Dana Katz

ARTE 344
August 29, 2015
Facilitation Sheet #1
Title: Negotiating to Engagement: Creating an Art Curriculum with Eighth-Graders
Author(s): Alice C. Pennisi
Source/Date:
Pennisi, A. C. (2013). Negotiating to Engagement: Creating an Art Curriculum with Eighth
Graders. Studies in Art Education: A Journal of Issues and Research, 54(2), 127-142.
Main Idea/Purpose (2-3 sentences):
In this article, Pennisi (2013) discusses a participatory action research project in which
she, as a researcher, and one art teacher are testing to see whether a negotiated curriculum will
help re-engage a group of eighth grade students. This research project will take place over a oneyear time span, in which the researcher will observe and interview both the teacher and students
to reflect upon how this new form of not teaching is working.
Short Overview (Including at least 2-3 important quotes):
After stepping into an eighth grade art lesson, it was clear to Pennisi (2013) that the
students were extremely disengaged. From just one observation, she was able to find three very
different students presenting three very different types of disengagement. One student, a young
girl who would typically be seen as more of a distraction than an active participant in the
classroom, equated her behavior to a longing for more autonomy in her class experiences.
Unfortunately, her behavior and feelings are common among middle schoolers today. As Pennisi
explains:
Just when adolescents desire more autonomy, purposeful action, and respect from the
adult world, beginning in middle school, schools become increasingly teacher-directed,
and student decision-making is curtailed rather than increased, causing most middle
school students to perceive their schools more negatively over time. (p. 130)
To counter the disengagement that both Pennisi and the teacher were perceiving, they
decided to initiate a participatory action research project over the course of the next year, with
the goal of re-engaging students in their art class. To do so, the teacher and Pennisi would coteach using a negotiated curriculum where the matierals of study and process of study would be
mutually decided by the students and teachers. There would be a sense of shared authority
between the teacher and students and the students would take party in more responsibility for
their learning. Pennisi would track the progress of the project through participant observation,
audio recording of class discussion and informal pedagogical talks with the teacher. There would
also be interviews taking place with the teacher and 6 students at the beginning, middle and end
of the year. The expectations for students would be to reflect visually through sketches, verbally
through discussion and in writing through artist statements. Art would shift from being a subject
to practice skills to an area of meaning making. As for the teacher, Penissi explains that their role
is to give advice only when asked, and through dialogue, encourage students to develop their

own improvements (p. 134).

After a year of conducting the classroom in an accordion method style, as Pennisi
(2013) called it, it was concluded that students who were previously disengaged, had a sudden
interest and enthusiasm when it came to the art classroom and their work. Shanda, the student
who was perceived as more of a disruption than positive classroom participant, finished the year
stating that, students found their work in class more important than other school work
because it is what we think and it is what we want (p. 137). Overall, it was determined that the
project was a success in terms of getting students engaged again.
Critical Response: Reflections and/or relevance to personal art educational experiences/or
teaching experience
After reading this article, it seemed almost obvious that the way to engage students is to
cater to their interest. However, though it sounds simple, I think as educators we often have a
hard time leaving our teacher role behind and allowing more authority to the students. In the
article, Pennisi (2013) explains, although somewhat counterintuitive, letting go and
encouraging students to make their own decisions in the classroom were essential actions to
helping them become engaged in art class (p. 137). Pennisi goes on to demonstrate this by
referring to several students who appeared to be possibly slacking off in class, but rather than
make assumptions about what was going on, she asked the students about their actions, and each
one was able to give an supporting explanation for why what they were doing was crucial to their
art making process. I think this research article can be used to help engage students in the future,
and also demonstrate to teachers that taking a step back could be crucial in student development.
This article could also be a great example to use when discussing a more hands off way of
teaching to your schools principal.