Professional Documents
Culture Documents
Wheres the
revolution?
Bringing creative thinking and personalization
into all classrooms would be a true revolution
in learning.
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first step to embrace ambiguity, the hallmark of cre- learning until schooling causes them to think this
ativity? Who will risk public scrutiny to take a stand way. A child was overheard to comment that her fa-
for innovation? Who will go the extra mile to infuse vorite subject is math. Her teacher stated, I thought
daily instruction with personalized learning? As re- art was your favorite subject. The girl replied, Art
form initiatives are added layer upon layer, teachers is not a subject. It is a special. In fact, art is so spe-
speakofabrokensystem, untenableexpectations, low cial that it activates thinking through science, math,
morale, and students who quit. Too often, learning history, language, and technology! The same can be
remains a passive endeavor where teachers dispense said for every other discipline studied in school. It is
knowledge for students to acquire, retain, and repeat through cross-disciplinary connections that children
back on tests. In a recent study, Kyung Hee Kim deepen their understandings about the world. Edu-
(2011) unveiled a disturbing trend: Over the past two cation does a grave disservice to students by enforc-
decades, students IQs have increased while their ca- ing artificial curricular boundaries.
pacity for creative thinking has decreased, especially The thinking that everyone needs to acquire
among elementary students. Kim states, To reverse precisely the same knowledge set to succeed is fun-
decline in creative thinking, the United States should damentally flawed. Rather than presuming that the
reclaim opportunities for its students and teachers adults know precisely what every child must mas-
to think flexibly, critically, and creatively. Standard- ter in order to succeed, students can demonstrate
ization should be resisted (p. 294). Its time we give what they need to move forward. Teachers watch
Robinsons theories serious consideration. for and expand upon emergent curriculum, which
originatesinstudentquestions, comments, andother
Transformative practices observed behaviors in and outside of class. Students
To transform education, Robinson (2009) recom- can heighten their learning experiences through in-
mends three major changes: Dispense with subject clination and alertness:
hierarchy, focus on curricular disciplines instead of
subjects, and elevate personalization. Lets examine To educate for understanding, educators have to
the first idea, the ranking of subject priority. Read- nurture two other elements of dispositions beyond
skill: inclination the drive, need, or passion that
ing and math have dominated most school schedules pushes people to use their skills and alertness the
since NCLB went into effect, thus reducing time sensitivity, awareness, or recognition of connections
for every other subject (Ravitch, 2010). Academic among the bits of information that constantly stream
achievement as measured by testing is not necessar- past us. (Hetland, 2013, p. 67)
ily improved by narrowing the curriculum, as Diane
Ravitch explains: The third change, personalization, invests stu-
dents in their learning. Effective practices that pro-
Test prep is not always the best preparation for taking pellearnerstowardmeaningfulconnectionspromote
tests. Children expand their vocabulary and improve choice and personal relevance (Renzulli, Leppien, &
their reading skills when they learn history, science, Hays, 2000; Tomlinson et al., 2002). Personalization
and literature, just as they may sharpen their math-
ematics skills while learning science and geography.
is not the same as differentiation. In differentiated
And the arts may motivate students to love learning. instruction, the teacher designs learning activities on
(p. 108) several different levels to adjust for readiness, inter-
est, and learning style toward a common goal. This
Reducing, marginalizing, and eliminating pro- practice helps teachers accommodate diverse student
grams that arent measured by standardized tests de- needs and avoid teaching to the middle. Personaliza-
creases opportunities for students to learn through tion, on the other hand, could be considered learner-
individual strengths and interests while developing differentiation, where students devise their own paths
creative thinking skills. Curricular decisions clearly to skills and knowledge. When teachers facilitate for
inform all stakeholders especially students personalized learning, students are more likely to
about what is and is not deemed important by adults. reach for potential that may be overlooked or ob-
In the most watched TED Talk of all time with over structed by standardized curriculum, which leaves
23.5 million views (May, 2013), Robinson unabash- little time for divergence and discovery.
edly states: Creativity is now as important as lit- For personalization to be an effective pedagogical
eracy, and we should treat it with the same status tool, teachers shift a measure of control to the learner
(2006). and embrace their new role as mentor, facilitator, and
Robinsons second transformative concept con- sometimes even peer. This is a radical departure for
siders sets of disciplines, rather than singular sub- most educators and falls into the experimental realm
jects, in order to broaden connections across the that McNulty calls next practice (2010). McNulty
curriculum. Children do not compartmentalize their suggests that, in order for the field to grow, about
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it needs to look like that image. This student was Authentic learning environments
able to revisit a single artwork off and on through- Authentic learning environments, including
out an entire school year, making gradual changes as those found in choice-based art programs, foster
they came to him. He also completed other artworks creative thinking. Teachers balance foundational
during that time, with the same focus and energy. domain-specific knowledge with skills requisite for
One size never fits all in choice-based classrooms. independent work. Through direct, small group,
Creative thinking through exploration of materials and individual instruction, students learn about ar-
and concepts is fueled by intrinsic motivators, in- tistic process, artists, and art history. While students
cluding curiosity, challenge, and passion (Amabile, self-direct their work, they develop skills in inquiry,
1996). Competition, often a deterrent of creativity, is reflection, and evaluation. They practice ideation,
nonexistent because everyone is engaged in uniquely make decisions, find relevance, and create meaning.
appropriate, individual, or collaborative activities As they build confidence in their abilities, students
that sustain focus, often over long periods of time are able to take greater risks with their work, often
(Jaquith, 2011). collaborating with classmates in self-selected group-
ings. Collaborative work expands innovative think-
ing and empathy as students learn to compromise
and resolve creative differences.
This authentic approach to education challenges
traditional assumptions and expectations of whole-
class art projects, subject matter, and teacher as dis-
Envision setting aside 20% of class penser of knowledge. The ideal teacher in this set-
time for self-directed learning ting is well-rounded and nimble and can recognize
and extend emergent curriculum as it develops. A
when students could practice cross- teacher who is also an artist adds an additional mea-
disciplinary skills through problem sure of authenticity and empathy while embracing
the role of artist-in-residence. The long-held idea of
finding, inquiry, divergent thinking, sequential art education is upended when students
collaboration, reflection, and are encouraged to go deeper into areas of personal
interest. Students remark that when they choose
evaluation of creative pursuits. and direct their projects they work harder and chal-
lenge themselves more than when the teacher runs
the show. One 4th grader said, If you dont like what
For students to work creatively, considerable you are doing, you might not try so hard. If you do
structure needs to be in place. People unfamiliar like your work, you do your best and have fun, too!
with TAB programs may assume that the classroom A 7th grader adds, Its more likely for everyone to
is always on the edge of chaos. However, clear ex- participate when people can choose their own thing
pectations and predictable routines are essential for rather than when the teacher is assigning something
students to feel comfortable with ambiguity in their that is expected to be done.
work. Studio centers are designed with resources to Art, like every discipline, is infinite. It is not
support personalized learning and enliven creative enough for curriculum to rest neatly within the nar-
thinking. Flexible time-on-task guidelines adjust row confines of static content in the form of the ele-
to meet the varying degrees of student passion and ments and principals of design, Western art history,
commitment. and disembodied skills and techniques stagnant
The Teaching for Artistic Behavior concept has categories with closed ends. Innovative educators
expanded nationally through strong local and na- question the accepted tomes and look toward themes
tional advocacy efforts, regional professional learn- and emerging theory for dynamic curriculum that
ing communities, conference presentations, and ex- meets contemporary learners needs (Gude, 2000).
tensive online visibility all organized and managed From this, novelty and surprise result, which keep
by teachers. The movement is further propelled by teachers fresh and involved while promoting the idea
a swell of enthusiasm from administrators and par- of teacher-as-learner. With curriculum originating
ents who observe that students, especially unconven- from creative inquiry, no two consecutive school
tional and at-risk learners, flourish in self-directed years will ever be the same.
settings. For these students, choice-based pedagogy
provides varied opportunities for specialization and Look to pedagogy
mastery rarely found elsewhere in their school ex- A decade has passed since Sir Ken Robinson first
periences (Hathaway, 2012). called for an overhaul in education in support of cre-
Douglas, K.M. & Jaquith, D.B. (2009). Engaging Tomlinson, C.A., Kaplan, S.N., Renzulli, J.S., Purcell,
learners through artmaking: Choice-based art J., Leppien, J., & Burns, D. (2002). The parallel
education in the classroom. New York, NY: Teachers curriculum. Thousand Oaks, CA: Corwin.
College Press.
Zhao, Y. (2009). Catching up or leading the way: American
Efland, A. (1976). The school art style: A functional analysis. education in the age of globalization. Alexandria, VA: ASCD.
Studies in Art Education, 17 (2), 37-44.
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School, Mooretown, VT. My problem is that I cant tell the rules from the guidelines.
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