or unempathetic behaviors

o   Student reflections as they discuss empathy with partners, or interview partners about life experiences

o   Artist statements Observation and recording of student group interactions with focus on social behaviors

·    How to collect?

o   Most of these would have to be recorded either by an audio recorder or through writing

·    Special permissions?

o   I would need signed consent forms to use the above data, probably with pseudonyms

·    If you could invent a data source, what would it be? Next best?

o   Probably a breakdown of the home life and psychological/physical health of each student. The next best thing would be interviews and school records (IEPs, health, etc.).

Finding Questions Everywhere

NY Times: An Infusion of Science Where the Arts Reign

In this interesting New York Times article, author Lisa Foderaro discusses Bard College's freshman student Liza Batkin, who is a dancer with an interest in philosophy and literature. However, Liza is being required to spend 2.5 weeks of her winter break taking a required science course (specifically infectious disease). Liza was initially intimidated and frustrated by the fact that she had to take a science course, something she did not appear to be interested in initially. However, Bard--a school with an "arty bent"--now requires Freshmen to take a science course even if their major is not related, in order to promote "learning for learning's sake" as well as to create well-rounded citizens. The catch is that the course does not administer credit nor grades, but rather tries to hook students with interesting content and a more open-ended assessment, such as a final project that allows students to incorporate the arts. Bard hopes that through this program, the university will fulfill its responsibility to create well-rounded citizens as well as battle the United State's science slump.

This article has the potential to inspire some very interesting research questions. A topic that comes to my mind immediately, especially after being an art appreciation TA, is how can art be used to create well-rounded citizens in those non-art majors? Or maybe even: how does a fine arts requirement create well-rounded citizens?

I know these are broad questions in and of themselves, but it could be narrowed to investigate students' broader understanding of science, economic, social, etc. concepts when required to take a fine arts course versus when not required to take a fine arts course. I would argue that it is vital that the fine arts course be focused on student-centered, highly conceptual ideas in order to be most relevant to non-art majors (for example, focusing on student-art interactions, conceptual frameworks, multiculturalism, etc.).

My hope is that one would find that students who took a fine arts course would have an increased ability to shift the lens through which they investigate topics, or perhaps be able to better analyze big ideas and conceptual/cultural foundations of a topic, be it scientific, economic, social, artistic, or otherwise.

If my students draw more often, will they become more fluent and practiced artists?

I think this is a question of "does practice make perfect?" and could possibly be best addressed over a period of time with a selection of students (maybe something like a middle school class?). If I were to design some sort of research project out of this, I might choose one or two classes of art 1 students and introduce to them at the beginning of the year that they will be required to keep weekly sketchbooks. If I required them to make 5 observational sketches and 5 "free sketches" per week, I could perhaps get them to not only develop their technical drawing skills, but their observational and creative skills as well.

To measure the outcomes of a semester long sketchbook assignment, I might compare technical and creative assignments (metaphorical still-lives, portraits, etc.) that the students produce over the semester chronologically to see their development. Perhaps I could compare this class with a "control" class that was not required to keep sketchbooks to see if there is a significant difference overall.

Chapter 4 Exercises: What Works?

Mindwork:

·    Emic Stance:

o   In terms of my interest in students’ development of empathy and socially appropriate responses, I have to consider several factors concerning my own upbringing. First, I was raised in a white, suburban neighborhood. My classmates, along with myself, were all raised under similar cultural circumstances: generally upper middle class, parents educated beyond a bachelor’s degree, probably Republican for the most part, etc. What was considered “appropriate behavior” was established without the need to consider cultural diversity, because really there wasn’t much to consider. The same was true for SES. That is not the same situation for many of my students in Columbia. Their academic experience is much more diverse than mine was. There are a lot of cultural codes at play in the typical Columbia classroom, and sometimes I wonder if imposing my ideas of “appropriate behaviors” is really the correct thing to do. What is the best way to build empathy? By addressing is directly when students are young, or dancing around it until maturity kicks in? My academic experience more or less danced around it, but I don’t always believe that was the best way to do it.

·    Etic Stance

o   As an outsider looking into the school that I would study, I would see that on the outside (usually led by the administration) there is a careful system in place and vocabulary used to talk about how to develop empathy and other socially appropriate behaviors in students. Teachers are to say this phrase several times today, and model this behavior in this situation, etc. But then when I observe in the classroom, what a teacher is able to do/say realistically is much more unorganized and chaotic, sometimes impulsive, and usually privately explained. I feel as though a typical teacher is so afraid of addressing a topic that might be sensitive or uncomfortable, such as why a student speaks a certain way or acts a certain way, because that teacher fears retribution. When students are sent to school, I feel that parents and administration need to understand that teachers must be allowed a certain degree of freedom of judgment to react accordingly to inappropriate behaviors. Is it not possible to freely point out differences as simply fact, and then tackle and mold inappropriate responses head on? Is it not possible to actually ask parents: what does empathy look like in an African American, Asian American, or Caucasian household? What does empathy look like in a lower or higher SES household?

Mindwork:

·    What surprises you (chapter 1 lookback)

o   Looking back, I think my biggest surprise is that I find my own school experiences to be so different from the students I work with today, maybe not so much in terms of academics, but socially and culturally. Most of my classmates back in middle and high school were white, middle to upper class, white collar families. It seemed, anyway, that the typical student came from a fairly stable and safe household. Some of us had jobs, mostly for experience, and most of us had nice cars and nice clothes. Obviously there were many among us who did not fit that description, but they seemed to do their best to try to blend in.  Columbia has a wider array of cultural, social, and economic situations all combined into each school.

·    What intrigues you?

o   I’m intrigued by the social and psychological development of students, especially through the lens of the arts. I always had an interest in psychology and biology, and I think that interest drives my research topic today. Many of my research brainstorm ideas revolved around behaviors, and it’s behavior management that I fear the most when it comes to teaching. Perhaps I feel that the most I come to understand it, the less fearful I will be when I approach it.

·    What disturbs you?

o   I think my fear of parental and administrative retribution, or general lack of support, disturbs me. Maybe that comes from my simple lack of experience, or the few somewhat alarming stories I’ve heard from other teachers about a student’s home life. It’s disturbing to me that I sometimes feel that when I get started, I will have no support behind me.

·    What surprises you about the emic/etic questions?

o   I’m surprised by how I view behavior “teaching strategies” in the classroom: messy, chaotic, and unorganized. I guess I get this viewpoint from the younger elementary classes. Many of the students are simply not old enough to understand their behaviors, and as such, sometimes a teacher must address 2-3 behavior instances at a time. It can feel very overwhelming. I think that by my very nature I seek structure and organization, and I’m probably seeking that possibility through this research.

·    What intrigues you about the emic/etic questions?

o   I’m intrigued by my own lack of a diverse experience in my middle and high school years (honestly, I can’t remember the elementary years, but they were probably the same). At the same time, it’s likely that I was looking at everyone else’s experience through the lens of my own experience, and as such, I was blind to different experiences of my classmates. For example, when I think harder and look closer, I can remember several students whose situations were very different from my own, filled with struggle and worry. Perhaps that simple blindness to the experience of others is something that needs to be openly addressed in schools.

·    What disturbs you about the emic/etic questions?

o   I’m disturbed by how much race seems to play a part in my concern for the appropriate social development of students. When I think of examples of “unempathetic” students that I’ve dealt with, I often think of students of color. However, I understand that this is a biased point of view that comes not only from my own upbringing and experiences as a teacher, but also from the literature I’ve read and the media I’ve consumed, etc. When I think objectively about “unempathetic” student, I realistically can come up with about every race, religion, ethnicity, etc. It’s that initial bias that I must overcome.

Mindwork

·    Code of Ethics

o   It is the goal of this research project to maintain ethical and professional standards to protect participants’ rights to privacy and confidentiality. Three principles create the foundation of conduct in this research project: respect, beneficence, and justice…

Chapter 3 Exercises: What Works?

Possible research question: How does the study and creation of (self)portraiture contribute to the development of empathy in art education students?

Mindwork:

·    If I were to explore my own experience with portraiture, I would probably say it is to me the most fascinating and challenging subject, especially when it concerns the self. I have a long history with attempts at self-portraiture and my ability to portray myself accurately both internally and externally.

·    I am aware of the different styles of portraiture, from realistic to abstract to non-representational. Portraiture is a means to capture a record as well as to express a sentiment or emotional state.

·    I’ve read journal from NEA as well as NAEA that I liked, because I found them accessible.

·    In my student teaching, I’ve noticed that my students were very eager to begin learning portraiture, however when they actually got started, many were easily frustrated.

·    A portrait unit would be able to stand alone.

·    A portrait unit could explore realism, expressionism, color, texture, proportion, and figure-ground relations, among a lot of other options.

·    I will consult ERIC, JSTOR, NEA and NAEA publications, as well as and possible primary artist documents that I can find. It might also be useful to access scientific or social journals on the topic of empathy or social relationships.

·    My mother, a psychiatrist, and my father, a neurosurgeon. My host teachers, who are experienced in the typical social development of various ages of students.

Mindwork

·    Options for further research

o   I think that my topic is pretty focused as it is. There is a lot of material I can choose from. I should probably choose a specific age.

·    What I know now…

o   I remember reading Daniel Pink’s chapter on empathy, but did not make the connection until I saw a reference to him on a google search of portraits and empathy.

·    Alternative keywords?

o   Social development, portraiture versus self-portraiture

·    Alternate source?

o   I need a scholarly journal database, such as JSTOR, to find more reliable sources

·    Download or print?

o   I’ve downloaded a few relevant PDFs from ERIC

·    Experts’ names?

o   So far, Daniel Pink and Carol Jeffers have been a reference. Also, Brelsar and Latta have an interesting article that might be a springboard for me.

Mindwork

Armon, J.; Uhrmacher, P.B., and Ortega, T. (November 2009) The significance of

            self-portraits: Making connections through monotype prints in letras y arte.

            Art Education, 62(6), p 12-18. Retrieved 30 Jan 2011 from

            http://www.naea-reston.org/

Byrnes, K. (2009) Portraits of contemplative teaching: A third way. Retrieved from   

ProQuest LLC.

http://proxy.mul.missouri.edu:2081/pqdlink?did=1850687111&Fmt=7&clientId=45247&RQT=309&VName=PQD

Jeffers, C. S. (2009) On empathy: The mirror neuron system and art

education. International Journal of Education & the Arts, 10(15). Retrieved 30 Jan 2011 from http://www.ijea.org/v10n15/.

Jeffers, C.S. (2009) Within connections: Empathy, mirror neurons, and art education.

            Art Education, 62(2), p 18-23. Retrieved 30 Jan 211 from

            http://www.naea-reston.org/research/advertising/art-education

Jeffers, C.S. (2010) A still life is really a moving life: The role of mirror neurons and

            empathy in animating aesthetic response. Journal of Aesthetic Education, (44)2.

            Retrieved 30 Jan 2012. doi: 10.1353/jae.0.0079

Pink, D. (2005) A whole new mind: Why right-brainers will rule the future. Penguin

            Group: New York.

Shuster, C. (2000) Emotions count: Scaffolding children’s representations of themselves

            and their feelings to develop emotional intelligence. Retrieved 30 Jan 2011 from

            http://ericeece.org/pubs/books/katzsym/shuster.pdf.

Wikstrom, B. (2003) A picture of  work of art as an empathy teaching strategy in nurse

            education complementary to theoretical knowledge. Journal of Professional

            Nursing, 19(1), p 49-54. Retrieved 30 Jan 2011. doi:10.1053/jpnu.2003.5 

·    More current articles?

o   No, my articles are current.

·    Can I eliminate sources I thought were valuable?

o   Not yet.

·    Different types of material?

o   I could use more variation. My sources are almost entirely published journal articles, with a couple dissertations and a book. I have a few more books I could look into, as well as possibly researching some lesson plans.

·    Where to go next?

o   To my own textbooks to see what material I can use.

·    Revise question now?

o   Not yet. I feel my question is very focused and has adequate material to begin researching. I wouldn’t yet know how to revise it, if I even needed to do so.