Universal Design for Learning & the Inclusive Art Classroom

Universal Design for Learning & the Inclusive Art Classroom Stephanie Jordan ARE5251 4/27/2010 Final

Introduction • Purpose: • To apply Universal Design for Learning (UDL) principles to contemporary art lessons for an inclusive classroom • To have ‘built in access for a wide variety of users’ (Orkwis, 1999). • Three lessons: (1) K-3, (1) 4-8, (1) 9-12. • How can art lessons be accessible for all learners in a diverse student population? • How can UDL be applied to a contemporary art curriculum?

Universal Design "Universal design for learning is nothing less than a manifesto declaring the right and ability of all learners to soar.” (Mayer, UDL Center) • Opposite of a one-size-fits all curriculum. • Based on a architectural design philosophy,“Universal Design,” – to design products, homes, and public spaces to be usable the by people of all ages, abilities and life situations” (p.4) • Ex: Curb ramps that allow people using canes, walkers or wheelchairs to participate equally in the world. • Universal Design for Learning advocates building in support and access for all learners into lessons (like cognitive ramps)

The Arts • “The arts, just like universally designed tools or physical environments, may be very powerful ‘freedom machines’ capable of changing many preconceived notions about who can do what” (Glass, et al, 2008, p.5). • The study of art involves acknowledging multiple viewpoints, diversity and unique ways of communicating. • Contemporary artists are continually showing viewers that the possibilities for artistic products and outcomes are limitless. • Art encourages originality, creativity & varied student outcomes. • So it would seem that the principles and guidelines of UDL would be a perfect fit with arts instruction. • However, there is surprisingly little information available on the topic. • In my paper, I attempt to apply UDL principles and guidelines to contemporary art ed. I will include several lessons which are accompanied by the UDL principles I have “built in”.

UDL Guidelines • The three main principles of UDL: I. in-put; giving students a variety of ways to acquire information & knowledge II. out-put; giving students alternatives for demonstrating their learning III. tapping into students’ interests, increasing motivation & offering appropriate challenges • For each of these 3 principles, there are several “guidelines” that guide the creation of universally designed curricula. • For each “guideline” there are checkpoints, a description &suggestions for use. • Guidelines meant to be mixed & matched into the curriculum as needed, not a “prescription” (CAST, 2008, p.8). • This can help a diverse group of students including those with and without learning, sensory or physical disabilities, emotional or behavioral problems, and English language learners.

o Ex: Principle I, Checkpoint 3.4: Options that support memory & transfer

o Ex: Principle I, Checkpoint 3.4: Options that support memory & transfer For the purposes of this paper, when mentioning specific checkpoints I will abbreviate by saying “I.3.4.,” to refer to Principle I, Guideline 3, checkpoint 4. Along with mention of the checkpoint utilized, I will explain my implementation of that idea.

Lesson #1 (grades K-3) • Social Skills Folk Art Top: L: Lucy Hunnicutt, Respect. R: Theresa Disney, Do Unto Others Bottom: L: Ken "Blacktop" Gentle, Old Friends Catch Up R: Ruby C. Williams, Give of Yourself

L. Hunnicutt, Respect Lesson #1 (grades K-3) • Social Skills Folk Art T. Disney, Do Unto Others • Students will be introduced to several works of Folk Art in and will recognize some of the characteristics of Folk Art. • Students will discuss the positive messages about social interaction and friendship that all examples have in common. • After viewing and discussing the artworks, students will create their own personal artistic interpretations of social skills folk art. K. Gentle, Old Friends Catch Up R. C. Williams, Give of Yourself

L. Hunnicutt, Respect Lesson #1 (grades K-3) • Social Skills Folk Art T. Disney, Do Unto Others Procedures: Teacher will introduce the artworks, Respect (Hunnicutt), Do Unto Others (Disney), Old Friends Catch Up (Gentle), & Give of Yourself (Williams). Introduce the term Folk art. Ask the class to identify characteristics in the works shown. Teacher will guide the class in discovering meaning about the works with questions. What do you think these works are about? Is it about being kind? Friendship? This one is called Respect. What does respect mean? What do you see in this work? Etc. Discuss the positive social messages in the examples. Students create their own personal artistic interpretation of social skills folk art. Before beginning to work, review the social skill and friendly behaviors featured in the artworks and ask the class for other examples. Prompt students to Stop & Think about what social skills they want to depict. Encourage students to visualize how they want their finished product to look. Have volunteers share their ideas before beginning. K. Gentle, Old Friends Catch Up R. C. Williams, Give of Yourself

L. Hunnicutt, Respect Lesson #1 (grades K-3) • Social Skills Folk Art T. Disney, Do Unto Others Assessment K. Gentle, Old Friends Catch Up R. C. Williams, Give of Yourself

L. Hunnicutt, Respect Lesson #1 (grades K-3) • Social Skills Folk Art T. Disney, Do Unto Others K. Gentle, Old Friends Catch Up R. C. Williams, Give of Yourself

L. Hunnicutt, Respect Lesson #1 (grades K-3) • Social Skills Folk Art T. Disney, Do Unto Others UDL Principles, Guidelines and Checkpoints utilized: I.2.5: Ideas are illustrated non-linguistically by making explicit links between key concepts presented in images (social skills) and verbal explanations. I.3.4: Opportunities for review embedded into lesson to support comprehension and memory. II.6.2: Students are prompted to stop and think before beginning work to support planning. III.7.2: Value and authenticity enhanced through social relevance, thus, recruiting interest. III.8.1: Options for sustaining effort provided by prompting students to visualize their artwork’s desired outcome. K. Gentle, Old Friends Catch Up R. C. Williams, Give of Yourself

Lesson #2 (grades 4-8) • Mustafa Maluka Mustafa Maluka L: Home Again, Home. Again., 2009, R: They tell me I’m doing fine, 2007 He borrows elements from pop-culture and embellishes them. The result is imaginary individuals of indeterminate race (Valdez, January 2010 Art in America, p.110)

Lesson #2 (grades 4-8) • Mustafa Maluka Mustafa Maluka L: I can’t believe you think that of me, 2007 R: I won’t let you use me up, 2009

I can’t believe you think that of me., 2007 Lesson #2 (grades 4-8) • Mustafa Maluka I won’t let you use me up., 2009 Students will view and discuss portraits by contemporary artist Mustafa Maluka Discussion will include interpretations of meaning and the use of several elements and principles Students will create their own self-portrait in the 2D medium of their choice along with a title for their work. Home Again, Home. Again., 2009 They tell me I’m doing fine., 2007

I can’t believe you think that of me., 2007 Lesson #2 (grades 4-8) • Mustafa Maluka I won’t let you use me up., 2009 Procedures: Teacher will introduce the artworks by Mustafa Maluka. Small reproductions will be available at students’ desks. Teacher will give a description of Maluka’s works from his A Place so Foreign exhibition paraphrased from recent reviews. In a class discussion format, the class will cover questions about meaning such as, Do you think the titles are important? What do you think the titles mean? How do they relate to the artwork? What do you think this person is thinking? Feeling? What is their story? Small reproductions of images, verbal description, discussion questions, and definitions will be available in printed format for students. Key words will be highlighted and emphasized. The class will view a tour of his exhibition at Jack Tilton gallery while discussing artworks (Flaibani, 2010). Students will be prompted to pause and think about their ideas for their self-portrait for a few moments. Students will then create their own self-portrait with a title. They can use the 2D medium of their choice. Stations will be set up for each medium. Students will be encouraged to discuss their decisions in these small groups. Home Again, Home. Again., 2009 They tell me I’m doing fine., 2007

I can’t believe you think that of me., 2007 Lesson #2 (grades 4-8) Assessment: I won’t let you use me up., 2009 Home Again, Home. Again., 2009 They tell me I’m doing fine., 2007

I can’t believe you think that of me., 2007 Lesson #2 (grades 4-8) • Mustafa Maluka I won’t let you use me up., 2009 Home Again, Home. Again., 2009 They tell me I’m doing fine., 2007

I can’t believe you think that of me., 2007 Lesson #2 (grades 4-8) • Mustafa Maluka I won’t let you use me up., 2009 UDL Principles, Guidelines and Checkpoints utilized: I.1.3: Description (text and spoken) is supplied as alternatives for the visual information in images and video of Maluka’s paintings. I.2.5: Key concepts presented in images (non-linguistically) are complemented with verbal description; Critical elements in the text are highlighted and emphasized. I.2.1: Support for vocabulary is provided via definitions on table tents. II.5.1: Students have options in the media for communicating their ideas; they can choose the 2D medium they use to create their artwork. II.6.4: Guided questions (self-assessment questionnaire) foster student self-monitoring. III.7.1: Increase student engagement by providing many individual choice-making opportunities in the design of their original self-portrait. III.8.3: Collaboration and communication is fostered by working in small groups. Home Again, Home. Again., 2009 They tell me I’m doing fine., 2007

Lesson #3 (grades 9-12) • Mequitta Ahuja, automythography L: Dream Region, 2009. R: Ambush, 2007

Lesson #3 (grades 9-12) • Mequitta Ahuja, automythography Parade, 2007.

Lesson Idea #2 (grades 9-12) Ambush, 2007 • Mequitta Ahuja, automythography • Viewing paintings from Ahuja’s automythography series and as a class, students will discuss how artists can convey personal meaning through their art. • Talk about ‘pride’ and ‘strengths’ • Students create their own automythography, featuring an aspect of themselves they feel is one of their strengths or something they feel proud of, along with an artist statement Parade, 2007 Dream Region, 2009.

Lesson Idea #2 (grades 9-12) Ambush, 2007 • Mequitta Ahuja, automythography • Procedures: • Teacher will introduce the term ‘automythography’ from contemporary artist Mequitta Ahuja. It will be broken down into Auto-myth-ography, and students will be asked guided questions to determine meaning (see Planning Guide) • Class will view works from her automythography series. • Teacher will read portions of her artist statement & descriptions of her process: • “Automythography combines history, myth, and personal narrative” (Ahuja, 2009). “My works are self-portraits”… They are like “tools of self-invention” (Smithsonian, 2009, para. 3). Ahuja begins by posing and taking photographs of herself. This is the non-fiction portion of her self-portraits. Then, she plans her paintings by doing preliminary drawings and adds imaginary elements. The resulting self-portraits are both fiction and non-fiction (Ahuja, 2009; Smithsonian, 2009; & Wolff, 2010). • Teacher will guide the class with questions about how the artist creates meaning in her work. • Discuss Pride and Strengths. Mention examples such as culture, family, things one likes to do, things one is good at. Ask class for other examples • Students will use the Project Planning guide to plan their artwork before beginning. Their automythography will feature one aspect of themselves they are proud of and will have an accompanying artist statement. • After completing their artwork, students will complete self-assessment questionnaire and teacher will complete rubric. • As a class, we will discuss students’ artworks and artist statements on a volunteer basis. Parade, 2007 Dream Region, 2009.

Lesson Idea #2 (grades 9-12) Ambush, 2007 Parade, 2007 Dream Region, 2009.

Lesson Idea #2 (grades 9-12) Ambush, 2007 • Mequitta Ahuja, automythography Parade, 2007 Dream Region, 2009.

Lesson Idea #2 (grades 9-12) Ambush, 2007 • Mequitta Ahuja, automythography UDL Principles, Guidelines and Checkpoints utilized: I.2.1: New vocabulary is defined. Teacher explains how a complex expression (automythography) is composed of simpler words. I.3.1: Prior knowledge activated by presenting new vocabulary in familiar concepts. II.5.2: Options for completing artist statement and Project Planning Guide (students can handwrite, dictate, or type on computer to use tools such as spell and grammar check). II.6.3: Information management is facilitated with the Project Planning Guide, which helps students organize their thoughts and keep information in mind. III.7.2: The assignment is personalized to students’ lives by drawing on their own experiences and perceptions, thereby increasing student interest and engagement. III.7.3: Threat reduced by allowing participation in discussions on a volunteer basis. III.9.3: Opportunities for self-assessment and reflection provided through the use of a rubric so that scoring and progress is understandable to the student. Parade, 2007 Dream Region, 2009.

Implications Guidelines used in ALL lessons:

Implications • After attempting to utilize UDL Guidelines in contemporary art lesson plans, I found that certain areas were easier to make more accessible than others. • Art education, naturally, relies heavily on visual info • So in Principle I (multiple means of Representation) it made sense to add alternative for visual information (descriptions, spoken and written). • Now I make it a point to add verbal & written descriptions of the info I was formerly only presenting visually. • Also, principle II-(multiple means of action and expression) Guideline 5: Provide options for expressive skills: Art teachers who are flexible in the media allowed in lessons naturally provide multiple means of communication in this way. • Similarly, Principle III (multiple means of engagement) guideline 7: provide options for recruiting student interest- suggests increasing student choice-making opportunities. Again, art ed inherently provides this autonomy. • Hard to address : Guideline 4 (options for physical action, only one not addressed in any lessons)

Implications • Overall, after working with UDL guidelines, I found that, with a little extra effort, many UDL strategies can be incorporated effectively. • Once one is comfortable with UDL’s guidelines, it easier to understand the flexibility that UDL calls for in all areas of teaching • Then, it becomes easier to implement the strategies and it can become almost second nature, intuitively • Adding extra support for ALL learners into lessons can be done almost intuitively while designing lessons – eliminating much of the need to add in support to lesson after the fact. Accommodations are embedded into instruction from the beginning.

Conclusion • It is the nature of art to contract ‘one-size-fits-all’ mentality that often permeates many areas of society • Contemporary art especially challenges this notion • Thus, I think UDL (an approach that attempts to eradicate the one-size-fits-all, inflexible mentality in education) and contemporary art education are a perfect fit • As a result of creating these three lessons and including UDL guidelines, it is my belief that, with thoughtful planning, art educators CAN effectively incorporate UDL into art instruction in a way that opens up learning to a wider, more diverse student population. • Meaningful art learning becomes more possible for more people in an inclusive environment

References Ahuja, M. (2009). Mequitta Ahuja. Retrieved March 5, 2010 from http://mequittaahuja.blogspot.com/ Ahuja, Mequitta. (artist). (2007). Ambush [painting]. New York, USA. Retrieved February 17, 2010 from http://mequittaahuja.blogspot.com/ Ahuja, Mequitta. (artist). (2009). Dream Region [painting]. New York, USA. Retrieved February 21, 2010 from http://mequittaahuja.blogspot.com/ Ahuja, Mequitta. (artist). (2007). Parade [painting]. New York, USA. Retrieved February 17, 2010 from http://mequittaahuja.blogspot.com/ CAST. (2010). National center on universal design for learning. Retrieved February 22, 2010 from http://www.udlcenter.org/ CAST (2008). Universal design for learning guidelines version 1.0. Wakefield, MA: Author. CEC (2009). New guidelines for universal design for learning provide a roadmap for educators and educational publishers. Retrieved March 21, 2010 from http://www.cec.sped.org/AM/Template.cfm?Section=Home&TEMPLATE=/CM/ContentDisplay.cfm&CONTENTID=10573 DE State Dept. of Ed. (2004). Universal design for learning (udl): reaching all, teaching All. Delaware State Dept. of Education, Retrieved March 16, 2010 from ERIC database. Disney, Theresa. (artist). (n.d.). Do Unto Others [painting]. USA. Retrieved March 22, 2010 from http://www.jtfolkart.com/index.cfm Flaibani, M. (Videographer). (2010). Mustafa maluka at jack tilton, nyc (jan 2010). [Web]. Retrieved from http://marceartvlog.blogspot.com/2010/02/mustafa-maluka-at-jack-tilton-nyc-jan.html Gentle, Ken “Blacktop”. (artist). (n.d.). Old friends catch up. [painting]. USA. Retrieved March 22, 2010 from http://www.jtfolkart.com/index.cfm Gerber, B. L. & Guay, D. M. (2006). Reaching and teaching students with special needs through art. Reston, VA: National Art Education Association. Glass, D. et. al. (2008). The contours of inclusion: frameworks and tools for evaluating arts in education. Washington, D.C.: VSA arts.

References Hunnicutt, Lucy. (artist). (n.d.). Respect. [painting]. USA. Retrieved March 22, 2010 from http://www.jtfolkart.com/index.cfm Laster, P. (2009). Mustafa maluka, “a place so foreign”: a south African painter creates 21st-century versions of everyman. Time Out, 742.743. Retrieved March 17, 2010 from http://newyork.timeout.com/articles/art/81414/mustafa-maluka-a-place-so-foreign-at-jack-tilton-gallery-art-review Magee, C. M. (2009, August 4). Universal design for learning and the arts. Retrieved March 17, 2010 from http://www.educatingfortheunknown.blogspot.com/2009/08/universal-design-for-learning-and-arts.html Maluka, Mustafa. (artist). (2009). Home again. Home, Again. [painting]. USA. Retrieved February 21, 2010 from http://www.jacktiltongallery.com/maluka2.html Maluka, Mustafa. (artist). (2007). I can’t believe you think that of me. [painting]. New York, USA. Retrieved February 21, 2010 from http://www.bertrand-gruner.com/gallery/artists-mustafa-maluka-23.html Maluka, Mustafa. (artist). (2009). I won’t let you use me up. [painting]. New York, USA. Retrieved February 21, 2010 from http://www.jacktiltongallery.com/maluka2.html Maluka, M. (artist). (2007). They tell me I’m doing fine [painting]. USA. Retrieved February 21, 2010 from http://www.michaelstevenson.com/contemporary/exhibitions/maluka/interview19.htm Orkwis, R. (1999). Curriculum access and universal design for learning. Retrieved March 17, 2010 from http://www.cec.sped.org/AM/Template.cfm?Section=Home&TEMPLATE=/CM/ContentDisplay.cfm&CONTENTID=1583 Saxon, W. (1998).Ronald l. mace, 58, designer of buildings accessible to all. New York Times, Retrieved March 23, 2010 from http://www.nytimes.com/1998/07/13/us/ronald-l-mace-58-designer-of-buildings-accessible-to-all.html?pagewanted=1. Smithsonian National Portrait Gallery. (2009, February 3). Mequitta ahuja’s portrait of an artist. Retrieved March 16, 2010 from http://portraitcompetition.si.edu/artist/mequittaahuja/01.html Valdez, S. (2010). Reviews: mustafa maluka. Art in America, 98(1), 110. Williams, Ruby C. (artist). (n.d.). Give of yourself [painting]. USA. Retrieved March 22, 2010 from http://www.jtfolkart.com/index.cfm. Wolff, R. (2010). The key to her locks. Artnews, 109(2), 76.

Universal Design for Learning & the Inclusive Art Classroom