If you teach something other than art, consider how you might do some stretching and exploring of your own. Or, the non-art classroom can be altered to look more like the studio. They can be adapted to fit a non-studio environment. The noisy, messy movement you see are students engaged and actively exercising 8 specific habits of mind:Įach of these studio habits has a place outside the art classroom–in the science lab, writing class, on the playground, a social studies field trip, the real world. The art teacher plays the role of facilitator, demonstrator, mentor, coach, observer. What looks like chaos to some observers is actually organized instruction that falls into three formal categories: Demonstration-Lecture, Students-at-Work, and Critique. In their book Studio Thinking: The Real Benefits of Visual Arts Education, Project Zero researchers Lois Hetlund and Ellen Winner spell out how the structure and activity of studio instruction are inherently unique and beneficial to all types of learners. In learning theory terms, that’s called persistence, resilience, self-efficacy. As a Lee County middle school student once said, the most important thing he learned in his art class was that a mistake can change into a discovery. Mess? Experimentation and exploration are always messy.Īnd, most importantly, mistakes happen in the art studio…often. Teachers circulate from child to child, pointing out strengths, reflecting on challenges, prompting new directions. Kids move about as they experiment with materials and different vantage points, test new solutions and peer over their friend’s shoulder. Students and teachers talk, reflect, share, collaborate. How about engagement, persistence, exploration, expression? Is that more like it? All these words, predictable or not, describe learning in the art classroom on any given day. Not the first words that come to mind when you think of an ideal learning environment. The book introduces the Studio Thinking Framework, which allows researchers to test hypotheses about precisely which kinds of instruction lead to various desired outcomes goes beneath the surface to discover what underlying cognitive and social skills are imparted to students when the arts are taught well includes the voices of teachers, photographs of students at work, and samples of art projects in different media to demonstrate findings and shows teachers of all subjects how to incorporate critique sessions in their classes to promote public, shared reflection and ongoing formative assessment.Noise, movement, mess, mistakes. This language will help advocates explain arts education to policymakers, help art teachers develop and refine their teaching practices, and help educators in other disciplines learn from existing practices in arts education. "Studio Thinking" provides art teachers with a research-based language for describing what they intend to teach and what students learn. In this book, are the results of the first in-depth research on the "habits of mind" that are instilled by studying art-habits the authors argue that could have positive impacts on student learning across the curriculum. Many people believe that art education is important, but few can say exactly why.
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