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Projects That Matter:

Projects That Matter:. Education for the 21 st Century. Why do we teach?. What words would we use to describe an ideal graduate? Growth-and-Learning-updated.pdf. The Problem:.

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Projects That Matter:

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  1. Projects That Matter: Education for the 21st Century

  2. Why do we teach?

  3. What words would we use to describe an ideal graduate?Growth-and-Learning-updated.pdf

  4. The Problem: “How do we find or create meaning in the midst of life today? And how, perhaps more fundamentally of all, do we move the young to reach beyond themselves for the sake of their future and the community-in-the-making we call democracy?” (Greene, 2005, p.77).

  5. Why Should Teachers Want to Engage Students in Community-Making? • Teachers can lose sight of their vision if they do not pursue their moral purpose (Mockler, 2010, pp. 522-524). • Teachers must demonstrate care if they are wholly engaged as professionals (Nias, 1996, p. 305). • Teachers relate to an ethic of care, which cannot be exploited by “standards-driven outcomes” (Servage, 2009, pp. 158-159). • Individuals can make a difference (Guay, 2002, p.302-303). • To learn how to be in the world, students must participate in the world (Rich, 2010, p. 134). • Youth who are connected to the community show evidence of positive growth (Gargerella, 2007, p. 44). • Students must learn to be persons who care (Greene, 2011, p. 36).

  6. How Does Project-Based Learning Address Contemporary Concerns in Education? • It can be used for postmodern practices to further social justice through collaboration (Clark, 2001, p. 42). • It teaches students responsibility, practical skills, and to manage budgets and time constraints (Russel and Hutzel, 2007, p.8) • Students learn to use 21st century skills while contributing to the community (Tanner, 2011, pp. 147-148, Mockler, 2010, p. 523). • Projects can be geared towards social change (Gargerella, 2007, p. 41). • New kinds of knowing are provided through inquiry and innovation (Robertson, 2005, p. 155). • Projects allow for the use, integration, and creation of dynamic knowledge and technology (Connell, 2009, p. 255). • Projects are based on reflective open-endedness (Greene, 2005, p. 78).

  7. What is Project-Based Learning (PBL)? PBL uses a project as the structure for learning in a unit of study instead of as a culminating task. Students use inquiry, with teacher facilitation, to discover what they need to know to answer a driving question, and find the solution for themselves. There are eight ingredients in a PBL project: 1. Significant content: The project is designed to meet curriculum expectations. 2. Need to know: The teacher uses Socratic questions to aid the students in discovering what they need to know to answer a driving question. 3. Driving Question: The teacher designs an open-ended question to guide student discovery 4. Student Voice and Choice: Students must have options available to them to make the project personal.

  8. What is Project-Based Learning (PBL)? 5. 21st Century Skills: These include collaboration, communication, role-playing, team-building, task organizing, oral presentations, and the use of technology. 6. Inquiry and Innovation: Students research, collaborate, and use trial and error to discover solutions. 7. Feedback and Revision: This stage and inquiry and innovation are cyclical. Self assessments, peer assessment, teacher formative assessments, protocols, and class critiques are used. 8. Publically Presented Product: The project must be presented to an authentic audience. (Larmer & Mergendoller, 2010)

  9. Gallery Visit for Grade 11 Art This is an example of a mini Project-based Learning unit. The project and driving question for the project were inspired by “The Creator’s Sacrifice” exhibition by Cree artist, OvideBighetty. The four-day project involved: Considering the driving question. Acquiring background knowledge. Viewing the art work. Creating an artistic response. Presenting and sharing our experiences and responses. “The Promise of Heaven” Acrylic on canvas - OvideBighetty

  10. The driving question was: “How can we respond creatively to a cultural interpretation of Easter?” • Students researched the stations of the cross in the Catholic tradition to become aware of the process of “walking the stations” as a way to approach the art and become familiar with Easter artwork. • Students considered media that they might use to respond creatively to the artwork. Day 1 “The Last Supper” Acrylic on canvas - OvideBighetty

  11. Day 2 I explained to the students that during the viewing of the artwork, we would be responding spiritually and intellectually. The students were invited to engage some pieces through spiritual contemplation as in the walking of the stations. The students recorded their initial reaction to the art, a formal analysis using the elements and principles of design, a consideration of cultural context, and a final aesthetic judgement for chosen pieces.

  12. Students contemplated the artwork in silence Students discussed their impressions of the work and analyzed the formal qualities.

  13. Finally, students recorded their aesthetic judgments and sketched ideas for how the exhibition would inspire their artistic responses.

  14. Students were fascinated by the incorporation of Native beliefs and symbols into biblical narrative. • They noticed the visual representation of the physical world and spiritual world coexisting. • They appreciated the unusual use of birds to symbolize biblical ideas. For example, the Raven as the trickster or devil, the Owl as the Holy Spirit, and the Eagle or Thunderbird as God the Father. • Two reoccurring themes that the students looked for in each painting were “connectivity, shadows, and trees.” “Peter’s Failure” Acrylic on canvas - OvideBighetty

  15. The students felt that these fresh interpretations of a familiar story enriched the depth of their understanding. They discussed symbols like the silhouetted shapes in the background, the use of the birch tree, and use of colour and pattern in the figures. Many of the students simply marvelled at the beauty of the colours and compositions “Creating a New Family” Acrylic on canvas – OvideBighetty

  16. Days 3-4 Students responded with fresh combinations of symbols in their own artwork to respond to the Easter story. Some students found inspiration from other cultures to make meaning. This student used the image of a phoenix and the Japanese character for “hope” to point to the death and resurrection of Christ.

  17. Day 5 • The project ended with a discussion in a circle to share our responses. This was also an opportunity for students to view each other’s work, explain their own insights into the art at the exhibition, and share their experiences. • Overall, the students felt that this project helped them to make new meaning in response to the familiar Easter story, and to understand and appreciate Native art and culture in a new way. References: Bighetty, O. KisemanitoPakitinasuwin “The Creator’s Sacrifice.” Retrieved from http://reformingrelationships.ca/?q=content/gallery Smith, K. “Virgin Mary.” Retrieved from http://www.sfmoma.org/explore/collection/artwork/22705

  18. Design Your Own PBL Unit • www.BIE.org • Project_Overview_ART_THAT_WOOD_WORK_FOR_YOU.doc • Teach_Learning_Guide plywood and glass.doc

  19. References Barron, B.J.S., Schwartz, D.L., Vye, N.J., Moore, A., Petrosino, A., Zech, L., et al. (1998). Doing with understanding: Lessons from research on problem- and project-based learning. Journal of the Learning Sciences, 7(3-4), 271-311. Bastos, F. (2007). Art in the market program: Ten years of community-based art education. Journal of Cultural Research in Art Education, 25, 51-63. Bastos, F. & Hutzel, K. (2004). The art in the market project: Addressing racial issues through community art. Journal of Cultural Research in Art Education, 22, 86-98. Brown, H.B. (2010). Social justice and community-based art education. (M.A., The University of Arizona). Brown, P.S. & Hargis, J. (2008). Undergraduate research in art history using project based learning. The Journal of Faculty Development, 22(2), 152-158. Castro, J., Grauer, K., Lin, C., & Sinner, A. (2011). Towards a Dialogue between New Media Arts Programs in and out of Schools, CSEA, 9 (2), 24 – 37. Chalmers, G. (2002). Celebrating pluralism six years later: Visual transculture/s, education, and critical multiculturalism. Studies in Art Education, 43(4), 293-306. ChanLin, L. (2008). Technology integration applied to project-based learning in science. Innovations in Education and Teaching International, 45(1), 55-65. Chung, S. K., & Ortiz, C. (2011). Art education in action on the street. Art Education. March, 2011, pp. 46-52. Clark, R. (2001). The inclusive studio: Being an artist in the new millennium. Canadian Art Teacher, 1(1), 37-42. Clark, R. (1998). Doors and mirrors in art education: Constructing the postmodernist classroom. Art Education, 51(6), 6-11. Connell, R. (2009). Good teachers on dangerous ground: Towards a new view of teacher quality and professionalism. Critical Studies in Education, 50(3), 213-229. Darling-Hammond, L., & George Lucas Educational Foundation. (2008). Powerful learning: What we know about teaching for understanding (1st ed.). San Francisco: Jossey-Bass. Desai, D., & Chalmers, G. (2007). Notes for a Dialogue on Art Education in Critical Times. Art Education. 60(5), 6-12.

  20. References Cont’d Fendler, L. (2003). Teacher reflection in a hall of mirrors: Historical influences and political reverberations. Educational Researcher, 32(3), 16-25. Freire, P. (1970). Pedagogy of the oppressed. In D. Flinders & S. Thornton (Eds.), (2004). The Curriculum Studies Reader (2nd ed.).Cambridge, MA: The Riverside Press, 125-133. Gargarella, E. (2007). Landmarks for change: A case study examining the impact of a community-based art education program on adolescents. (Ph.D., The University of Akron). Giroux, H. (2005). The terror of neoliberalism: Rethinking the significance of cultural politics. College Literature, 32, 1-19. Graham, M. (2007). Art, ecology and art education: Locating art education in a critical place-based pedagogy. Studies in Art Education, 48(4), 375-391. Greene, M. (2011). Art and imagination: Overcoming a desperate stasis. In A.C. Ornstein, E.F. Pajak, & S.B. Ornstein, Contemporary Issues in Curriculum: International Edition. 5thEdition. Verlag: Pearson Education, 33-40. Greene, M. (2005). Teaching in a moment of crisis: The spaces of imagination. The New Educator, 1(2), 77-80. Greene, M. (1995). Art and imagination: Reclaiming the sense of possibility. The Phi Delta Kappan, 76(5), 378-382. Guay, D. (2002). The dynamic project, contemporary issues, and integrative learning. In Y. Gaudelius, & P. Speirs, (Eds.), Contemporary issues in art education, pp. 302-316. Upper Saddle River, NH: Prentice Hall. Hargreaves, A. (2000). Four ages of professionalism and professional learning. Teachers and Teaching: Theory and practice, 6(2), 151-182. Harris, A. (2005). Teacher leadership: More than just a feel-good factor? Leadership and Policy in Schools, 4(3), 201-219. Hoffman, E., & Chalmers, G. (1997). Celebrating pluralism: Art, education, and cultural Diversity/F. Graeme Chalmers' response. Journal of Multi - Cultural and Cross - Cultural Research in Art Education, 15, 103-106,3.

  21. References Cont’d Larmer, J., & Mergendoller, J.R. (2010) 7 Essentials for project-based learning. Educational Leadership, 68(1). Larrivee, B. (2008). Development of a tool to assess teachers’ level of reflective practice. Reflective Practice, 9(3), 341-360. Luehmann, A. (2008). Using blogging in support of teacher professional identity development: A case study. The Journal of the Learning Sciences, 17, 287-337. McDonald, J. P., Mohr, N., Dichter, A., & McDonald, E. C. (2007). The power of protocols: An educator’s guide to better practice (2nd ed.). New York, NY: Teachers College Press. Mockler, N. (2011). Beyond ‘what works’: Understanding teacher identity as a practical and political tool. Teachers and Teaching: Theory and Practice, 17(5), 517-528. Nias, J. (1996). Thinking about feeling: The emotions in teaching. Cambridge Journal of Education. 26(3). Rich, S. (2010). Where are we? The state of education. Learning Landscapes. 3(2), 129-135. Robertson, S. (2005). Re-imagining and rescripting the future of education: Global knowledge economy discourses and the challenge to education systems. Comparative Education, 41(2), 151-170. Russell, R., & Hutzel, K. (2007). Promoting social and emotional learning through service-learning art projects. Art Education, 60(3), 6-11. Servage, L. (2009). Who is the “professional” in a professional learning community? An exploration of teacher professionalism in collaborative professional development settings. Canadian Journal of Education, 32, 149-171.

  22. References Cont’d Sloan, K. (2008). The expanding educational services sector: Neoliberalism and the corporization of curriculum at the local level in the US. Journal of Curriculum Studies, 40(5), 555-578. Spring, Joel. (2008). Research on globalization and education. Review of Educational Research, 78(2): 330-363. Tanner, A. (2011). An evaluative case study of project-based learning in high school vocational education. (Ph.D., Walden University). Trilling, B., & Fadel, C. (2009). 21st century skills: Learning for life in our times. San Fransisco, CA: Jossey-Bass. Ulbricht, J. (2005). What is community-based art education? Art Education, 58(2), 6-12. Wood, D. (2007). Professional learning communities: Teachers, knowledge, and knowing. Theory IntoPractice, 46(4), 281-290. Zimmerman, E. (2001). Intercultural art education offers a means to promote tolerance and understanding. Journal of Cultural Research in Art Education, 19/20, 68-80.

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