Introduction
In year 8, learning pupils are transitioning from a general understanding of art to incorporating convoluted and complex artistic concepts. This stage marks a critical juncture for these pupils as it highly determines whether they will progress in their artistic learning. For this assignment, my focus is year eight pupils, concentrating on art, specifically “Artists as activists .”In this learning journey, a variability of attainment levels in students is expected. Hence, the focus student group has students with diverse strengths and weaknesses, including six students with special educational needs and disabilities (SEND). Although there is a visible variance in the attainment levels of the pupils in this class, these levels are averagely high, which can be both a rewarding and challenging experience. The learning process of this group also necessitates support while simultaneously stimulating and exerting learners’ full potential. While creating this scheme of Work (SOW), I will integrate the planned lessons to match the needs of each learner to ensure a supportive and inclusive learning landscape.
Regardless of the specificity, an educator’s role is vital in facilitating their learners’ artistic and intellectual development. Additionally, this progression of knowledge requires the educator to be committed to ensuring an enriched and meaningful learning experience for the learners that positively contributes to their growth and learning (Ryoo 2014, p.24). As a trainee secondary school teacher, I am tasked with nurturing and fostering students’ creative aspects and engaging learners in critical thinking. In the school where I am based, the emphasis on holistic growth underscores the vitality of artistic expression, social awareness, and academic achievements. This school’s settings form the backdrop of this SOW, built upon and serving as a framework for effectual learning.
I have planned to focus on the lessons in the aforementioned topic, “Artists as Activists,” and this decision is deliberate and strategic. The content of this topic has social awareness, critical thinking, and creativity aspects that the school upholds. Additionally, artistic activism as a topic empowers the students to involve themselves in situations of change in their communities, corresponding to the contemporary issues in modern society and thus incorporating artistic elements in being socially aware and socially responsible (Dewhurst 2013, p.20; Prettyman, and Gargarella 2013, p.2). The National Curriculum of England outlines the Art and design programs of study: key stages one to four, which precisely portray the subject of art under focus as highly valuable and indispensable in pupils’ creativity development (NSEAD, 2019). This national curriculum for art and design specifies concepts of development of artistic skills, exploration of different media and techniques, and an understanding of the role of art in diverse historical and cultural contexts, and learning entails achievement of specific attainment targets for each stage ((Department For Education, 2013, p. 1; Thompson, Patricia, and Maloy 2020, p.10). Therefore, This SOW will integrate these concepts and be designed to enrich the definitions and fundamentality, allowing learners to apply the knowledge garnered in various social and cultural contexts.
Justification For Planning and Literature Review
In recent years, the interest in learning theories has grown tremendously, notably with respect to the field of art (Burn, 2020; Esola and Nelson, 2019). This heightened curiosity stems from recognizing the utmost significance of art in various aspects of life, and therefore, postulators, researchers, and educators alike delve into this pursuit to identify effectual learning strategies and theories that support art and artistic practices.
Learning Theories
Researchers have identified instrumental learning theories in art education, including constructivism (Tomljenovic and Vorkapic 202, p.15) and the Vygotsky and Sociocultural theories (Mahn and John‐Steiner 2013, p.2). The constructivism theory, a foundational theory in education, proffers that learning occurs proactively as the learners engage with the environment. This theory advocates for active engagement with materials, a hands-on experience, and a student-centered approach to facilitate the transmission and retention of meaningful artistic knowledge (Burn 2020). According to Deane et al. (2015, p.3), the constructivism theory highlights how learners construct their channels to understand disseminated knowledge and how experiential learning nurtures creativity and the construction of innovative ideas. In essence, the focal point of this theory lies in the process of creating and understanding art rather than the end product. Constructivism learning theory outlines the educator’s role as a collaborator, guiding the learners through the process of research, analysis, and comprehension of presented new knowledge and thus significantly determining the learning outcomes (Gates 2016, p.16; Tomljenovic and Vorkapic, 2020 p.17). This theory also underpins the educator’s recognizance of each learner’s diverse capabilities and cognitive models to ensure uniform learning.
John Dewey’s learning theories corroborate the constructivism learning theory by highlighting experiential learning and its significant role in enriching the learning experience. Similar to constructivism, Dewey’s theories highlight learning by doing, where the connectivity to real-world scenarios prepares students for the harsh realities of life (William 2017, p.92; Tadić et al. 2018, p.269), hence enabling them to be easily integrated into the society as they possess creativity, critical thinking, and problem-solving skills.
Elucidating the sociocultural theories in art education, Mahn et al. (2013, p.5) postulate learning as a social activity where cultural contexts and interactions consistently shape the trajectory of learning, cognitive development, and the acquisition of artistic skills (Heaton 2021, p.2; Makawi 2023, p.16). Desai (2017, p.135) proffers that learning about artists as activists points to a desire to implement social and cultural change, and in these contexts, the explanation by Mahn and John Steiner (2013, p.5) alludes to learners being exposed to collaborative learning and partaking in such discussions and through these platforms, they can share ideas, provide feedback, and delve into the intricacies of art while understanding deep concepts. Through exposure to the sociocultural perceptions of art, learners can attain a sense of belonging, identity, and engagement whose homogeneity enriches their understanding.
Moreover, this theory underscores the relevance of language and communication in the learning process. Language learners use their expression, interaction, and negotiation tools to attain meaning (Desai 2017, p.136). This explication emphasizes the incorporation of opportunities where learners can critically examine, reflect, and discuss art, incorporating verbal and written strategies to facilitate a more profound comprehension of notions of art (Deane et al. 2015, p.6). The above learning theories illuminate how children learn and grow their understanding of art through exploration, active engagement, collaboration, and reflection.
Approaches To Use in Lesson Planning
Conducting the literature review provided valuable insights into the most appropriate approach for creating the lesson plan. I chose the sociocultural theory, as its interactive approach, collaborative and reflective aspects outline its excellent capacity to foster artistic understanding and skills. The other theories discussed above could not be used as they exhibit limitations that can hinder learning on the topic. Particularly, the constructivism theory has knowledge limited to self-perceptions and experiences, as it does not incorporate sociocultural perspectives. This fact alone makes this theory inapplicable, as without the said aspects, the learners cannot understand different art forms and styles, and the challenges to be addressed and discussed will be shallow (Kim 2019, p.30).
Possible Misconceptions
In teaching the topic of “artists as activists,” several possible misconceptions are evident from the literature review. As mentioned earlier, Desai (2017, p.135) proffers that activism in art constitutes social and cultural contexts, and in addressing the pertinent issues, some learners may perceive it as a direct or indirect attack on personal, community, or race attributes. Additionally, to be activists, artists need a revolutionary situation, but this can be mistaken by engaging in hurtful or destructive actions rather than its intended message, which is a call for positive transformative action. To address these challenges, I will integrate empathy, where learners will be asked to consider how others would be affected by societal issues we encounter in lessons and
what their thoughts and feelings in the situations would be. Additionally, I will emphasize the need for peaceful and constructive activism to draw the line between negative strategies and peaceful efforts that improve society.
Another misconception I expect while delving into “Artists as activists” is the belief that many learners hold art for aesthetic purposes only. When most pupils think of the word art, they think of its visual appeal and value, represented in movies and social media platforms such as TikTok, Facebook, and Instagram. On the contrary, art is interconnected with societal and political contexts and can be a powerful tool for social change, as they will learn in the lessons. This misconception will also be addressed as learners investigate various artists, such as Picasso, and how they engage in their artworks to address societal issues.
Planning For an Inclusive Curriculum
In planning this SOW, inclusive learning emerges as a critical factor to consider, as it affects pupils’ learning. As each learner has distinct attributes and needs, ensuring an inclusive setting where every pupil feels a sense of belonging is vital to improving learning outcomes. The socio-constructivism theory acknowledges this in recognizing the power of collaboration and using varied teaching strategies, such as visual materials and digital media, and not limited to the hands-on approach. This feature would be incorporated in the SOW mainly to accommodate the diverse learning styles of my learners, including the ones with SEND. In essence, differentiation and incorporating various instructional strategies would greatly enhance active participation and success in art activities and understanding.
The development of inclusive and conducive spaces for learning extends beyond the content to be taught and the teaching strategies. It also entails the physical spaces where learning happens, and a well-designed classroom will be incorporated into teaching the focus subject. Particularly, when teaching lessons that necessitate collaboration between the students and sharing of ideas, the students will be sited in groups of five facing each other, with spaces between each cluster to allow free movements around the class. Additionally, the strategic planning in the classroom choreography elucidates a fluid layout, which eliminates barriers and facilitates a free flow of information and innovative ideas.
Planning For Progression
The socio-constructivism theory further advocates for the scaffolded approach, highlighting that the lesson planning was to be built on progression, where the lessons build upon the existing knowledge and increase complexity as we advance. By scaffolding, I would take up the educator’s role and help build a solid framework upon which knowledge can be built, ensuring a steady and coherent advancement of knowledge in artistic concepts. Taking learning as a culminated endeavor, each lesson would act as a stepping stone, paving the way for more complex and intricate artistic elements (Tadić et al. 2018, p.270). In addition to focusing on artistic knowledge and skills, the progression also acknowledges the role of assessment in gauging the learners’ critical thinking abilities and their understanding of the concept of art and its role in activism.
Assessments
Assessments play critical roles in the teaching and learning process, serving as evaluation tools and helping gauge the depth of understanding attained by the learners in the given subject and topic. Assessments also provide constructive feedback, which educators use to identify areas of strengths and weaknesses and gaps of knowledge. This feedback is also instrumental in determining whether the teaching strategies are effectual or whether there is a dire need to change to ensure improvement in learners. As Groenendijk, Karpati, and Haanstra explain, there are two main assessment techniques: formative and summative (2020, p. 1). In my assessment, I choose formative assessment, based on its ongoing and iterative feature, which contributory to enhancing and instructing the learning process.
Formative assessments will gauge pupil progression in my lessons, deploying formative assessment strategies such as teacher Q&A sessions, peer assessments, and visual presentations. These techniques will illuminate my pupils’ strengths, weaknesses, gaps in knowledge and abilities, areas of improvement, and overall artistic growth. These techniques will provide evidence on whether the teaching approaches I have employed are practical, whether I need to make lesson plan adjustments and revisions, and what appropriate interventions are required to keep the learning focused on the objectives (Gates 2016, p.16). The feedback I would get would also be instrumental in identifying whether any students need additional learning support from the evidence of lagging or how I could support the overachievers to meet and exceed their potential.
Lessons For Curriculum Planning in Art
From the literature review and additional research, I have learned that in teaching art, and specifically the topic of “artists as activists,” curriculum planning and development requires a holistic approach that encompasses the integration of artistic knowledge, skills, sociocultural contexts, and art history (Desai 2017, p.139; Tadić et al. 2018, p.273). Curriculum planning in this context necessitates an elicited interplay of technical abilities and a deep understanding of the subject matter. The pupils do not get just to understand art and how to make it; they have to understand its implications, practicality, and intersection with emerging issues in the socio and cultural realms (Mahn and John‐Steiner 2013, p.22). The curriculum planning also underscores the role of art in facilitating creativity, inquiry, and critical thinking (Silva Pacheco 2019, p.2). Therefore, as outlined by Desai (2017 p.136), materials, learning processes, and the learning environment with respect to “Artists as activists” have to stimulate learners to explore in depth the issues in society, encourage discussions on the choice and impact of art in activism and also facilitate the reflection of the power of art as an indispensable tool for social change.
Art is a personal subject, and everyone interprets and perceives it uniquely and uniquely. Therefore, curriculum planning in this subject and topic has enlightened me on the role of creativity and how nurturing and developing these aspects expands the learners’ artistic confidence. By empowering them to create and express themselves artistically, they are confident in exploring other artistic concepts (Kim, 2019, p. 31), such as cultural artifacts (Man and John‐Steiner 2013, p.4) and cultural progress, diversity, and inclusion, and not limited to environmental degradation (Desai 2017, p.136). By exploring such related concepts, they expand their understanding of art and social change and achieve overall growth.
Analysis
The process of teaching and learning is a rather convoluted and multifaceted aspect that necessitates reflection and analysis to ascertain a positive impact on the learners and ensure that the goals set have been met throughout the process (Kelley et al., 2021, p. 2). Creating the SOW for year eight pupils on the art topic of “Artists as activists” requires an analysis to elucidate the alignment of the pedagogical approach and the underpinned theoretical frameworks.
The making of the scheme of Work was carefully planned and built upon the curriculum requirements and objectives. The Art and Design National Curriculum of England (NCE) highlights that in art classes, pupils should know various artists, the art forms they are associated with, and the historical and cultural significance as well as the development of these art forms (Department For Education, 2015, p. 3). In response to specification, the SOW includes a lesson that investigates artists such as Bob, Roberta Smith, and Pablo Picasso and some of their works. Additionally, the UK government’s Ministry of Education underscores that contents taught to art and design classes must have students undertaking analytical, experiential, practical, and not limited expressive tasks to expand their skills. The lessons in my SOW acknowledge this aspect, as the pupils will be exposed to this range of tasks to develop their artistic skills.
Moreover, the SOW was based on a sociocultural theory espoused by various theorists such as Lev Vygotsky and underscores that learning is a social and interactive process in my lessons. In the first lesson, the pupils will focus on understanding and learning the one-point perspective to create three-dimensional names and initials to explore this technique. They will also give feedback to their peers, and this collaborative learning will facilitate a communal understanding of the artistic technique and the development of critical skills.
The second lesson, whose focal point is the definition of an activist and the role of an artist in this definition, there is an incorporation of a video clip, where the Tate clip on why art is taught in schools is played. As Mahn and John Steiner (2013, p. 7) illustrate, the cultural aspect in the sociocultural theory also refers to the social interactions that influence human behavior. In this case, the video can be seen as a form of culture as these pupils are exposed to technological innovations and social media daily. The Tate clip carries elements of popular culture pertaining to the students, and according to the sociocultural theory, this culture shapes how the pupils interact with the content and study material, enhancing their engagement, motivation, and understanding. Moreover, as posited by the Department for Education (2015, p. 2), the clip aligns with the curriculum requirements of multimedia literacy, which facilitates the pupils’ engagement with art in the contemporary society.
Moving on, the arrangement and sequencing of the lessons was not only thoughtful but also meticulously planned. The first lesson on applying the one-point perspective served as a solid framework for the subsequent lessons, all the way to the last lesson on producing and evaluating student murals. The progression adheres to education standards, enhances a gradual progression in the complexity of study content, and facilitates a step-by-step acquisition of skills, from basic fundamental skills to complex skills and their integration within meaningful and socially relevant circumstances. Moreover, the gradual release of responsibility from activities guided by the teacher to more student centered tasks manifest a scaffolded approach identified in the review, which greatly facilitate refining artistic ideas and techniques.
Research methodology for assessing impact
It is imperative to utilize effective research methodologies to assess the impact of learning throughout the teaching and learning process. A rigorous and systematic approach is the only way a teacher can uncover the true effect of what has been taught on student outcomes. Additionally, appropriate methodologies facilitate the identification of areas that need improvement to enhance students’ learning outcomes further.
My SOW highlights formative assessments, which Lee et al. elucidates centered on feedback, fine-tuning students’ learning outcomes (2020, p. 125). The SOW also highlights a use of peer assessments methods which according to Groenendijk, Karpati and Haanstra, these methods are interconnected with self-regulation, a concept that enables pupils to facilitate and guide their learning (2020, p. 1). These assessment tools, in addition to other qualitative techniques such as teacher Q & A and peer assessments, enhanced the identification of the various factors that affected learning in the lessons, as well as gave a deep exploration of the interplay of the cognitive process and the social interactions of how learning took place that is greatly emphasized by Vygotsky’s theory.
Notably, no process is without limitations, and this research methodology is no different. The aforementioned techniques exhibit one major shortcomings that Groenendijk, Karpati and Haanstra proffer as the disconnection between self-assessment and teacher assessment techniques (2020, p. 2). According to these authors, highly achieving students are critical of their Work and tend to assess themselves poorly, while underachieving learners assess their Work more highly than expected. This limitation can be overcome in future endeavors by teaching the pupils thassessment criteria andnt and comparing outcomes of self-assessment with those of teacher assessments.
Ethical considerations
At the heart of the above research methodologies lies the commitment to observe ethical considerations as they protect the rights and well-being of all students. The Vygotsky’s theory guided these consby emphasizingon ensuring an inclusive and safe learning environment. Therefore, the assessments were to be carried out while respecting the diverse perspectives held by every pupil. Moreover, the collaborative assessments had to be a safe platform for the pupils to voice their personal meanings from art and art techniques.
Conclusions: Evaluation and Critical Reflection on Practice
When it comes to the principles of effective education, the teacher’s role is paramount as their deep understanding of content knowledge, effective knowledge of teaching strategies and not limited to their continuous professional development contributes immensely in the outcomes of students’ learning experiences. According to Kelley et al. (2021, p. 3), an examination of the growt of a teacher’s learning must be examined from the dimensions of progress of content knowledge and the pedagogical expertise of how students interact wit the lessons. Therefore, in my exploration of the art subject and the specific topic of “Artists as activists”, I have not only grown intellectually, but also personally and professionally.
In terms of subject knowledge
While delving deeper into the focus topic, I have comprehensively understood the interplay of art and societal change elucidated by Mahn and John Steiner (2013, p. 5). The research into this fascinating topic has enhanced the understanding that its exploration is particularly pertinent in the modern society as art is an indispensable tool of implementing social justice. By interpreting and expressing their perspectives on emerging social issues such as racism, artists can use their voices to raise awareness of these issues and create a platform that fosters empathy and understanding in favor of most marginalized communities. The power of art is also reflected in its potential to catalyze action. As people reflect on various art and perspectives by artists, the deduced meaning and reflection on complex issues can mobilize individuals to take action and make meaningful social movements and contributions.
The development of the SOW had me exploring effective assessment strategies to gain a gist of the teaching and learning process. This research process was particularly illuminating, as I got to differentiate the formative and summative learning assessment techniques. I learned that the focal point of formative assessment is garnering feedback on students’ learning process and is instrumental in making needed adjustment to facilitate the learning process. On the other hand, summative assessment techniques are mostly recommendable at the end of a term or unit, where assessment entails assigning grades and determining overall standardized analysis of the attainment of learning objectives (NSEAD, 2019). As the timing was throughout the learning process, I correctly identified the formative assessment as the best technique.
In terms of learning and progress of learners in the art subject
Extending beyond personal development, while crafting my SOW and planning the lessons, I learned a lot on how pupils learn and progress in the art subject. Thompson, Patricia, and Maloy elucidate how students learn the art through the aesthetic value of content disseminated by instructors (2020, p. 18). I deduced this information to include videos representing different art forms and perspectives from written text and other forms. It visually represents why they should appreciate learning art in school. I also learned that students learn better when their distinct contributions and perspectives are heard and recognized, as this encouragement of creativity and individuality fosters artistic growth.
I learned that cultivating a growth mindset and motivating learners to learn and grow their artistic knowledge and abilities is vital in their comprehension process. As their teacher, it is my duty to instill this mindset and foster a curiosity and commitment to learn. It also came to light that empowering students to acknowledge mistakes and learn from them enhances resilience, pushing them through the hard parts of knowledge acquisition while seeing setbacks as opportunities to better themselves and expeditiously grow.
Teacher’s knowledge of educational research
My planning and teaching have greatly moved my learning and enhanced my educational research. I have realized the importance of evaluating and reflecting on teaching practices. As trainee teacher, I have done this by observing other more qualified and experienced teachers in their daily jobs and the outcomes of their students. In this endeavor, it has become evident that teachers should keep up with additional resources and training, enhancing their teaching effectiveness. It is also paramount for teachers to undertake data-driven decision-making, which requires thorough research and analysis of data pertaining to various factors that affect students’ learning. As a teacher, I can undertake effectual teaching and learning strategies, hence get the best of this multifaceted process.
Impact of the teaching and planning on pupils’ learning
Considering that my teaching and planning of the topic of “Artists as activists” was underpinned by educational theories and curriculum frameworks, I believe this pedagogical approach had a tremendous positive impact on the pupils’ learning. The holistic approach developed m learners’ cognitive abilities, sociocultural skills and emotional attunement (Tadić et al. 2018, p.273). The lessons were based on connecting artists with the larger framework of activism in the real world, which explored knowledge attainment, skills acquisition and relevance and resonance among the learners.
The inclusive approach
One pivotal aspect that I ensured in my pupils’ learning process is fostering an inclusive environment for my classroom’s diverse learning styles and abilities. Taking into account that I had six students with SEND, I acknowledged and deployed various strategies that would enhance equitable learning and development. These strategies include differentiated instructions, individualized learning plans, assistive technologies, peer support and collaboration. Interwoven into the instruction plan to meet the needs of my pupils’ wide-ranging abilities and strengths, these strategies fostered student engagement and provided proactive avenues for participation, which supported each learner’s individual and intellectual growth.
Implications for future practice and development
This assignment has had tremendous and superlative implications on my future pedagogical practice and development. It is clear to say that I am not the trainee teacher I was before embarking on this undertaking, but the insights are akin to nuclei, attaching to the fertility of pedagogy, transforming into a bountiful harvest of excellence. Many researchers point to pedagogical growth as the blend of practical experiences and theoretical frameworks whose result is overall refinement and expertise that transcends the boundaries of traditional teaching. In my planning and teaching of the art topic of “Artists as activists”, I have learned that every insight gain has formed a part of my entity, guiding every future step I will make.
As I gaze over what the future has in store for me, these lessons and undertakings serve as solid beacons, illuminating and guiding teaching processes. The knowledge garnered characterizes my pedagogical approach as a living entity rather than a static blueprint, where continuous learning and development will consistently expand my expertise as a teacher, and also expeditiously help me in guiding my learners through the corridors of knowledge dissemination and enhancement of critical thinking, creativity and social awareness. Ultimately, this assignment has enhanced my understanding that as a teacher, I am also a learner. The journey does not end, but is rather an unending road of enlightenment, and self-discover and development.
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