YIKES! CLASSROOM MANAGEMENT (2)

The actual teaching and learning is the pivotal process to successful classroom management.  It’s important to plan strong lessons, and plan for the unexpected in those art lessons. Connect the lessons with your students’ interests and social issues that influence their lives.  Recognizing the importance of culture and nuances that are changing our society and world are important aspects of your lessons.


Use technology in meaningful ways that enhance the student learning and accent the creative avenues that the arts make available to the learner.  Letting technology and the art of creating blend in such a way that it gives students another opportunity to express themselves.  Technology is not going away, figure out how to embrace it creatively!


Classroom management is a personal venture for every art educator.  You will often make mistakes in order to move forward. You will often think you have the solution and then suddenly realize that it doesn’t work anymore. You will have perfect days in your classroom, and you will have days that are a disaster.  Everyday you will become a better art teacher!!!

-Anne L. Becker, EdD

YIKES! CLASSROOM MANAGEMENT (1)

The management of an art class is unique in many different ways: the physical aspect of the room; the supplies/materials used on a daily basis; and the actual teaching and learning process that takes place in this wonderful environment.  These three aspects blend together in a very carefully balanced way to create an atmosphere where creative ideas are unleashed.

Unfortunately, there is no ‘true-blue’ formula for this delicate balance; teachers must find their technique to create the balance. During student teaching (and for many years. . .sometimes throughout one’s career) you will discover techniques and tips that will help you achieve, or start achieving this balance. 

In the next few days, let’s look at these three areas and share some ideas that have been working for us in our classrooms.  Here are some tips, thoughts, suggestions for the physical aspect of the room gathered from my student teachers and colleagues:
 

• If possible try to create centers of workspace: clay area; painting/drawing, etc. or at least supplies clustered together.
• Label bins with tools/materials used for specific projects: printmaking, carving, etc. if storage space is limited.
• The sink area should have water containers, paper towels, soap, and sponges for easy access to clean-up set-up in kits for table use. Drying area near the sink so brushes, brayers, etc can be cleaned and laid-out to air-dry.
• The sink should have a trap for keeping clay/plaster/other materials from clogging up the flow of water.
• Add your suggestions to our list!

-Anne L. Becker, EdD

SOME OF THE KEY CONCERNS (BETTER KNOWN AS FEARS) OF STUDENT TEACHERS DURING STUDENT TEACHING

Before I begin this section I need to clarify that very often teacher candidates are very confident about student teaching, excited about this experience and cannot wait to get into the classroom. The concerns (fears) that are being addressed here seem to be common among many candidates. It’s always nice to know you are not alone when you are apprehensive about a new endeavor.  Here are a few:

• How will I balance all the classes and the preparation of those classes?

• Discipline in the (elementary, or middle school, or high school)    classroom . . . ugh, exactly what does ‘consistency’ mean?

• Noise control? In an art classroom? Really? A productive buzz? Yikes!


Demonstrations in the art class . . . keeping the students interested . . . captivating their interest with my projects.


Using technology in innovative and meaningful ways.
 

Cell phones, texting, ipods, music - there everywhere! Turn them on? Off?

-Anne L. Becker, EdD

ONCE I HAVE DECIDED WHERE I WANT TO STUDENT TEACH THEN WHAT?

The art education or education department of your college/university have a process in place for applying for student teaching. I am sure they will guide you in the decision-making process. Here are some things that you will need to assemble or prepare for this process:

1. A resume’ that is nicely designed and focuses on experiences that you have had with students, or some type of teaching or working with children (various age groups). Your college/university’s library or career center will have resources for you to develop a good resume’. There are many online resources available for creating an educational resume’.

2. Student teaching application form/document. Many colleges/universities require the candidate to complete an application form. The form may consist of a written essay about your thoughts on the following:

-philosophy of teaching art
-classroom management
-career as an art educator
-goals for the next five years

3. The document may ask you to identify areas of interest and special skills as an artist.

4. A rationale for why you want to teach in the site(s) that you have requested for your internship.

Again, your college/university may have a different structure, but you may have to provide a few of the things listed above to complete the request process. This will give you some ideas about you may need to prepare.

-Anne L. Becker, EdD

COOPERATING TEACHERS INTERVIEWING STUDENT TEACHER CANDIDATE

I think it’s an excellent idea for the cooperating teacher to interview a teacher candidate. During the observations that the teacher candidate has completed in the potential cooperating teachers classroom the candidate will have an idea of how the cooperating teacher manages the classroom and his/her protocols for demonstrating techniques, distributing and collecting artwork and supplies, etc. The cooperating teacher usually receives a student teaching application document, resume’, and transcripts of the teacher candidate they are considering hosting for the internship. With all this information available about the candidate why would an interview be necessary?  The interview, I feel, collects the loose threads of the placement. It’s a win-win time for both the candidate and the cooperating teacher.  Here are some samples of the things that might be discussed in the interview process:

•  The candidate will get an idea of the lessons that have been taught in the past in the cooperating teachers art class.
•  The cooperating teacher will discover unique art talents and experiences that might not appear on the resume, these talents/experiences would be beneficial to the student teaching experience.
•  The candidate will have some ideas of projects or techniques that they would like to try and develop with the cooperating teacher during student teaching.
•  The cooperating teacher can share their vision of ideas and projects they want to try for their future classes and brainstorm with the teacher candidate.
•  The cooperating teacher might suggest the teacher candidate write some lesson ideas over the summer months and share them with him/her in preparation for the internship.
•  The cooperating teacher might want the teacher candidate to share in opening/closing school activities or activities for a new teacher to gain experience in those areas if they do not fall within the student teaching experience.

These are just a few topics that have surfaced over the years as my teacher candidates have prepared for student teaching.  If you have any additional suggestions for topics to discuss with teacher candidates before student teaching I would love for you to share them.

-Anne L. Becker, EdD

WHAT TO LOOK FOR IN A GOOD PLACEMENT

Last week we looked at what the student teacher should think about when choosing a student teaching placement. I want to extend the idea a little more in terms of what a good placement for either student teaching or a pre-clinical experience might look like for a good experience. Each observation should give you valuable information that will help you prepare for your career as a quality art educator. Sometimes I hear from my students about an’ uncomfortable’ situation. A teaching style that they had a difficult time understanding or embracing. The teacher candidate should be looking for teacher mentors who will enhance their growth as teacher candidates. Often a single visit to an art room may not give you the true picture of how the art educator and teacher candidate might work well together. The most important element in a good placement is the art educator.  Added to that component the teacher candidate should consider these facets of a school that assist a quality art educator.

1. When you walk into the school do you feel that the arts are supported?  Plenty of artwork on display around the school. . .classroom teachers display work from the art class. . .the main office has some student work on display. Teacher candidates often write in their reflections, “I felt the minute I walked into the building that they loved art here”.

2. The presence of the art educator is felt everywhere in the school.  The art educator has been a collaborative member of the faculty.

3.  The art room is a creative haven for everyone, including the classroom teachers. On-going projects appear in classrooms illustrating connections between content areas and the arts.

4. School budgets for art supplies vary greatly from school to school.  It would be remiss to say that the support of the arts in a school is visible by the number of supplies a school provides for the students.  Finances in schools today are stretched beyond acceptable limits. Many administrators, art educators and the school community have creative ideas on how to provide for the art supplies for their students. Investigate their unique approaches for your arsenal of teaching information.

-Anne L. Becker, EdD

Should I Take a Student Teacher?

Student teaching is the premier experience for every teacher candidate. After tons of coursework, pre-clinical teaching experiences, mountains of reflective notes and hours of observations we send them to you, the cooperating teacher. We hope we have prepared them for a successful and productive time in your classroom. Hosting a teacher candidate is an important time for you and the teacher candidate. As an experienced professional, you have been designing lessons, developing the smooth flow of classroom management and creating a respectful culture in your art classroom. This takes time, dedication and a great deal of effort that makes you the perfect mentor! Here are a few thoughts to share with you when you are considering hosting the teacher candidate:

1. Tasks that you can complete in a systematic and efficient way will be disrupted by an eager learner who has many questions such as: how did you decided to grade art work like this; where did you get the idea to hand out supplies like this; why did you decide to put the tables in the room like this, etc.

2. Concepts that you teach in the art class may have a new twist to them. A teacher candidate may ask if they can try an idea in a different way.

3. Lessons that normally run very smoothly may have some up and down moments in the hands of teacher candidates.

4. Ideas and creative approaches will be on fire in your classroom. You will enjoy the interaction with the teacher candidate and their enthusiasm to teach.

5. Partnerships will be formed between wonderful mentors and appreciative interns. To this day, I have not forgotten my two cooperating teachers and all the care and guidance they gave me as a young art educator, actually I imagine you have not forgotten about your cooperating teacher either.

Chicago Directors of Student Teaching [CADST] (2003). Cooperating Teacher’s Reference Guide.

-Anne L. Becker, EdD

Choosing My Student Teaching Placement

Hopefully as a teacher candidate you have input into your student teaching placement. Here are some tips when choosing the placement and things to think about for the placement:

1. Teaching at your former elementary, middle or high school: many teacher candidates have fond memories of their former art experience and they want to work with their former art educator. A couple of things to consider; this will not be a young student versus your former art teacher, the art teacher will expect you to take the reigns of the class and teach art. Also, some institutions require that you have an extended period of time [7-10 years] between your school age experience and your student teaching.

2. Visit the student teaching site and observe the art educator teach a lesson. Reputations for wonderful schools start early and die a slow death.  You want to make sure the art educator is interested in taking a student teacher. You want to make sure that your ‘teaching style’ [even though you are just starting you probably have your own expectations at this point] will compliment your cooperating teacher.

3. Visit the school to give you an idea of the climate of the school. Is this the type of teaching environment that will nurture you as a young professional? You will learn many things during student teaching and many of those tips and strategies will come from other professionals in the school.

4. Ask questions during your visit to the site. If you love to integrate technology, art history, multicultural themes, etc. into your lessons ask about how that might work in the school. You may want to adjust your intergradations of these concepts on a different level and still experience a wonderful internship.

5. Be flexible and open to this wonderful experience.

Galbraith, L. (Ed.). (1995). Preservice Art Education Issues and Practice. Reston, VA: The National Art Education Association.

-Anne L. Becker, EdD

THE IMPORTANCE OF TEACHER MENTORING FOR ART TEACHER CANDIDATES

The beauty of our profession is the process where we pair a teacher candidate with a stellar veteran art educator for a student teaching experience. This is probably the most pivotal experience in the preparation of a young professional. The art teacher candidates consistently tell me how this experience helped them connect all their coursework and ideas together about teaching.  During the seven to sixteen week experiences with seasoned professional art educators the teacher candidate has the opportunity to observe quality teaching, ask questions, prepare lessons, deliver lessons, assess art work and explore the day-to day happenings of an art room with a guiding mentor.  This internship is the bridge to a successful teaching career in art for our teacher candidates.  Teaching has gone through radical changes in the past years. Core standards, technology, financial woes of many states, cut-backs, and the tainted public perception of the teaching profession are just a few of the issues that face the new art educator. As the candidate embarks on their student teaching experience a bit of the ‘fear factor’ may surface.  During the month of May many colleges and universities will begin the process of placing student teachers for their internship next year, this will be a good time for us to investigate in this blog some of the component parts of successful student teaching placements for the teacher candidate and for the mentor art educator.  We are the professional community for our teacher candidates, their success and retention in our profession rests on our dedication to nurture their growth.

Brandt, R.S. (2000). Education in a New Era. Alexandria. VA: ASCD

-Anne L. Becker, EdD

Autism Awareness Month

Considering that April is Autism Awareness month I feel that it is only appropriate for me to end my time as April’s monthly mentor with an article on autism. For my Graduate Studio Thesis I had the opportunity to collaborate with a group of youth with autism. I proposed the project of drawing where you buy your food. I worked closely with these individuals and noted their artistic process as they moved from understanding what food they eat, and then in turn where that food comes from. I took note of their brilliance in the breakup of their understanding of this artistic problem.

The final results they were presenting to me revealed a unique and individualistic interpretation of their experiences of the place where they purchase their food. What was most striking to me was these students’ ability to pull out and represent an aspect of these places that they valued as highly important. What was even more impressive was their ability to represent what the place was without the other elements. Every child’s artwork was individualistic to them, however, they all shared some common threads.  I witnessed a reoccurring breakdown of the artistic process. Instead of starting by drawing where they bought their food over and over again I was seeing students either list the food they like to eat, draw the food they like to eat, or collect images of the food they like to eat. It was from here that I began to see students draw the origins of this food. Every student chose to represent this place by pulling out an element that they felt was the most important to them.

One student chose to draw only the windows of a building while another student chose to draw the item they buy from this place on a shelf. What was even more interesting was that the students did not bother to draw the shelf itself or the walls that the windows were attached to. These details were unimportant and obvious.  These students were creating artwork at an intellectual level that I have had to train for years to reach.  They helped me to slow down and consider every aspect of an experience in order to fully understand my own perceptions of it, and take note of the things in life that make an experience meaningful to me. I will never be able to thank them enough for taking the time to create artwork with me and teach me the immeasurable benefits of taking the time to notice the brilliance of each and every child.

-Sarah Damiano