Developing communities of learners

This article describes some of the findings of an evaluation of a ‘cross- curricular’ digital media arts project for Year 8 students at Lister Community School in the London Borough of Newham. The project was designed to provide opportunities for a thematic curriculum in which quality learning encompassing both independent and collaborative learning was central. The project was also aimed at fostering a range of knowledge, skills and attitudes around students' personal and social development. The findings of the evaluation suggest that the project was successful in a number of ways: in enhancing students' personal and social development; in developing a community of learners in which learning was shared between teachers and students; in developing students' confidence and skills in their own learning; and in providing models of a more integrated and thematic curriculum.     

Undergraduate project work: can directed tutor support enhance skills development?

Students' perceptions of their skills development and the overall value of their undergraduate project work were evaluated using data derived from questionnaires. Thirty‐nine students completing their second year of study (i.e. prior to the commencement of project work) and 42 students completing their third‐year project work took part. Thirteen tutors also completed questionnaires. They were asked to give their perceptions as to what skills project students developed and what attributes of project work enhanced both students' personal development and students' assessment grades. Results showed a shift in students' perceptions of the types of skills reinforced, developed and assessed within project work during the course of their third‐year project. Their perceived views did not fully coincide with tutors' perceptions of student skills development, although evaluation of both the assessment and personal importance of particular aspects of project work showed some interesting relationships between students and tutors. The diversity of opinion shown in these results may be due to lack of clarification of assessment criteria rather than a ‘hidden curriculum’. For example, the distinction between presentation of work and scientific writing may not be clear from an initial reading of the criteria. The outcomes of this study, with particular reference to the relationship between scientific writing and thinking, have implications regarding tutor and student discussion, the development of marking criteria and the use of plenary project support sessions.     

Social difference and the politics of schooling in Africa: a Ghanaian case study

This paper examines the implications of ‘social difference’ for schooling in African contexts. It highlights theoretical and philosophical engagements with ‘difference’ that could help explore and search for viable educational options in Africa. The paper engages voices of university students interviewed in a longitudinal ethnographic research study on schooling done in Ghana. Issues and questions about knowledge production, identity development and representation in pluralistic schooling contexts are raised. Insights about local knowledges, individual agency and resistance as they relate to possibilities for rethinking schooling and education in Africa are also explored. The students' narratives reveal how dialogues about school and educators' practices about difference and diversity are [not] addressed with respect to the students' schooling. Lessons on the possibilities of inclusive schooling environments are offered.     

Key Skills Enhancement for Students,Artists and Designers through Residencies in Education

In September 1999, the Glasgow School of Art ‘Artists and Designers in Education’ programme was accepted as an important component of the GOALS project, an ACCESS initiative funded by the Scottish Higher Education Funding Council including students in schools as project leaders, tutors and mentors. This stable and long-term funding validates and ensures the future of an experimental key skills programme which has been carefully nurtured in Glasgow School of Art for the past ten years, often in the face of scepticism, voiced by those for whom higher education and especially higher art and design education is ‘only about engaging with, becoming expert in and in due course advancing the discipline itself’. [1]This paper suggests that key skills enhancement through supported and evaluated residencies in education is of demonstrable value to most emergent artists and designers regardless of their subsequent career trajectories.     

‘I – from dreams to reality’: A Case Study of Developing Youngsters’ Self‐Efficacy and Social Skills through an Arts Educational Project in Schools

This is a case study of a one‐year arts educational project ‘I – from dreams to reality’ in which artists worked at school with teachers and learning at the school was planned through arts‐based, co‐operative teamwork during one extra school year of 10th grade students in Finnish basic education. The theme of the year was ‘I’, and so the project was designed to highlight everyone's own way of thinking and expressing art. The research task was to determine whether long‐term holistic arts pedagogy and artist co‐operation at school have any significant connection to students’ self‐efficacy and social skills. Data has been collected through students’ self‐evaluations before and after the school year. Altogether 40 students from 10th grade participated in this case study. Half of the pupils participated in an arts educational project called ‘I – from dreams to reality’ and half formed the control group. Artists worked with the test group weekly during a period of one school year (altogether nine months). Students’ self‐evaluations concerning their self‐efficacy and social behaviour were collected by e‐questionnaire. The measures used were Likert‐based evaluation scores of pupils’ self‐assessment of their self‐efficacy and social behaviour in everyday situations at school. According to the results, artist–teacher co‐operation and learning through the arts can be worthwhile experiences to develop students’ self‐efficacy and social skills.     

Adolescents' declining motivation to learn science: A follow‐up study

This is a mix methods follow‐up study in which we reconfirm the findings from an earlier study [Vedder‐Weiss & Fortus [ 2011 ] Journal of Research in Science Teaching, 48(2), 199–216]. The findings indicate that adolescents' declining motivation to learn science, which was found in many previous studies [Galton [ 2009 ] Moving to secondary school: Initial encounters and their effects. Perspectives on Education, 2(Primary‐secondary Transfer in Science), 5–21. Retrieved from www.wellcome.ac.uk/perspectives ; Osborne, Simon, & Collins, [2003] International Journal of Science Education 25(9), 1049–1079], is not an inevitable phenomenon since it appears not to occur in Israeli democratic schools. In addition to reinforcing previous results in a different sample, new results show that the differences between the two school types are also apparent in terms of students' self‐efficacy in science learning, students' perceptions of their teachers' goals emphases, and students' perception of their peers' goals orientation. Quantitative results are accompanied by rich verbal examples of ways in which students view and articulate their own and their teachers' goal emphases. Content analysis of students' interviews showed that students in traditional schools are directed more towards goals that are external and related to the outcome of learning in comparison to democratic school students who are motivated more by goals that are internal and related to the process of learning. Structure analysis of these interviews suggests that democratic school students experience a greater sense of autonomy in their science learning than traditional school students do. Implications for research on students' motivation are discussed, such as considering not only the teacher and the classroom but also the school culture. © 2012 Wiley Periodicals, Inc. J Res Sci Teach 49: 1057–1095, 2012     

School Work,Homework and Gender

This paper explores female and male students' attitudes towards school work in terms of application and achievement. The data are drawn from interviews with students, teachers, careers officers and welfare officers in three semi‐rural comprehensive schools in one local education authority (LEA) [1]. (The students were in their last year of compulsory schooling, Year 11, and were aged 16 [2].) The three schools had invited the authors to explore why boys were achieving below their potential in terms of course work and end of course grades. The findings of the study show how school, peer group and community factors influence students' attitudes towards school work and homework. However, the situation is not just one of boys' under‐performance: the pattern of girls' achievement at 16 (the school leaving age) is not always carried through post‐16 or into career destinations. The problem is one of ‘equalising opportunities’ for all young people, taking into account the different patterns of need at different stages in their school careers.     

Preface: ‘Anything You Can Do’: Proposals for Lesbian and Gay Art Education

This preface introduces the themes of this special edition: the contribution that lesbian and gay individuals make to the development of the discipline. These include a non‐heteronormative perspective, and an emphasis on irony within parody. Second, this preface considers the experience of LGBT students and teachers dealing with sexuality within the school curriculum. Third, the current approach to civil rights within the school is considered especially in the context of homophobia, bullying and physical danger. Finally, areas of specifc curriculum advance are noted particularly within art history, media education and teacher education. Irving Berlin's witty little song ‘Anything you can do’ [ 1 ] epitomises the taken‐for‐granted assumption that relationships between people are always adversarial and that personal achievement always involves outperforming the opponent. The song title in full runs ‘Anything you can do I can do better, I can do anything better than you.’ The second stanza underlines the theme ‘I'm superior, you're inferior, I'm the big attraction you're the small.’ The rest of the song develops the theme but it constantly expands a tongue‐in‐cheek ironic infection. The lyrics serve to subtly undermine the master narrative by showing the ridiculousness of empty boastfulness. I suggest that there is a strong analogy between this adversarial parody and that between ‘heteronormative’ culture [ 2 ] and its disdain for gay perspectives and experience [ 3 ]. One of the major propositions in this collection is that lesbian, gay, bisexual and trangender (‘LGBT’ throughout this volume) people bring great benefits to all in our efforts to explore and develop an increasingly inclusive art and design agenda [ 4 ]. My argument in this introduction has four interrelated themes. First, I outline what I think are the legitimate claims that LGBT people can make for their contribution to the development of the discipline. It is important to start here because, as will be come clear, there are several significant issues that LGBT teachers and students have to face in education. These issues should not distract us from the positive impact we have made throughout the art and design curriculum. The second theme is one that I take from Andrew Sullivan's title Virtually Normal [ 5 ]. The ambiguity built into his oxymoronic title is worth exploration. The LGBT experience of growing up has particular paradoxical features that are singular and significant. I consider some of these features for their salience to the general argument. The third theme that is particularly pertinent internationally is what is termed a civil rights agenda. Many educators are using this concept as a basic building block in the construction of an equality programme into which LGBT fits as a significant beneficiary. It is in this context that the issue of bullying is considered. Undeniably, bullying is a major issue confronting probably every young LGBT person on a regular basis. But I, and other authors in the collection, argue that relying solely on this equal rights approach has some major drawbacks in the promotion of an LGBT agenda. The fourth theme, which is developed by the authors of the papers throughout this volume, is that a specifc LGBT art and design curriculum can be developed away from a civil rights approach. This curriculum can provide what we all lack currently, material that reflects and expands the learning of LGBT students, provides opportunities for Continuing Professional Development for LGBT and LGBT‐friendly staff, and thus enriches the whole art and design curriculum by embracing new ideas from within and outside the discipline. At the moment there is a gaping empty space in the art and design curriculum that badly needs flling. I conclude this introduction by considering such innovation in relation to Swift and Steers' Manifesto for Art in Schools which still seems to me an excellent benchmark against which to measure change and progress [ 6 ].     

‘They have different information about what is going on’: emotion in the transition to university

Most new students experience school to university transition as challenging. Students from backgrounds with little or no experience of higher education are most vulnerable in this transition, and most at risk of academic failure. Emotion appears implicated in the differential way in which first-generation students and students with family familiarity of university experience the transition. This article draws on the voices of first-year dental and oral hygiene students at a South African dental faculty regarding university transition experiences. It draws on the construct of capital and Archer's [(2002). Realism and the problem of agency. Journal of Critical Realism Alethia, 5(1), 11–20] understanding of ‘competing concerns’ to examine how emotion shapes students' experiences of university transition and how they position themselves with regard to these experiences. The article explicates the ways in which emotional commentary and classed locations intersect, exploring the extent to which this intersection shapes young people's framing of their concerns of ‘being a student’ and ‘becoming a dentist’. The article identifies aspects of the university's material and cultural environments which shape students' emotional responses and which consequently are implicated in the perpetuation of class-based differential life chances.     

Learning with trade unions: a contemporary agenda in employment relations

This paper seeks to advance our understanding of the credit transfer phenomenon in the UK, specifically how students draw on a credit as a form of institutional cultural capital. Drawing on interviews with 26 part-time mature learners, this paper examines the progressive and retrospective orientations to study that surfaced in students' accounts of credit transfer and their lifelong learning journeys. A common theme of ‘unfinished business’ appeared to dominate these accounts and a narrative-oriented analysis of the findings revealed the role of credit transfer in enabling students to complete varied personal projects or forms of ‘unfinished business’. The findings of this work suggest that in an increasingly complex higher education market, there is a need to understand students' strategic use of the credit they accumulate. In particular, this paper explores how credit transfer features in the narratives of students' successful learning journeys.     

Maternal goal factors in adaptive and maladaptive childhood perfectionism

In this project, 72 middle school students responded to a questionnaire tapping three aspects of perfectionism: self‐striving, socially‐prescribed perfectionism, and concern for mistakes. Their mothers completed a questionnaire assessing goal expression along three dimensions defined as direct expectations (e.g., ‘I set high standards for my child’), controlling expectations (e.g., ‘Only outstanding performance is good enough in our family’), and noncontingent encouragement (e.g., ‘Trying hard is more important than being the best’). Path modelling, using SmartPLS, revealed that direct expectations were associated positively with students' self‐striving, but negatively with socially‐prescribed perfectionism. Controlling expectations were associated with socially‐prescribed perfectionism. Hence, adaptive and maladaptive aspects of students' perfectionism appear to be associated with differential patterns of maternal goal expression.     

Strategic Teaching: Student Learning through Working the Process

The designers of our future built environment must possess intellectual tools which will allow them to be disciplined, flexible and analytical thinkers, able to address and resolve new and complex problems. In response, an experimental and collaborative design studio was designed to inspire and build on students' knowledge and their creative thinking abilities through a series of explorative exercises and modelling. The learning experience of students undertaking this studio was enabled and guided by a collaboration of teachers experienced in both teaching and creative practice. A series of guest creative practitioners joined the studio's intensive 10‐week hands‐on workshop sessions within which students undertook set exercises. These creative research workshops then served to inform subsequent design development of the students' work through planning and documentation over a period of 4 weeks. Strategic teaching is central to the creative development process. The driving educational belief, as idea and practice, is that by bringing ideas to life in design, by working with full‐scale three‐dimensionality, students are able to cement their commitment to ‘working the process’, towards becoming excellent designers. This ambitious strategy enables students to work on the many different aspects of the design problem towards meeting their design outcome at the highest level of resolution and intent. Through a combination of pragmatic tasks – writing and developing design briefs – and visual tasks – evidence gathering and analysis of design through photographic, modelling and diagramming exercises – students were encouraged to think outside and beyond the ‘normal’ realm of design practice.     

Learning to look through the eyes of our students: action research as a tool of inquiry

Abstract

The story we are about to tell occurred when Gayle was a middle school science teacher and graduate student in Joanne's seminar on the study of teaching. Gayle was trying to make sense of her science students' indifference toward the environment, an attitude that concerned her as an environmentalist. She turned her inquiry into an action research project that sought to answer the question, ‘What are the assumptions that my middle school students have about their relationship with the environment?’ Joanne was mentoring Gayle in her action research study, and at the same time exploring Gayle's perspective as an action researcher. Now, several years later, we are both action researchers and teacher educators and understand that we have been looking through the eyes of our students in order to become scholars of our own teaching.     

Mask-making as identity project in a high school English class: a case study

This study reports on the composing process of one student, Peta (a pseudonym), as he reflects on a significant composition he produced during a unit on identity in a 12th‐grade English class in a U. S. high school. The unit was the first thematic exploration of the year for the students and was designed to help them think about themselves as readers, writers, and individuals. The teacher's goal was to have students' engagements with literary and artistic texts serve as vehicles for developing better understandings of themselves. The study demonstrates how students' engagement with more ‘traditional’ artefacts is essentially an example of multimodality and evidences why teachers and researchers should see such work as part of the long tradition of creativity within English. It also demonstrates how such an apparently ‘traditional’ artistic approach in fact covers the same territory as that of the digital revolution, that is that multimodal ‘tools’ engage all the cultural resources of students from their domestic, community and school settings, in contrast with much typical school activity that is perceived as pointless and tedious.     

‘Download’: ‘Postcards Home’ Contemporary Art and New Technology in the Primary School

‘Postcards Home’ using photography, scanning, digital image manipulation, text and colour printing was the third ‘Download’ project devised by the education department of the Whitechapel Art Gallery, London, England. It was led by artist Laurie Long with teachers and pupils from Pooles Park primary school in Islington, an inner city borough in North London. Based on the production of a postcard featuring an image of personal significance, the children were involved in exploring and constructing their own and others' identities whilst developing their technology skills in creative ways. The project raises interesting questions about the applicability of contemporary art practices to the primary classroom. The research is based on participant observation and includes the voices of the artist and teachers involved.     

Crossing the Line

The paper charts the progress of the ‘Window Sills’ project in Exeter, UK which brings together artists, art students, cultural organisations, and the community in a plan for urban renewal. Seeking to loosen boundaries, it uses the idea of ‘thirdspace’ to question the notion of public and private space, using the city's and its river's constant changes as an analogy. The window and the window sill become the interface where the project seeks a transformational act in the lives of those involved by locating the experience in the local and the personal, although the implications cross much wider boundaries.     

Factors influencing early adolescents’ mathematics achievement: High-quality teaching rather than relationships

This study used data from the Assessment Tools for Teaching and Learning project, which involved data on the academic performance of more than 90,000 New Zealand students in six subjects (i.e. reading, writing and mathematics in two languages). Two sub-samples of this dataset were included for detailed re-analysis to test the general applicability of the Australian model of Quality of School Life (Ainley et al. 1986) in the New Zealand context. The first sample comprised 336 year 8 students from elementary schools and the second sample consisted of 272 year 10 students from high schools. Furthermore, two structural equation models were developed and tested, expressing relationships between students’ quality of school life perceptions, students’ attitudes to mathematics, and their effects on mathematics achievement. The quality of school life questionnaires scales [Ainley and Bourke, in Res Pap Educ 7(2):107–128, 1992] were used as indicators of students’ perceptions regarding learning, teachers and peer relationships. The model proposed that perceived quality of school life would affect students’ attitudes of liking and confidence in mathematics, which would in turn affect their academic performance. After controlling for other variables in the model, students’ perception about their self-efficacy to learn mathematics was more directly related to outcomes than to perceptions of teacher quality or peer involvement. Data analyses revealed no apparent relationships of these factors to mathematics achievement. Moreover, results for both samples led to the conclusion that the perceived quality of learning is connected with ‘confidence in’ and ‘liking mathematics’, which in turn predict students’ mathematics achievement.     

(Re) thinking Emotions in Visual Education Activities: Students' Experiences

This article focuses on the emotions of 13 and 14 year‐old students related to visual art education activities. Our aim is to understand the interference of the students' emotions with the processes of the creation and reception of their own pictures, as well as their characteristics in an art education context. The article adopts a Vygotskian theoretical perspective about emotion and aesthetic education that refers to the biopsychological nature of emotion and its cultural determination. The need to transform emotions in art activities is stressed and the teenagers' pictures are interpreted as a means of communication. The data collection was based on questionnaires and interviews with seventh and eighth grade secondary school students. It is concluded that students' emotions are not only present in the creative process and in its result, but also that they could have a significant positive or negative impact on students' motivation and achievement behaviour in art education classes. In this context, the students' pictures, acting as stimuli, may evoke their emotions.