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(AP) Studio Art students. In the past these students chose their concentration topics in isolation and wrote the commentary that accompanies their e-portfolios after the artwork was complete. They were not provided with opportunities to work with their peers to test their concentration ideas but were left on their own to reect on past work and discover a focus independently. Students were required to share their topics in a discussion forum but often resisted this requirement. I can now see how this expectation was threatening and meaningless, as students had no opportunity to share ideas in stages and receive feedback prior to identifying their nal topic. By asking students to work with a partner before presenting ideas to the class they have opportunity to gain condence that their chosen topic is one that is suitable for a concentration.
Some of the resources I included in the online lesson are included in a Moodle course I
wrote including: lists of concentration ideas, best practices, and problematic starts, slide shows featuring each of the portfolios, and some information about writing the commentary. However the scaffolding to use these resources was not in place. Students were left on their own to sort through the content and gure out how best to use the information provided.
Working through the lesson tasks allows students to explore content in a purposeful
manner. Collaborating with peers to identify strengths and passions allows students to test their ideas prior to investing time creating portfolio content. Drafting a statement and then beginning their concentrations helps ensure a clear focus and contributes to the ability to sustain the focus required for success in completing a collection of twelve works centred on a theme or issue.
Students who write their initial statements before creating any of their visual pieces are at
an advantage. Writing this statement serves as a form of goal setting, it encourages reection, and it allows students to build a strong community of peers that can offer support throughout the creation of the portfolios. Participation in such a community provides these student artists with an opportunity to participate in an authentic experience similar to the community professional artists form for the purpose of testing ideas, critiquing one anothers work and providing support.
As students work collaboratively and post ideas, comments, and questions to forums I am
able to closely monitor students progress at this critical beginning stage. This monitoring allows me to identify problems and recognize strengths as they are presented rather than addressing student challenges after signicant time has been invested in creating artwork. In this way students have the advantage of experiencing learning in an environment that more closely resembles apprenticeship learning where they learn alongside their peers but have the input of a skilled mentor.
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Driscoll, M. P. (2005). Constructivism. In: Psychology of learning for instruction (pp. 384-407). Toronto, ON: Pearson. In ETEC 512 course pack. Driver, R., and Oldham, V. (1986). A constructivist approach to curriculum development. Studies in Science Education, 13, 105-122. Jonassen, D. (1999). Designing constructivist learning environments. In C. Reigeluth (Ed.), Instructional design theories and models: Volume II Mahwah, NJ: Lawrence Erlbaum. Lefoe, G. (1998). Creating constructivist learning environments on the web: The challenge in higher education. Paper presented at the ASCILITE 1998, University of Wollongong.