ChoosingChoice:InterveningPedagogyintheArtClassroom

ClaytonNoltkamper
UniversityofMissouriColumbia
Summer2015

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom1

TableofContents

Abstract

Introduction

Assumptions

I.IssuesinCurrentPractice

II.WhatisChoice?

ChoiceinClassroomContext

10

Assessment

11

Misconceptions

11

ChoiceRationale

12

ConflictandLimitations

14

III.ResearchPlan

18

Limitations

18

MethodsandAnalysis

19

ResearchDesign

19

DataSourcesandCollection

21

DataAnalysis

21

IRB

22

Conclusion

22

References

23

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom2

DigitalTableofContents
Ifviewingdigitally,youcanclickonthefollowinglinkstobetternavigatethispaper.

Abstract
Introduction
Assumptions
PartI:IssuesinCurrentPractice
PartII:WhatisChoice?
ChoiceinClassroomContext
Assessment
Misconceptions
ChoiceRationale
ConflictandLimitations
PartIII:ResearchPlan
Limitations
MethodsandAnalysis
ResearchDesign
DataSourcesandCollection
DataAnalysis
IRB
Conclusion
References

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom3

Abstract
Thispaperexploresbestpracticesolutionsbasedonphilosophicalreflection,research,andtheoretical
experimentation.The20152016schoolyearmarksmydramaticchangefromprojectbasedto
choicebasedpedagogyinattemptstosolveproblemsfacedinmyartroom.Thisresearchproposal
providesmyjourneyinreflection,researchthusfarandoutlinesaplantofurthermyunderstanding
throughreflectiveapplicationthisnextyear.Althoughacademicresearchonthisteachingstyleisnew
andlimited,aspectsofConstructivistLearningTheorysupportchoicebasedartasaneffectivestrategy.
Thispaperpresentsmycurrenttruthaboutchoicebasedartpedagogyandaplantochallengeorconfirm
thosebeliefsoverthenextyear.

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom4

Introduction
Howdoeschoicebasedpedagogyaddressissuesinarteducation?Throughreflection,education,
researchandexperimentationIseektobetterunderstandthisapplicationandsolveproblemsincurrent
practice.Fivesubquestionsguidemyunderstanding:
1. WhatdifficultiesdoIfaceinmyclassroom?
2. Whatobstaclesdomystudentsfaceinarteducation?
3. Whatproblemsdoeschoicebasedpedagogysolve?
4. Whatobstaclesdoeschoicefailtoaddress?
5. Whatproblemsdoeschoicepedagogycreate?
Manychangesfacemethiscomingfall.TosupportmychoicesandguidemydecisionsIwill
addressthreelenses:past,futureandpresent.Todiscerndifficultiesthathaveledmetochoice,Ifirst
presentmyrealityoverthelastthreeyears.Second,Ilookatcurrentresearchapplicabletounderstanding
choicebasedtheoryandpractice.Finally,Iproposeresearchtoquenchmyquestions.Throughan
autoethnographicapproachIreflecthow
choosingchoice
affectsmypersonalphilosophyandtheoryof
arteducation.Inoneyearfromnow,Ihopetoknowiftheseideasholdtruewhentestedintheclassroom
Assumptions
Duetothenatureofmysituationandproposedresearch,muchisstillassumed.Myhopeisthat
datafromthisprojectwillilluminatetruth.Movingtoaneighboringschooldistrictthisfall,Iam
assumingissuesinpracticeandstudentdemographicsaresimilartothosethatledmetochoiceinthefirst
place.Infact,IassumethechallengesIvefacedthelastfewyearsarefeltbymanyeducators
everywhere.Iassumethatchoicebasedpedagogyisasolution,butnotwidelypracticedduetoteacher
comfort,theprevalenceofmisconceptionand/orlackofknowing.Myinterestsinchoicebasedpedagogy
wereafocusduringmyinterviewandIfeelhelpedmyhiring.Therefore,Iamassumingthesupportof

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom5

myprincipalsandsuperintendent.Iwillbeworkingalongsidetwoartteachers.Basedonpreviousbrief
interactions,Iassumebothwillsupportme.Theseassumptionssetahopefulfoundationtoproceedon.

PartI:IssuesinCurrentPractice
Toadequatelyunderstandthesolutionschoicebasedartpedagogyoffersme,itisnecessaryto
understandtheproblemsmoretraditionalarteducationapproacheshavefostered.
ForthelasttwoyearsIhavesoughtsatisfactoryartcurriculum.Myundergraduateeducation
properlypreparedmeforwhatIunderstoodandstillseeasthemostcommonarteducationpractice:
disciplinebasedarteducation(DBAE).DBAEisaprojectbasedapproachbeginninginthe1980sthat
centerslessonsaroundthefourdisciplinesofproduction,arthistory,aesthetics,andcriticism(Dobbs,
1992).ThisalignsdirectlywithMissouriscurrent,yetoutdatedvisualartcurriculum.Createdintheearly
1990s,butlastmodifiedin2007,theVisualArtGradeLevelExpectationsarecategorizedintofive
strands:productperformance(mediatechniques,alignedwithDBAEs
production
),elementsand
principles(E&P)(alignedwithDBAEs
production
),artisticperceptions(DBAEs
aestheticsand
criticism
),interdisciplinaryconnections,andhistoricalandculturalcontext(DBAEs
arthistory
)
(Missouri,2007).Inthefashionofmyeducation,pullingfromthesesixareas,madeforuncomplicated
planningandinstructionbutfailedinapplication.
ForthelastthreeyearsIworkedwithandinthesamedistrict.ThefirstyearIstudenttaughtand
subbedforthecoauthorofthedistrict's1994K12artcurriculumandsolememberoftheK8art
department.Individuallessonspulledfromallsixarteducationareas.Theselessonswereorganizedina
pacingguidebyE&PbasedontheirsequenceinMissourisVisualArtGradeLevelExpectations.This
seemedstandard.TheteacherretiredthesameyearandIwashiredashersuccessor.
Preparingformyfirstyear,theideaofsequencebecamefocus.AreE&Pthebestwaytoorganize
anartcurriculumwhenitisoneofsixareas?Itworked,butwasntperfect.Organizationby

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom6

productperformance,ormedia(ceramics,drawing,fibers,painting,printmaking,sculpture,etc.),seemed
lesssequenceable.Ifinditirrelevanttoorganizeartbyitsinterdisciplinaryconnections.Aestheticsand
criticismaretoobroadandvague.Arthistoryischronological,however.Asanewteacherwhohighly
valuesorder,thelogicalsolutionwastomaintainthecurrentE&Ppacingguide,makingthearthistory
componentsofeachlessonchronological,andworkinassequentialaspossiblemediaunits.Inaddition
totheE&Psequence,firstquarterwouldcoverancientartanddrawing,renaissance/realisticartand
paintinginsecondquarter,thirdquarterformodernart,fourthquarterforcontemporaryart,andthe
secondsemesterdevotedtonondrawing/paintingmedias.WorkingthroughmyfirstyearInoticedmajor
problems:1.time,thecontentistoovasttocompletelyandcomprehensivelycoverwithanyaccuracy,2.
limitingperiodsofarthistorytoasinglemediadoesnotadequatelyrepresenthowartistshaveordowork,
3.Ifeltmycurriculumtobeanimmenseburden,4.IdidnotfeelIwasaccuratelyrepresentingthefield
ofart,5.howcanmystudents,asartlearners,succeedinthisenvironment?
Simultaneously,twothingswerehappening:developmentoftheNationalCoalitionforCoreArts
Standards(NCCAS)andmybuildingsfullimplementationoftheCommonCoreStateStandards
Initiative(nowrecontextualizedasMissouriLearningStandards).NCCAS,justaseriesofdraftsatthe
time,wasavastlydifferentapproachtoarteducation.NCCASdoesnotlistgradelevelexpectationsfor
mediatechniquesorE&P,butcentersaroundthefourareasoftheartisticprocess:create,present,
respond,connect.Thischallengedpreconceivednotionsofarteducation,causingmetospendabundant
timecontemplatingtheimportanceofmediatechniquesandE&P.Whyweretherenationaleffortsto
disregardthemincurriculum?Mybuildingprovidedexposuretocontemporarymovementsineducation
andfirsthandobservationoftheirimplementationinaprogressiveelementary.ResponsetoIntervention
practices,CommonCoreideologyandLarryAinsworthsRigorousCurriculumDesignservedas
modelsofinspiration.Inthesummerof2014,theofficialversionofNCCASwaspublished.Iwas
excited,motivatedwithpossibilityandfrustratedwithcurrentpractice.Aftergarneringsupportfrommy

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom7

principal,Iscrappedmyworkingcurriculuminfavorofainsworthinspiredrigorouscurriculumunits
basedonbigideasandNCCAS.
Duringthe2014/15schoolyearIpulledprioritystandardsfromNCCASandsupportingstandards
fromMissouriGLEs.Everystudenthadasketchbookandportfolio.Witheachbigidea,weloosely
workedthroughprocesseslikeinspiration,research,planning,creating,revising,finishing,and
presentingrespondingandconnectingtotheworldaroundusthroughout.Itwasnotperfect,butitwasa
vastimprovement.Ifeltstudentrelationshipsimprovingandinstructionmoreauthentic.Projectswere
moreopenended,allowingstudentsgreaterfreedom.Ididfewerartprojects,spentlesstimeon
technique,butwhatwedidaccomplishwasmoremeaningful.InstructionofE&Pimprovedasweused
vocabularydailywhendiscussingprojectsinsteadofinstructingandcreatingspecificallytooneelement
oroneprincipleofdesign.Someofmyfavoriteprojects,like4thgradeeffigyinspiredceramicvessels,
showedadishearteningdiminishinskillcomparedtothepreviousyear.Therewerehighsandlows,
whichIbothacceptedandrejoicedbecauseIfelt,despiteflaws,Iwasapproachingthesolution.
Inthespringof2015,IbeganaMastersinArtEducationprogram.Myfirstclasswason
reflectiveteachingandpropelledmetochallengemyfeelings,beliefsandpractices.Iwasmotivatedto
updatemyphilosophyofarteducationanddiscoveredmyepistemology.Ibelievethatknowledgeisvast,
complexandeverdeveloping.Assuch,myphilosophyandtheoryofeducationisconstantlyevolvingand
growing.Itooktwobigconceptstoheart:embraceambiguityandrelinquishcontrol.Ambiguityisa
signalforchange,necessaryforgrowthandcreativity.Controlcanbeelusive.Weneedtochallengethe
rolethisplaysinourteachingandwhoitserves.Asapersonalitydrawntoorder,controlhasbeenagreat
limiterinmylife.Itookallofthesechallengesandinturn,appliedthemtomypedagogy.(Noltkamper,
2015).
Theseexperiencesplantedseedsandprovidedgrowth.Theideasprovidedhereserveasa
foundationfortheideasIhavecometoholdastrueandthoseIstillstrugglewithasImoveforwardto

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom8

changeandgrowinmypractice.WithoutthiscarefulconditioningIwouldnothavesoughtchoicebased
art.
OnApril19th,2015anemailwassenttomethroughtheMissouriArtEducationAssociation
(MAEA)sservice,MAEAArtBytes.Theemailwasfromachoicebasedartteacherofferingher
classroomforobservation,referencingthreeadditionalteachersinherarea.Ihadheardthetermbefore.
AttheMAEAconferencethispastfall,Iwasinterestedinattendingapresentationonchoicebasedart,
butanotherpresentationtookprecedence.Iwasundertheassumptionthatchoicebasedartroomslet
studentschoosetheirownmediaandprojects.Althoughintrigued,Iwasskeptical.Howcouldthisbe
anythingbutchaos?Afterthelastfewmonths,Iwasthirstyfornewsolutions...andIstillhadprofessional
developmenthourstouse.Myinterestpiqued,Isoughtinformationandscheduledtwoseparate
observations.Thesefirsttwoimmersionshadmeengaged,leadingtoafourdaychoicebasedworkshop
atthebeginningofthesummer.Iwasnowinvested.ThiswasexactlywhatIsought,somethingthat
wouldcompletelychangemyteaching.

PartII:WhatisChoice?
Overrecentyears,thetermsChoicebased,TeachingforArtisticBehavior,TAB,
TABChoiceandCentersapproachareofteninterchanged(TAB,2015).Ihavecountedover23
differentwordcombinationsforthissubject(Armistead,1996Douglas,2009Hathaway2013
Hathaway2014Jaquith,2011Jaquith,2012TAB,2015).
Forclarity,Iwilldefineseveraloftheseterms
astheyaremostcommonlyusedandbestunderstoodbymyresearch.
Todifferentiateterms,weneedanunderstandingofphilosophy,theoryandpedagogy.In
education,philosophyismoresubjectiveidea(flexible/thought)orbelief(rigid/feeling).Theoryis

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom9

objective,butdebatableapplicationofaphilosophy.Pedagogyistheart,science,orprofessionof
teachingtheact,themiracleorteachingitself.(MerriamWebster,2015).
Whenapproachingtermsfromthisangle,teachingforartisticbehavior(lowercase)istheoverall
philosophyandTeachingforArtisticBehaviororTAB(uppercase)istheincorporationsupporting
effortsinthissubject.Theterm
choicebased
,oftenfollowedwith
art
,caninclude,butisnotlimitedto:
class,classes,classroom,education,educator,environment,learning,pedagogy,practice,program,
setting,studio,teacher,teaching
oranycombinationherein.
Choicebased
ismostcommonlyusedalone
andasarootword.Thewordsthatfollowstandoutasapplicationsand/oractsofteaching.Therefore,
choicebased
representspedagogicaltheoryandisthetermusedthroughoutthispaper.(Armistead,1996
Douglas,2009Hathaway2013Hathaway2014Jaquith,2011Jaquith,2012TAB,2015).
Artisticbehaviors
refertothemanywaysinwhichanartistthinksandcreates.Weteach
for
them
duetotheopenendednatureofartisticprocess.
Teachingforartisticbehaviorphilosophy
isavariationof
constructivismthatbelievesartisticbehavioristheonlytimelesscontentinartandstudentsuccess
dependsontreatmentasartistswithauthenticartmakingchoices.(Douglas,2009).Itputsteaching
practiceovercontent,orprocessoverproduct.Whenthereismoreinformationthancanpossiblybe
taught...Looktopedagogy(Hathaway,2014,p.29).
Choicebasedpedagogyoccurredsimultaneouslybutindependentlybyteachersinthe1970s.
Outofthepurenecessityofprovidingauthenticartexperiences,teacherswereinspiredtoofferreal
choicestostudentsitwassimplycommonsensetothem(Douglas,2009,p.xi).Inthelate1990s,
KatherineDouglasandDianeJaquithsoughtoutanetworkforchoicebasedpedagogy.Withthehelpof
manyothers,theTeachingforArtisticBehavior(TAB)organizationwasbornin2001,incorporatedin
2007.Todayitisanactivegrassrootsmovementtosupportchoicebasededucators.(Douglas,2009
TAB,2015).

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom10

ChoiceinClassroomContext
Tounderstandhowchoicebasedpedagogyworksintheclassroom,wewilllookatthree
domains:classroom,teacherandstudent.
Classroomsetupisthephysicalarrangementofspaceandmaterials.Acommonmeetingareais
establishedandtherestoftheroomisdividedintostudios.Studioscenteraroundoneparticularmedia,
providingresourcesthatsupportstudentinquiry.Theseresourcesincludemediainstructions,cleanup
instructions,clearlylabeledandorganizedtoolsandmaterials,andexamples.Commonstudiosare
drawing,painting,printmaking,collage,sculptureandfibers,butcanbeanything.Studiosareaddedone
atatimeaccordingtospaceandstudentbehavior.Studentsaretaughtaboutastudiobeforegivenitasa
choice.Variousmethodsareusedtoholdstudentsaccountableforbehaviorandstudiomaintenance.
(Douglas,2009).
Teacherinstructioniscyclical.1.Classbeginsinthemeetingareawheretheteacherprovidesa
fivetosevenminutewholegrouplesson.2.Studentschoosetheirstudiofortheclassandrecordchoices.
Theycancontinuepreviouswork,collaboratewithothers,orstartanewidea.Conceptspresentedduring
theminilessoncanbeimplementedatstudentdiscretion.3a.Differentiatedinstructionoccursoneonone
orinsmallgroupsbasedonstudentneed.Teachersactaslivingresourcetoprovidetechnique,subject,
history,inspiration,etc.Theymakeassociationswheneverandhowevertosupportstudentchoices.
Teachersrespondtostudentsneedswithencouragement,challenge,andrelevantconnectionstotheart
world(Jaquith,2011,p.17).3b.Studentsprovidepeersupportthroughsocialconstructivism,
collaborationandpeerteaching.4.Whenable,theteachermodelsbyworkingasartistalongsidestudents.
5.Attheendofclass,generallythelastfiveminutes,studentsreturntothecommonmeetingspacetotake
turnspresentinganddiscussingtheirartwork6.Theteacherplansminilessonstoaddresswholeclass
needsbasedonobservationortomeetcontentinstruction.Emergentcurriculumbecomesafocus.
(Douglas,2009Hathaway,2013Hathaway,2014Jaquith,2011Jaquith,2012Jaquith,2013)

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom11

Inlearningenvironmentswhereselfdirectedlearningandambiguityarethenorm,learners
challengethemselvestotakerisks(Jaquith,2011,p.15).Choicebasedpedagogyseekstotreatthe
studentasartistbyputtingthemincontroloftheirprojectsbyprovidingauthenticchoicesthatrealartists
encounter.Fromthebeginning,trustandembeddedsocialskillsarekeystosuccess.
Assessment
Sooftenassessmentisseenastestscoresanddata,butwhatisassessmentfor?Authentic
assessmentisakintoresearchdata.Itisameansforstudentandteachertounderstandwhereweare,
wherewewanttobeandmakingaplantogetthere.Inthechoicebasedclassroom,formativeassessment
isusedtogagewhatstudentsneed,eitherforindividualsorinfuturewholegrouplessons.Conferences
andconversationsprovideopportunitiesforstudentstoshowtheirverbalandapplicableunderstandingof
artconcepts.Documentingevidencethroughsurveys,journals,reflections,rubrics,progressreportsand
photosallserveasassessmentdatainthechoicebasedclassroom.
Misconceptions
Manyareunawareofthe
structure
justdescribed.Oftenchoicebasedpedagogyisseenas
kids
justdoinganythingtheywant
,butbecausestudentshavechosentheirwork,therearehigherexpectations
ofthem.Childrenworktowardsgreatermasterybecausetheyarehighlyinvestedinpursuingtheirideas
(Douglas,2009,p.32).Byteachingforartisticbehavior,studentsofallagesareaskedtoengageinthe
complexprocessof:findinganidea,selectingmaterialstoexpresstheidea,arrangingmaterialsandtools
withinaworkspace,pacingthemselves,creatingtheimageorstructure,overcomingobstacles,returning
materialsandtoolstotheirproperlocation,discussingartworkandreflectingonprogress.Choicebased
pedagogycapitalizesonintrinsicmotivation.Studentslearn,becausethey
have
tolearninorderto
accomplishagoal,andteachersaretheretoguideandpush.Thesamepassiondoesnotexistin
extrinsicallymotivatedartprojects.(Douglas,2009Jaquith,2011).

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom12

ChoiceRationale
Despitelimitedresearchinchoicebasedpedagogyspecifically,manyacademicarticlesshedlight
onthepractice,especiallytheconstructivistlens.
BerginandBerginconsiderconstructivismascontrarytodirectinstruction.Itisheavilyrootedin
PiagetsCognitiveDevelopmentTheoryandtoalesserextent,VygotskyssocioculturalTheory.Partsof
Piagetsworkareknownas
cognitiveconstructivism
,whichincludesprovidinghandsonexperiences,
provokingdiscourse,askingquestions,followinglearnerslead,guidingdiscoverylearning,andmaking
thinkingpublic(2012,p.139).Socioculturalistsemphasisedirectinstruction,butthroughVygotskys
eyes,aknowledgeableadultscaffoldschildlearning,reducingcontrolasthelearnersucceeds.Vygotsky
stressestheroleofotherscontributingtoonesownconstructionofknowledge,knownas
social
constructivism
.Iconsiderchoicebasedartconstructivism,becauseIwouldarguethatitutilizeselements
ofboth.Knowledgeisconstructedbothbyachildsinteractionwiththeartisticprocessbythemselves,
andtheinteraction,collaborationandcooperationwithothersintheclassroomsetting.Bothhalvesare
key.(Bergin,2012).
Ascontemporarypracticeseekstoreinventeducationbyreplacingstandardizationwiththosethat
promote21stcenturyskills,manyareturningtoconstructivism.Constructivistlearningishighly
acclaimedintheory,butresearchshowsadisconnectwitheffectivepractice.Scheer,NoweskiandMeinel
(2012)tacklethisquestionsspecificallyandcontributeinconsistencytochaos,uncertainty,andlackof
process.Agoodexampleisthefailofcooperativelearningpracticeinthe80sand90s.Insteadofproper
researchandtraining,teachersweremisimplementingcooperativelearningandonlyprovidingwhat
Kagancalls
groupwork
.Why?Therewasntstructure.MuchofKagansfameandsuccessbeganwithhis
distinctionofgroupworkandcooperativelearningthroughtheIandEofPIES.Thisacronymrepresents
thefourcomponentsaneffectivecooperativelearningactivitymusthave:positiveinterdependence(P),
individualaccountability(I),equalparticipation(E),andsimultaneousinteraction(S).(Kagan,2009).

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom13

Lackof
structure
couldexplainwhychoicebasedismisunderstoodintheartroomandwhy
teacherdirectedlearningremainssuchafoundationofAmericaneducation.Ifstructuredlikepresented
byTABandTABfoundingteachers,choicebasedpedagogyminimizeschaos,uncertaintyandlackof
processwhileprovidingadditionalbenefits.
Structure
isfundamental.
Douglasliststenbenefitsofchoicebasedpedagogy.Theseare:standardsarecoveredteaching
andlearningaddressstudiopractice,arthistory,conceptsandaestheticsassessmentsupportsbothstudent
andteachergrowthindependentworkregularlyutilizeshigherorderthinkingskillsdifferentiationhigh
engagement(moreontask,lessdiscipline,atrisklearnersuccess)embeddedtechnologyintegrationof
interdisciplinarycontentresourcesliketimeandspaceareusedefficientlyandasafelearning
environment(2009,p.16).
Structuringallowstheprecedenceofnaturalartistictendencies.Throughcarefulplanning,
choicebasedarttemptsuswiththepromiseofauthenticity.DianeJaquithgivesustenstrategiesas
InterventionstoEnhanceCreativityinArtClass(2011):
1.Identifythelocusofcontrol.Bemindfulofthepurposesofinstructionalactivities.
2.Restructurelessonstogivelearnersownershipofproblemfindingaswellasproblemsolving
3. Minimize effects ofextrinsicmotivators.Limitinformation, downplaygrades,anduseextrinsic
motivatorstosupport,notcontrol,creativity.
4. Organize lessons around intrinsic motivators, including choice, play, divergent thinking, and
makingrelevantconnections.
5.Focusmoreonprocessthanproductandlookforwardtoasurpriseofopenendedsolutions
6.Teacherdirectedlessonsareeffectiveforskillbuildingthatisessentialforcreativity.
7.Wheneverpossible,letstudentsmakechoices.
8.Counttotenbeforeinterveninginastudentsprocessofthinkingormaking.
9.Helpstudentsidentifyintrinsicmotivatorsthatinfluencetheircreativity.

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom14

10. Encourage metacognition through examination of choices, analysis of relationships, and

recognitionofthestagesofcreativity.(2011,p.1819)

Artisoftenconsideredatalent.Iseeartascrucialtothecognitiveandsocialdevelopmentofall
students.AlthoughIdonotbelievepublicarteducationisbestusedfortalentdevelopmentalone,Ido
wanttoprovidesupportsfortheartisticallygoaled.Deliberatepractice(somesayfortenyearsormore),
goodinstruction,adaptivelessons,increasedtimeontask(linkedwithhigherachievement)andfeedback
arecriticalfordevelopingtalent(Bergin,2009,p.228).Choicebasededucationmaximizesadaptive
lessonsthroughindividualizationaswellastimeontaskbylimitingwholegroupinstructiontoseven
minutesatmost.Traditionalprojectbasedartclassesmayaddressotherelementsofthislistasequallyas
choicebased,butcantalwaysmaximizetimeorpersonalizelessonsinthisway.Bloom(1985)
contributestalentdevelopmentintothreetiers:love/interestinsubject,instruction/developmentof
knowledgeinsubject,andintrinsicmotivationin/expressionofselfwithsubject.SubotniksCatalyst
Program(2010)appliedBloomsconcepttohighschoolstudentsinsculpture,piano,swimming,tennis,
mathematicsandneurosciencewithasuccessfulgoaloftransferringstudentsfromtiertwototierthree.
Myconcernisthecorrelationbetweentiersandagelevels.Ithinkchoicebasedpedagogywillwork
reallywelltoprovideinterestandapplicationfortiersoneandthree,howeveritwillneedtobescaffolded
verycarefullytoprovideadequatetiertwoskillbuilding,especiallywithmyhighschoolstudents.
ConflictandLimitations
Ifstructureisthekeytoeffectivechoicebasedpedagogy,thequestionbecomeswhatiseffective
structure?Howdoeschoicebasedpracticemaintainitsauthenticityandflexibility,yetstandardize
structureforpotentimplementation?Furthermore,whereistheaccountability?Istrustenough?
Choicebasedpedagogyoffersanalmost
toogoodtobetrue
solution.Myresearchseekstofindthe
promisesandpitfallsofchoicebasedpracticeinmyownclassroom.

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom15

Severalfiguresinarteducationprovideskepticism.ArthurEflands
schoolartstyle
(1976)
resonates.
Schoolartstyle

referstotheideathattheschoolsettinginevitablyhasanaffectontheart
producedthere.Thischallengesthe
teachingforartisticbehavior
theorythatclassroomartcanand
shouldbe
authentic.OliviaGude,acommandingvoiceincontemporaryarteducation,echosEflands
claim.Gudearguesforawellplanned
bigidea
approach,specificallyopposingchoicebasedartinher
articleNewSchoolArtStyles:TheProjectofArtEducation:

Sometimes itis suggested that school art rooms don'tneed projectsatall,thatstudentsshouldbe

giventhe freedom topursue theirown creative agendas(Douglas & Jaquith,2009). Whilethisis
the idealendpointofqualityartcurriculum,moststudentstodaycouldnotinitiallymakegooduse
of this sort of freedom without a great deal of individual support. When students are not
introduced to a wide range of meaning making strategies (and encouraged to analyze and
repurpose strategies they absorb from popular culture), they tend to fall back on hackneyed,
kitschy imagemaking techniques. Because of logistical constraints of availability of materials,
space, and time as well as the number of students in an average class,itisnotrealistictoassume
that most art classes in school settings can (at least initially) function as open studios in which
each student reinvents his or her own methodologies of makingdiscovering artistic precedents,
materials, and methods on a needtoknow basis,supportedbyteacherinputwhenneeded. (Gude,
2013,p.67)

InLetterstotheEditor(Douglas,2013),KatherineDouglasandClydeGaw(anotherTAB
founder)defendchoicebasedpracticefromGudesabove.DouglaspraisesGudesworkasafan,andher
andGawwholeheartedlyagreewithGudescalltoreflectiononarteducatorpractice.Theybothclaim
thatGude
exhibitsaseriousmisunderstandingofthestructureofwellrunchoicestudioclassrooms.
Thephrase "hackneyed kitschy imagemaking" is disrespectful totheauthenticworkourstudents
do. In addition, it shows disregard for stage level theory, in which one must progress from
beginning stages of understanding (and meaning making) to more sophisticated ones. Bystarting
withfamiliar objects(such ashearts or rainbows), students build confidencetotakegreaterrisks.

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom16

Gude's assumption that all children can be taught how to makemeaningusing teacherselected
themes shows a lack of understanding of the people who sit before us every day.Katherine
Douglas(Douglas,2013,p.54).

Douglasconcludesbydenouncingdualismonthematter,claimingvalidityinideologiesofTAB,
Gude,Szekely,StudioHabits,VTS,SirKenRobinson,justtonameafew.Sheclaimsthatweneedto
pullthebestfromeachandsupportteacherchoiceinastructurethatbestfitstheirstyle.(Douglas,2013).
Gawislesspolite.HerespectfullydisagreeswithGude,notingt
herearehundredsofart
educationpractitionersaroundtheworldsuccessfullyengagingchildreninhighqualitylearning
experienceswherechoiceisamajorfeatureofthearteducationprogram.Choiceworksbecausethe
flexible,rhizomaticcurriculumstructuremeetstheneedsofheterogeneousgroupsofchildren....Whenleft
outsidecurriculardecisionmakingprocesses,alearner'stimesensitiveideasofimmensepsychodynamic
powerandeducationalvaluecanbenegated...Considerthisstatementfroma4thgradeboysharing
recollectionsofhispastarteducationexperiences:"Theteacheralwaystolduswhattodo.Itmademe
feellike,itjustmakesmefeelmad.Myartwasn'tappreciatedthere."Theefficacyofnonconsensual
learningexperienceshouldbereconsiderednotonlybyeducatorsbutalsobyparents,policymakers,and
citizensalike.ClydeGaw(Douglas,2013,p.53).
Gawconcludesthatteachersaretheretomeetstudentneeds,notcurricular(Douglas,2013).Dr.
SpencerKaganspassionliesinembeddingsocialskillsintocurriculumformuchthesamereason.Some
disputehisfocusonteachingsocialskills,butherespondsthatit'snotaboutcoveringthemost
curriculum,itsaboutproducingthemostlearning.(Kagan,2009).
Athirdletter,fromOliviaGude,respondstobothDouglasandGaw.Shecallsthemallieswho
misinterpretherwork,butdoesnotbudgeonheroriginalclaims.Gudemaintainsthatchoice
doesnot
bestintroducestudentstocontemporaryaestheticpracticesandhistoricalcontexts."
BigIdeas
drawnfrom
fieldssuchasvisualculture,mediastudies,materialculture,orwomen'sstudiesbroadenanddeepen

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom17

students'abilitiestoinvestigatetheworldthroughart.Gudeuses
dialogicalteaching
(talkingwithnotto
students)toidentifythemesimportanttostudents.ThemessuchasOutsider,Weird,Fluidity,
Uncertainty,orLiminalityrepresentstudentconcerns.Exploringtheseideasnow,helpsfutureartists
personalizeandexternalizeconcepts.(Douglas,2013,p.54).
OliviaGudewasanartistfortwentyyears,turedafterschoolandcollegeeducatorin1999
(NAEA,2015UIC,2000).KatherineDouglastaughtelementaryartforthirtysixyearsbeforeteachingat
twoMassachusettsCollegesandcoinstructingtheTABinstitut(Douglas,2009).ClydeGawspokeat
myworkshopinSTLandIbelieveisaPhD,althoughIcantnotconfirmthis.Heisanactivememberin
TABandartsadvocacyinIndiana.Ican'thelpbutseethattheseeducatorscomefromcompletely
separatearteducationperspectives:insideandoutsidethek12setting.
Although,wiseandthoughtprovoking,mycurrenttruthisinoppositiontoGudesclaims.Ifeel
Gudeneglectsaspectsofchilddevelopmentinregardstolearningandreliesonwhatarteducatorsfeelis
importantinsteadofwhatstudentsfindrelevant.VictoriaPurcellGatesresearchshowsthatstudent
relevanceiscrucialtounderstandingwrittenandreadliteracy(1995).Inhercasestudyofastudent
growingupinacompletelyilliteratehome,Donnystrugglesinschool,becausehecannotseereadingand
writingasrelevant.Itisntusedinhisworld.However,themoreliterateahomestudentsgrowupin,their
greatersuccess,becausetheyseetheimportanceandapplicability.Ithinkthistransferstoarteducation.
Mostofmystudentswillnotgrowuptobecontemporaryartists.Ineedtoteachartasitappliestotheir
life,wheretheycanmakeconnectionstoitanddevelopitssenseofpurpose.WhileIshouldstretchtheir
limits,placingthembeyond
their
relevantcontextwillonlyresultinmutualfrustration.Gudeaccredits
herauthenticityto
bigideas
andthemesshefeelsarerelevantbasedonconversationswithstudents.Ido
notunderstandwhyGudesversionofchoicehastobeaconsensus,norhowgroupconsensusadequately
supportsallindividuals.OneofthemostpowerfulaspectsofthechoiceworkshopinSt.Louis,andTAB
ingeneral,isstudentvoice.Myheartisoverwhelmedbythekidsscaredfromtraditionalpedagogyand

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom18

setfreewithchoice.Idontknowhow
not
tofocusmypedagogyonhelpingstudentslikeClydeGaws
fourthgrader.
Perhapsthereisntsomuchconflict,butarteducatorsarguingtwodifferentpracticesthatare
validinspecificclassroomsorforspecificages.Thecontemporary
bigideas
andthemesareprobably
veryrelevanttoGudesstudentswhochoosetobeinherclassroom.Douglas,Gaw,andmystudents
dontusuallygetthechoicetobeinart.MyruralOzarkiankiddosareverydifferentfromGudesurban
Chicagoans.Thequestionherebecomes
howmuch
teacherandstudentdirectedinstructionequalsthe
rightbalance?MaybethisspeaksbacktoBloomstalenttiers.Perhapsthehigherthegradelevel,less
choiceandmore
bigideas
.

PartIII:ResearchPlan
Iveexploredmypastandcurrentrealities.ThirdiswhatIintendtodowiththisinformation.The
followingoutlinesmyapplicationofchoicebasedpedagogyasautoethnographicresearchbydescribing
thestructuresofimplementation.
Limitations
AsmuchasIassumethesupportofmynewcoworkers,Ifeelitisscheduleandindividualsthat
willlimitmysuccess.IntheelementaryIseeeightkindergartenclasseseveryeightdays,sevenfirstgrade
classeseverysevendays,andsevensecondgradeclasseseverysevendays.BetweeneachtimeIseethese
classestheyattendartwiththeotherelementaryartteacher.Classesarefiftyminuteslong.When
discussingmyplanswiththisteacher,shedidnotknowaboutchoicebased,butwascuriousand
supportive.Byseeingthesamestudentsandhermaintainingcurrentpedagogyourclasseswillinevitably
bedirectlycompared.ThelastthingIwanttodoisalienateherorherteachingstyle.Careful
considerationwillneedtobetakentoemphasismystyleassupportedresearchbutnotaclaimofsuperior

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom19

pedagogy.Feelingitwillworkbetterformedoesnotmakeitbestorbetterpracticeforall.Ifshedoes
decidetoimplementchoicebasedpedagogyaswell,Iwillhaveanadditionalsourceofdata.
Iwillseemythreehighschoolclassesforanhourandthirteenminuteseveryotherdayona
blockschedule.Mostofmylimitationsherestemfromtheunknown.Besidestheclasstitlesof
introductiontosculpture,introductiontopaintingandadvancedpainting,Ihaveverylittleinformation
aboutthecoursestructureandrequirementsinthehighschool.Already,Iwillneedtoadjustmyclasses
bynotprovidingafullrangeofstudios,butlimitingthemtocourserelevantmedia.Inaddition,despite
spendingmuchofmypreserviceworkinginandpreparingtoteachhighschool,Ihavetaught
kindergartenthrougheighthgradethelastfewyearsandamlessfamiliarwiththisrealm.
MethodsandAnalysis
IwillapproachmyworkautoethnographicallyasIstudytheimpactofknowledgeonmy
educationalpractice.Hereknowledgereferstopastexperience,currentexposuretoresearch,and
experiencingchoicebasedpedagogyinmyownclassroom.Theautoethnographicstanceprovidesalens
tofirmlyunderstandmyownphilosophyandtheoryofarteducation.
ResearchDesign
Choicebasedpedagogy,asapedagogy,willactasaholisticinterventiontoacademics,
socializationandbehaviorinmyclassroom.BydeviatingfromcommonarteducationpracticesIseekto
improveacademic,socialandbehavioralaspects.ChoiceinterventionwillbeappliedintheStJamesRI
schooldistrictstartingAugust,2015.Subjectswillincludestudentsintwentytwoelementaryandthree
highschoolclassroomsasdescribedabove.
Timeforprocessingisakeyelementthatallowsstudentstoclearworkingmemoryandcommit
tolongtermmemory.Cooperativelearningactivitieswillbeimplementedwithdirectinstructionatthe
beginningofclassandendofclassduringpresentationtime.Thesestructureswillallowstudentsto

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom20

processbothteacherpresentedandchoicebasedconstructedknowledge.Connectionstopriorknowledge
needtobemaderegularly.(Bergin,2012Kagan,2008).
Duetothevariationinagelevels,thefollowingaspectsofchildandadolescentdevelopmentwill
beconsideredtostructurechoicebasedpedagogyandmaximizeeffectiveness.
Kindergarteniswrappinguptheearlychildhoodstage.Setupwillrequireimageandwordlabels
onsuppliesintheroom.Preandpostevaluationchecklistswillbesimplywrittenandprovidesmiley
facestocircleasthelikertscale.Ifpossible,thesewillbecompletedoneononewithstudents.Ifnot,
theywillbereadasawholegrouptostudents.Earlychildhoodrequireslotsofscaffoldingandsupport.I
willneedtohelpmemorythrough:cues,additionalhelp/instructionwithideagenerationandproblem
solvingwhenanapproachisntworkingandlotsofgentle,butsupportive,redirectingandreteaching.
Talentisntveryrelativetotheirmotivationastheyrarelydistinguisheffortfromabilityorsuccessfrom
failure.Toprepareforthisselfconsciousnessinhighergrades,afocuswillbeonenjoymentand
personalizationofartovertechniques.(Bergin,2012).
Middlechildhoodattributesapplytomyfirstandsecondgradeclasses.Theirmemoryincreases,
theyaremorelikelytotrynewstrategieswhentheyencounterdifficulty,andrehearsaliseffectivefor
informationstorage.Thismeanslotsofpracticebeforegivenfullchoiceoropeninganewstudio.Kidsof
thisagearegoodorganizersandcanhelpmonitorstudiosupplies.Itiscrucialtobuildtheirartistic
confidenceastheirawarenessofself,talentandsuccessincrease.Iwillbeworkingagainsttheirtendency
toattributesuccesstoabilityovereffort,however,capitalizingontheirabilitytodistinguishperformance
andmastery.Techniqueandskillbuildingbecomemoreimportantandcanbeformativelyassessed
throughminilessonsandtheirsketchbooks.(Bergin,2012).
Adolescence,myhighschoolers,willpresentsomeofthegreatestchallenges.Theirprocessing
andmemoryisgreatlyincreased,buttheyhaveloweracademicmotivation,lessinvolvedparents,andthe
largestachievementgap.Inaddition,classesaresubjectbased,notage/gradebased.Classbuildingand

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom21

teambuildingwillbeafocustoincreaseselfesteemandmotivationwhilechoicebasedpedagogywill
supportthesevaststudentdifferences.Iwillbeabletocreatefullartiststatementsanddigitalassessments
duetotheonetoonedeviceatmosphere.(Bergin,2012Kagan,2009).
AsIcontinueresearchonthistopicandreflectontheinterventiondescribedabove,Icanglean
datathatsupportsmyphilosophicaldevelopment.
DataSourcesandCollection
Autoethnographicresearchvaluesformsofjournaling,conversationandcoding(Cera,2013).I
willutilizepastreflectionsandblogstobetterunderstandthemovetowardschoice.Todocumentthe
effectsofresearchandpracticeinchoicebasedpedagogythisnextyear,Iwilllooktoblogs,reflections
andartwork.Iwillwriteonapublicblogatleastonceaweektoencourageconversationsaboutmy
experiences.Iwillkeeppersonalreflectionsthreetimesaweekandmakecreatefiveartworksoverthe
nextyear.
DataAnalysis
Datawillbecoded,lookingforepiphaniesinthoughtandstrugglesorsuccessesinpractice.To
betterapproachmyresearchquestions,IwillexplorestudentdatacollectionmethodsthatIcan
implementinafutureresearchstudy.Thesewillexploreassessmentofvalues,epistemology,creativity,
talentandstandards.Theexperimentationwithstudentassessmentwithprovidemeansformetoreflect
onhowtomeasurechoicebasedeffectsinthefutureinadditiontofeelingoutstudentopinionsformy
personalreflection.
Allclasseswillbeginandendtheircoursewithanartworkandanevaluationchecklist.The
artworkwillprovidevisualdocumentationofprogressinartisticskill.Theevaluationisalistofall
national,stateanddistrictstandardswroteinIcanstatementform.Foreach,studentswillratetheir
comfortlevelusingalikertscale.Acomparisonofthetwolistswillshowgrowth.Throughoutthecourse
studentswillcreateasketchbook.Studentswillplangoalsandprojectshere,thenreflectonfinished

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom22

artwork,providingarecordofgrowth.Finally,studentswillphotographartworkandcreateadigital
portfoliotorecordvisualgrowth.
IRB
IwillonlyneedIRBapprovalifIdecidetopublishandusestudentdata.

Conclusion
Myfindingswillprovidetheprofileofasituationorteacherthatattractschoicebasedpedagogy.
Additionally,datawilladdinsightonchangesinteacherpractice.Iplantoevolvemyphilosophyand
theorybyunderstandingthedifficultiesIfaceinmyclassroomobstaclesstudentsfaceintheartroom
andproblemschoicebasedpedagogysolves,failstoaddressandcreates.Mystudywillleadtopersonal
theoreticalgrounds.Ihopetobetterperceivehowchoicebasedpedagogyaddressissuesinarteducation.
Atthistime,Ibelievechoicebasedpedagogyinmyclassroomswillproducestudentartworkthat
displaysgrowthoftalentandcreativitystudentunderstandingofanduseofartwillincreasebehavior
issueswilllessenandengagementlevelswillheighten.Mygreateststrugglewillbe
appropriate
structuringofchoicebasedpracticetosupportthecapacityIfeelexists.Researchsupportsme,and
naysayersraisemorequestionsthanconcerns,questionsIaimtoanswerasIchoosechoice.

RunningHeader:ChoosingChoice:InterveningPedagogyintheArtClassroom23

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