The Arts in Education

The importance of supporting the arts in education is a key issue within Irish education, which can be facilitated through offering a holistic educational experience for adolescents. Adolescents can be viewed as the most vulnerable age group in society therefore it is imperative that they are given many opportunities to engage in and develop key skills within a setting in which they feel comfortable. It is essential to give pupils as many opportunities to engage in a broad and balanced curriculum in order to meet their individual needs but also to recognise and affirm individual skills and abilities through the arts. I agree with this statement as all pupils are individual and have individual skills therefore it is essential to cater for and facilitate their individual needs through offering a broad range of subjects within a setting including the arts. However, I feel that there is a traditional view which views the arts as extra curricular therefore time should not be allocated within a school setting and pupils should participate in these subjects outside of school hours.

Creative engagement within the arts allows pupils to engage in and interact in practical subjects where they can express themselves and reach a level of self-actualisation. Through the inclusion of arts education schools can offer multiple points of engagement for the pupils where there is a positive energy created thus allowing the pupils to take ownership of the work they carry out which can reduce the amount negative behaviour within the school environment therefore reducing the amount of discipline procedures implemented within the school. It also allows the pupils to focus on contemporary issues which are imperative in todays society such as; mental health, bullying, identity issues, gender equality and diversity. Allowing pupils to have the opportunity to engage in such topics, facilitates a pupils emotional wellbeing greatly thus having an impact on the issue of mindfulness within education. The arts engage in much more than drawing and painting as what is traditionally perceived pupils are supported in three domains; cognitive, psychomotor and affective, therefore what right does a member of a school committee have to comment on how necessary a subject is if they do not have the correct knowledge or comprehension of the basic principles introduced within a subject such as the arts.

Within my practice as a student art teacher I feel it is imperative to support the arts in education as it offers a holistic educational experience for adolescents. Having completed my placement in PME1 in a community school I feel I observed the investment in arts education to a high standard. The pupils within the school had a substantial amount of resources within the setting where all materials and subject specific rooms were available for the subject of Art. Within the TY programme the pupils were offered an Art module where they had the opportunity to work within an arts infused classroom when “artists are brought from outside in to enrich” (Hoffmann, 2008, pp.17) the classroom content where a visiting stained glass artist; James Nicholl worked throughout the academic year with the pupils. Within this time they had the opportunity to design and create a stained glass piece, which is situated in the oratory in the school building. In gaining the experience of working with a stained glass artist the pupils have the opportunity to get involved in “collaborative approaches in arts-in-education practice” (DES, 2012, pp.14). I also had the privilege of engaging in cultural experiences where the pupils, co-operating teacher and I travelled to Dublin to observe The Museum of Modern Art Ireland, Collins Barracks and The Hugh Lane Gallery, which “takes students outside of the school into the larger community,” (Hoffmann, 2008, pp.18). These elements within arts education promote the cultural heritage of our diverse nation and allow the pupils to obtain a holistic perception of the arts in practice.

A typical view of the arts in education is that it is a non-academic subject therefore it should not be included within school time and should be facilitated outside of school hours. I oppose this statement greatly as I feel the arts are exam based in Ireland. Therefore there is a curriculum to adhere to, however, the beauty of the arts is that societal topics can be incorporated within their work while maintaining the curriculum. Overall, I feel that the arts in education should be supported in education through offering a holistic experience for adolescents through placing an emphasis on creative engagement in order to facilitate pupil’s social and emotional development within second level education.

Cognitive,Psycomotor & Affective Learning Domains

The Cognitive, Psychomotor and Affective domains are also known as the head, the hand and the heart, which are all essential elements within art, craft and design education. The aim of art education is to allow pupils the opportunity to develop and progress within a creative learning environment. Pupils are introduced to a democratic atmosphere where they lead their own learning by taking ownership over the projects they are creating, problem solving and making decisions of their own accord.

Cognitive Domain of Learning

This domain includes content knowledge and the development of intellectual skills. This included the recall and recognition of specific facts and concepts that serve to develop intellectual abilities and skills. There are six major categories starting from the simplest behavior which is recalling facet to the most complex which is evaluation.Evaluation is a key element within the art,craft and design classroom where pupils are encouraged to self evaluate and critique the work of their peers. This is a key element of the pupils learning within the subject which can also have an influence on their future education and skills.

Affective Domain of Learning

The Affective domain includes feeling, values, appreciation, enthusiasms, motivations and attitudes. Emotional literacy and relational aesthetics are also key elements within this domain as it is essential to involve pupils in their own work in an affective manner in order to produce the best possible learning experience. It is also essential to offer the pupils the opportunity to address societal issues within the subject which can relate to and also develop coping mechanisms to deal with such sensitive topics. 

Psychomotor Domain of Learning

The Psychomotor domain includes physical movement, coordination, and the use of the motor-skill areas. Development of these skills requires practice and is measured in terms of speed,precision,distance procedures or techniques in execution. This is essential within the subject of art where the pupils physical skills are developed in order to facilitate their learning within the subject. The skills are developed through learning specific techniques in relation to disciplines such as;print,batik,painting and 3D work. Learning and practicing such skills and techniques will give the pupils confidence and self esteem within the subject thus enabling them to manipulate and experiment with materials in creating artwork. 

Artist /Teacher Initiative

Minister for Education and Skills, Richard Bruton TD, today launched the Teacher-Artist Partnership Research Report ‘Exploring teacher-artist partnership as a model of CPD for supporting and enhancing arts education in Ireland’.

Arts education enables children to explore alternative ways of communicating with others, encouraging ideas that are personal and inventive and making a vital contribution to the development of a range of intelligences.  Arts education is integral in helping to promote thinking, imagination and sensitivity, and arts related activities help children to make sense of the world; to question, to speculate and to find solutions; to deal with feelings and to respond to creative experiences. 

The Exploring Teacher- Artist Partnership Model began in September 2013, it is a Department of Education and Skills led (via ATECI) teacher-artist partnership initiative in primary schools delivered in partnership with the Department of Arts, Heritage, Regional, Rural and Gaeltacht Affairs (DAHRRGA).

The research report, an education led response to the 2013 Arts in Education Charter, provides evidence-based recommendations to foster and develop teacher-artist partnerships in innovative ways. The report authors, Dr. Kenny and Dr. Morrissey, highlight the complementary knowledge and skills that both teachers and artists bring to arts education in schools.

Minister Bruton congratulated Dr. Kenny and Dr. Morrissey on an excellent evidence-informed research report, and thanked Professor Coolahan (Chair of the Arts Charter Implementation Group) and all those involved in the Teacher-Artist Partnership initiative, saying: “I am delighted that the initiative has continued and is now at a stage where it will be delivered as a Summer Course in each of the 21 Education Centres in summer 2017. I wish the overall initiative continued success and I am now delighted to formally launch the research report”.

Minister Bruton said: “This research which has been carried out will be of tremendous value in informing this emerging area of policy and practice in Ireland in the area of arts education. I believe this model of teacher professional development has enormous potential to transform approaches to arts education in schools. In particular, it highlights the importance of supporting arts and education partnerships through professional development so as to create high quality arts experiences for children. Later this year we will launch the implementation plan for arts in education is a priority. The plan – “Creative Children” –has a key objective that by 2022 every child in Ireland will have access to tuition and participation in other art forms such as art, music, drama and coding. My Department will be a key partner in implementing this objective”. 

Room 13

Room 13 International represents a growing network of student-run arts studios in schools and community settings worldwide. Room 13 began in 1994, when a group of students established their own art studio in Room 13, Caol Primary School near Fort William, Scotland.

They ran the studio as a business, raising funds to buy art materials and employ a professional Artist in Residence to work with them. Within each Room 13 studio facilitates the work of young artists alongside a professional adult Artist in Residence, providing an exchange of ideas, skills and experience across the ages. In Room 13, students are encouraged to take the lead, be creative, and to think for themselves. This very simple idea has been embraced by people all over the world, giving rise to a movement that places art and creativity at the heart of learning. 

The 10 essential aims of Room 13 International are:

1. To support the widespread application of a higher quality of education with particular emphasis on philosophy and the arts.
2. To promote intellectual and artistic development across all ages.
3. To promote and support the combination of practical and theoretical arts education with basic business management skills,in anticipation of a more creative,more entrepreneurial and more confident society.
4. To promote creativity across the curriculum and the value of art for all.
5. To promote a more flexible approach to education,particularly the learning of the teaching of transferable skills for young people,in order to improve employment prospects.
6. To support the provision of studio spaces and basic employment opportunities for working artists willing to engage with the education system.
7. To offer,through participation,communication,education and training,a support network and outlet for children who are forced to live within difficult environmental and social circumstances,in all countries.
8. To assist in managing some of the social issues facing schools and their local communities particularly this involving young people who are overburdened or under values by the current education system.
9. To encourage the formation of professional working relationships between businesses and their local schools whereby class teaching is complemented with regular interaction between students and those who practice professionally in any given field.
10. To consult with the young people who elect to associate with Room 13,and to empower them above all in the processes involved.

Every Room 13 studio is different. They are run differently by their individual management teams, have different artists, keep different business hours and all have slightly different ways of working. In this way, Room 13 grows and adapts according to the needs of the students, artists, educators and the culture of the host community.

There are just a few core elements of working practice that translate to each and every studio:

Art

Room 13 artists have an international reputation for creating high quality work. Across the UK and beyond, we have taken part in exhibitions, commissions, residencies and collaborative work; and in presentations, films, radio programmes, publications and other media work. Each artists work is original and unique. In Room 13 artists are encouraged to think for themselves and every artist must think very seriously about what they are doing and why. Every piece of work is a product of an individual exploration of his or her own ideas. Open discussion of ideas, philosophy and thinking about anything and everything forms a constant background to the work in any Room 13 studio.

Enterprise

Each Room 13 is run as a business, generating income to pay for art materials and equipment.  There are almost as many money-making ideas as there are studios. Some Room 13s make cards to sell, others run shops selling stationery and other small items, and some take and sell the school photographs. Some studios provide services, deliver commissions, or raise investment through grants and sponsorship. With support from their Artist in Residence, the studio management team work together to order art materials, manage the studio space, deal with correspondence, bills and media requests, and make decisions about the studio and its development.

Thinking

Room 13 allows a different kind of thinking to take place. Everything begins with an idea. In Room 13, young people have the creative freedom, resources and support to follow their ideas and interests through. Questioning, exploring and constructive criticism are actively encouraged! In this way, Room 13 is not just about art, but about creativity and learning in its broadest sense. Room 13 demonstrates that young people can be responsible and achieve things way beyond the usual expectations that people have of them. Outside the classroom, it has applications in training and aspects of industry where creative thinking is necessary. Young people, students, school leavers, educators, artists and corporate professionals are among the wider public who contribute to and benefit from working with Room 13.It is this combination of creative thinking, enterprise and arts practice that has been integral to the success and longevity of Room 13.