Preservice teachers real-world experiences for teaching art education

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1 Preservice teachers real-world experiences for teaching art education Peter Hudson, Karen Lewis, & Sue Hudson Queensland University of Technology Abstract Art education in the elementary school may not receive the attention advocated by syllabus documents. Preservice teachers can be enactors of curriculum reform and hence their development for teaching art becomes critical in addressing reform issues. This study used two five-part Likert scale surveys to investigate preservice teachers perceptions of their real world experiences for teaching art education. The first survey focused on third-year preservice teachers perceptions (n=35) of their school-based experiences related to the university coursework while the second cohort of final-year preservice teachers (n=35) were surveyed about their mentoring for teaching art at the conclusion of their last field experience (final practicum). Results indicated overwhelming positive responses (mean score range: ; standard deviation range: ) for the school-based experiences in their third year of a Bachelor of Education. However, the final-year preservice teachers indicated they were unsure or disagreed they received mentoring on 24 of the 34 survey items. Preservice teachers noted the value of their school-based experiences for learning how to teach art but highlighted that mentors need to play a more active role in facilitating their learning during their field experiences. Keywords: art education, visual arts, preservice teacher, mentoring, tertiary coursework 1

2 Society and schools focus heavily on numeracy and literacy levels, which presents teachers with challenging curriculum demands and leaving little time for the arts (Russell-Bowie, 2009). Teachers may lack confidence if they have had limited or no formal education on teaching art (Duncum, 1999). Other teachers may be unsure of how to use their artistic abilities and skills to assist student learning (Alter, Hays, & O Hara, 2009). Literature in this field highlights that the arts can make substantial contributions to student learning, particularly as tools for expressing ideas, concepts and feelings, and as a way to communicate with others (Dixon & Senior, 2009; Lind, 2007; Russell-Bowie, 2009). The arts are works of intelligence that convey meanings and can be used in the classroom to motivate students in learning curriculum knowledge (e.g., science, social science, and literacy) and can also aid in the development of social competence (Alter, 2010; Moga, Burger, Hetland, & Winner, 2000; Wright, 2001). Wright (2001) argues that educational systems need to support students development of intellectual, interpersonal, social and emotional skills through art education. Educators (Alter, 2010; Eisner, 2002) claim art as an important feature of education that encourages students to think creatively and develop fine motor skills. These acquired skills can be utilized as tools for advancing knowledge in other learning areas of the curriculum (Russell-Bowie, 2009). A quality arts education program can engage students by developing imagination, communication, critical thinking, processing skills and metacognition (Shillito, Beswick, & Baguley, 2008; Wilks, 2005). Eisner (2004) explains that visual art is a form of intelligence that can be created, appreciated and understood through education. Smith-Shank (2008) concurs with Russell-Bowie (2009) who claims visual culture expands personal reflections by decoding and encoding visual culture. Through interpretive intelligence, art assists students to increase their capacity to understand the world from a variety of perspectives, including developing tolerance and accepting diversity (Shillito et al., 2008). Successful learning in the arts can facilitate success in schooling and life (Alter, 2010; Russell-Bowie, 2009). Furthermore, arts discourse allows communication of shared understandings within other curriculum areas such as maths and science, such as providing an interpretive framework for explaining physical and social phenomena (Dixon & Senior, 2009; Wright, 2001). Designing cross-curricula units that use art can facilitate student problem solving, transforming ideas into practical forms. Teachers can use art to build systematic and progressive knowledge, skills and behaviours that prepare students for a richer learning context (Eisner, 2004). 2

3 Thus, this article investigates the extent to which teacher education programs prepare preservice teachers to teach across all curriculum areas by providing a range of advocated art education practices and teaching strategies (e.g., Alter, 2010; Dixon & Senior, 2009; Russell-Bowie, 2009). Elementary preservice teachers need to develop competencies for teaching art education (Russell-Bowie, 2006). Along with university coursework, practicum experience is a core component of a teacher education program. In-school contexts can advance preservice teachers professional skills for real-world teaching (Keogh, Dole, & Hudson, 2006). Learning to teach art requires preservice teachers to engage in practical applications within classrooms. Therefore, school experiences with purposive mentoring can support the preservice teacher for designing and implementing a valuable art education program (Eddy, 2006; Ganser, 2008; Lacey, 2006). These experiences can develop preservice teacher competence and confidence for teaching art (XXXX). Confidence or self-efficacy is a belief in one s capabilities to organise and execute the course of action required to produce given attainments (Bandura, 1997, p. 3). What teachers believe about their teaching capabilities can have a strong influence on their teaching, and teachers with low self-efficacy may not feel motivated to take risks for delivering arts education (Hamilton, 2008). Art teaching opportunities can lead to increased confidence and competence for preservice teachers, along with enhancing student outcomes (Garvis, 2008). A quality relationship between the mentor and preservice teacher can aid preservice teachers learning (Eddy, 2006). Facilitating practices such as reflection on art teaching practice can assist the preservice teacher to develop teaching skills (Starr-Glass, 2005; Walkington, 2005). Mentors can encourage preservice teachers to bounce ideas, challenge thoughts and develop teaching practices (Ganser, 2002; Hayes, 2004). Eisner (2001) and Hudson (2006) agree that elementary teachers are not experts in all key learning areas and indicate that teaching art possibly will receive less attention than other subject areas. Hence, the mentor s role becomes pivotal for engaging preservice teachers in pedagogical discussion and reflective thinking by providing opportunities for teaching art (Ehrich, 2004; Hamilton, 2008). Mentors can foster authentic art teaching opportunities for preservice teachers to engage students in higher-order thinking around global and local issues through art (Hamilton, 2008). 3

4 Mentor teachers can give moral support, guide curricular instructions and help develop teaching skills of the preservice teacher (Ganser, 2008; Lacey, 2006), including art education. Educators (Garvis, 2008; MacCallum, Beltman, & Palmer, 2005) emphasise positive mentor attributes in successful mentoring programs to develop preservice teachers self efficacy. Mentoring can help preservice teachers to understand their responsibilities in relation to school policies and practices. Knowledge on policies and procedures equips them with requirements for teaching towards a productive practicum experience (Ganser, 2008; Keogh et al., 2006). Art curriculum documents provide directives and guidance on teaching art at designated grade levels. For instance, Education Queensland (2006) promotes a commitment to arts education for all students by advocating Ways of Working and Knowledge and Understanding processes. For each year of a student s education when it comes to implementing an arts program, schools tend to lean more towards a music position than visual arts implementation (Forrest & Jeanneret, 2005). Therefore, distinctive art teaching policies and practices need to be developed that identify and cater for students artistic needs (Alter, 2010) and highlight the value of art education (Alter, et al., 2009). Arts education offers rich and complex learning opportunities for students by fostering lifelong learning, fulfilment and providing meaningful real-world connections (Dinham, Wright, Pasco, MacCallum, & Grushka, 2007). Involvement in art education nurtures students cognitive, social, and personal development, and encourages preservice teachers to gain success from their practicum (Fiske, 1999). Mentor teachers need to model effective teaching strategies and classroom management skills to support preservice teachers in their teaching practices (Harrison, 2008). Preservice teachers must develop aesthetic and creative sensitivities through ongoing exposure to various art forms during teacher education training and practicums (Culpin, 2008; Hamilton, 2008; Russell-Bowie, 2005). Preservice teachers require feedback from their mentoring teachers for professional growth. Constructive feedback can guide the preservice teacher on developing art teaching practices (Glasson, 2009; Wright & Pasco, 2004). A new Australian national curriculum is being developed for the arts and through collaborative planning ( This curriculum advocates XXXX 4

5 Context This study was undertaken at a large university in Queensland that included two cohorts of participants completing a four-year Bachelor of Education (primary). The first cohort involved in the research was third year preservice teachers attending a small satellite campus of the large university. The second cohort was final year preservice teachers attending the large metropolitan campus. The university experiences of these two cohorts were quite diverse so will be outlined separately. Cohort 1: third year preservice teachers The third year preservice teachers attended the satellite campus set in a low socio-economic district; as a result community engagement was a focus at this campus. This is underpinned by the notion that preservice teachers as role models in schools or, school students undertaking enjoyable activities while visiting the campus, can build aspirations that university can be an option for everyone. The preservice teachers involved in this aspect of the study have been involved in the community engagement activities supported at this campus. Hence, this cohort of preservice teachers as well as undertaking the regular course structure have assisted students with reading difficulties, undertaken LEGO Robotics challenges at the campus, assisted in the making of a DVD that promoted positive mentoring by supervising teachers and, relevant to this study, delivered art activities to students on campus as part of the Art Works program. Due to the course progression, this cohort had completed only one practicum at the end of the previous year to involvement in this study. In semester one of their third year preservice teachers complete a 13 week core unit focussed upon the arts. It consisted of seven weeks of visual arts and six weeks of music. At this campus, the seven weeks of visual arts culminated in a two day program known as Art Works where 35 local school students ranging from grades 4-6 visited the campus from 9am to 1pm to participate in visual art activities. Preservice teachers had opportunities to teach some of the lessons they had prepared as part of the assessment for the unit while the students had the opportunity to visit the campus, learn more about the university and, experience art activities. Figure 1 below is an example of one of the activities the third years prepared for the visiting students. 5

6 3D Fish Art element: Dimension Year Level: 2-4 Materials: A4 thin card blank, A4 thin card with fish design, scissors, stapler, magazines, cotton balls, tissue paper, cellophane, paper, newspaper, paint, oil pastels, paint brushes, paint shirts, glue, foil, markers, streamers, pencils Instructions: 1. Students design a large fish using A3 paper and cut out it out. 2. Students trace the cutout fish onto a piece of cardboard. They further decorate the cutout fish using a range of artforms and materials. 3. Students staple the cutout fish to the cardboard leaving a big enough gap to fill the fish with scrunched newspaper, cotton balls or magazine pages. 4. Fish is then stapled to close the gap (only 8 staples required, teacher will need to assist and monitor use of staplers). The survey instrument designed for this study was administered to the third year cohort on the final day following the conclusion of the Art Works program. Cohort 2: Fourth year preservice teachers The final year preservice teachers involved in this study attended the large metropolitan campus of the same university. This cohort were undertaking the same degree as the third years, however, other than practicum, did not experience the real world community engagement activities offered at the smaller campus. This final-year cohort had completed the 13 week visual arts and music unit in the previous year and, because they were in their final year, had completed three more practicum experiences in varied contexts compared to the third year cohort that had only completed one. For this cohort the survey was administered in the final week of their university degree immediately after completing their final practicum and internship. Data collection and analysis This study used two surveys, one for each cohort. Each survey was constructed using a fivepart Likert scale (strongly disagree=1, disagree=2, uncertain=3, agree=4, and strongly agree=5). Raw data were entered into SPSS for analysing descriptive statistics (i.e., percentages, mean scores [M], and standard deviations [SD]). Means and variances for items scored on a continuum (such as a five-point Likert-type scale) are calculated simply the way other means and variances are calculated (parenthesis included; Kline, 2005, p. 95). Two 6

7 groups of participants (n=35 third-year preservice teachers & n=35 final-year preservice teachers) were unrelated; however both were involved in the same Bachelor of Education degree and both had been involved in the same visual art core unit held at the same university. The only difference was the inclusion of the Art Works program for the final years cohort. The first survey (Appendix 1) investigated learning experiences for teaching art and was administered at the completion of the visual arts component of a core unit to 35 third-year preservice teachers. There were additional written responses to the survey, viz: What aspects of teaching visual arts have you learned from this experience? What are the implications of this learning for your teaching practice? What specifically did you gain from the realworld teaching experiences? What would you like to see improved in this program? Responses were collated into themes as they emerged and frequencies of each theme were tabulated across the range of responses (Hittleman & Simon, 2006). The second survey (Appendix 2) investigated final-year preservice teachers (n=35) perceptions of their mentoring for teaching art in the elementary school and was administered at the conclusion of their final practicum experiences. The theoretical framework for this survey was constructed around a five-factor model for mentoring, namely: personal attributes, system requirements, pedagogical knowledge, modelling, and feedback (Hudson, 2007), and items (Appendix 2) associated with each factor that have been identified and justified with the literature (see Hudson, Skamp, & Brooks, 2005). Table 1. Participant Demographics Demographics Third-year preservice teachers (n=35) Final-year preservice teachers (n=35) Gender 17% male, 83% female 26% male, 74% female Age 51% <21 years 23% yrs 26% yrs 9% <21 years 60% yrs 23% yrs 8% >50yrs Art lessons taught 2% No lesson 3% No lesson 7

8 82% 1-4 lessons 11% 5-10 lessons 2% >10 lessons 60% 1-4 lessons 37% 5-10 lessons Results and discussion Third-year preservice teachers (n=35) had an overwhelming positive response to their tertiary coursework on art education. Results indicated that % of these preservice teachers agreed or strongly agreed that the school-based experiences linked to the tertiary education coursework aided their development of skills for teaching art education (mean score range: ; standard deviation range: ). Only three items had 9-11% of preservice teachers uncertain if they had developed these skills. These items were lesson preparation skills, understanding of how to evaluate learning, and strategies for assessing students learning in visual arts. WHY? Extended written responses These preservice teachers identified aspects of teaching visual arts they had learnt. Although planning and implementing art lessons were high on the list of participant responses, there was also a need for learning how to fuse visual arts with other key learning areas. Visual arts is a subject area that can be neglected in the primary school especially with recent focuses on national testing and the Master s Report (Masters, 2009) focusing on literacy, numeracy and science education. Preservice teachers written responses provided insight into their understandings for teaching art education. One preservice teacher claimed, The need for freedom of self expression in art instead of just focusing on product. This program provided the preservice teachers with a better understanding of students when planning/creating learning episodes and ideas for student motivation. There was also the notion of developing art teaching skills before entering into an extended practicum (field experiences) that may facilitate confidence and alleviate nervousness, for instance, Teaching art with students before teaching it on prac was really helpful because now we know how it is supposed to run; now I am not as nervous thinking about teaching art alone while on prac. As they were in their third year of a BEd, these preservice teachers recognised the importance of prior knowledge about the student and the school context. Some claimed the needed to know the student in order to Link more closely to prior knowledge or current activities students are doing in class. Rationalising art 8

9 education may make a difference to how preservice teachers perceive its relevance in the school curriculum. Indeed, one preservice teacher highlighted the need to improve the reason for creating art works. These preservice teachers stated what they gained from the real-world experience of teaching art to students. One suggested having insight into how older boys think about art, The ability to see how boys relate to art and how to talk to year 6 boys. There was a realisation that art had a significant place in primary student education, to illustrate, I now have an appreciation of visual arts and its importance to curriculum. And yet some wrote about their pedagogical development, for instance, (I have a) better understanding of student response to instruction and how to modify my language to make instructions clearer. Program improvements were noted mainly in the survey responses, however, some students wrote they would like more time spent with students with a comfortable teacher-student ratio. Final-year preservice teachers experiences with teaching art The final-year preservice teachers claimed the following about their mentors: 14% were male, 86% were female and their demonstration art lesson varied during the practicum period (17% - No lesson, 14% -1 lesson, 9% -2, 6% -3, 14% -4, 40% >5 lessons). These preservice teachers were asked if art was a strength of their mentors (26% strongly disagreed, 34% disagreed, 20% uncertain, 14% agreed, 6% strongly agreed). Eighty percent of preservice teachers reported that their mentor teachers were supportive of them teaching art during their last practicum. However, this was not reflected in other practices such as instilling positive attitudes (46%) or confidence (42%) in teaching art (Table 2). Supporting preservice teachers reflection on teaching practices aims to foster improvements in professional practices (Peeler & Jane, 2003); yet only 40% of preservice teachers perceived their mentors aided them to reflect on their art teaching practices. Table 2 Personal Attributes for Mentoring Primary Art Teaching (n=35) Mentoring Practices %* M SD Supportive Comfortable in talking Instilled positive attitudes

10 Listened attentively Instilled confidence Assisted in reflecting * %=Percentage of mentees who either agreed or strongly agreed their mentor provided that specific mentoring practice. Preservice teachers taking part in this program identified only a small percentage of mentor teachers who discussed the arts curriculum and school policies for teaching art (Table 3). This could be attributed to the issue that at the primary school level, teachers responsible for visual arts education generally have inadequate pedagogical preparation, minimal resources and low school support (Alter et al., 2009; Dixon & Senior, 2009). Additionally, many primary schools employ visual art teachers as relief teachers for classrooms. The majority of preservice teachers claimed that their mentors did not provide mentoring around the system requirements for teaching art, which may be linked to the mentor s lack of confidence for teaching art education (e.g., see Garvis, 2008; Russell-Bowie, 2005). Table 3 System Requirements for Mentoring Primary Art Teaching (n=35) Mentoring Practices %* M SD Discussed aims Discussed policies Outlined curriculum * %=Percentage of mentees who either agreed or strongly agreed their mentor provided that specific mentoring practice. The majority of preservice teachers perceived they did not receive mentoring in all pedagogical knowledge practices listed in Table 4, other than one (timetabling for art lessons). Thirty-five percent of preservice teachers identified that during their last practicum their mentor teachers discussed art content knowledge and 51% of mentoring teachers assisted with timetabling of arts education. Garvis (2008) promotes that teacher efficacy is a teacher s belief in their own ability to affect student performance. Indeed, preservice teachers preparedness plays a critical role in their attainment of knowledge and understanding for teaching art, which can be obtained through school experiences. Only 34% of mentor teachers assisted preservice teachers in planning art lessons and 40% guided preservice teachers 10

11 preparation of lessons during practicum (Table 4). Forty percent of preservice teachers specified that the mentor teacher provided guidance during art lesson preparation on their last practicum. Teachers who want to be successful in arts education exert more effort in preparation and delivery for successful outcomes (Garvis, 2008). Table 4 Pedagogical Knowledge for Mentoring Primary Art Teaching (n=35) Mentoring Practices %* M SD Assisted with timetabling Assisted with classroom management Provided viewpoints Discussed implementation Assisted with teaching strategies Guided preparation Discussed problem solving Discussed content knowledge Assisted in planning Discussed questioning techniques Discussed assessment * %=Percentage of mentees who either agreed or strongly agreed their mentor provided that specific mentoring practice. Twenty-three percent of preservice teachers reported that their mentor teachers modelled the use of syllabus language during their final practicum. Preservice teachers claimed that 54% of mentor teachers modelled classroom management strategies and 57% modelled good rapport with the students learning art and 60% displayed enthusiasm when teaching art (Table 5). Table 5 Modelling Primary Art Teaching (n=35) Mentoring Practices %* M SD 11

12 Displayed enthusiasm Modelled rapport with students Demonstrated hands-on Modelled classroom management Modelled effective teaching Modelled teaching challenges Modelled a well-designed lesson Used syllabus language * %=Percentage of mentees who either agreed or strongly agreed their mentor provided that specific mentoring practice. Sixty percent of preservice teachers reported they were provided with oral feedback on their art teaching. Although, only 32% of mentor teachers provided written feedback to preservice teachers on their art teaching. However, preservice teachers perceived that only 35% of mentor teachers clearly articulated what was needed to improve the preservice teacher s art teaching, and only 38% provided feedback about their evaluation of teaching practices (Table 6). Table 6 Providing Feedback on Primary Art Teaching (n=35) Mentoring Practices %* M SD Provided oral feedback Observed teaching for feedback Reviewed lesson plans Provided evaluation on teaching Articulated expectations Provided written feedback * %=Percentage of mentees who either agreed or strongly agreed their mentor provided that specific mentoring practice. XXXXXXX Discuss both 3 rd and 4 th years differences here - arguments. In their third year of the degree all preservice teachers were involved in the art education teaching experiences. However, only those final years who had mentors involved in art education may have had art teaching experiences in the school during the extended practicum period. Third years had 12

13 guided experiences whereas fourth years mentoring (and teaching) experiences in art appeared haphazard. Fourth year experiences depended upon the quality of the mentoring. Third years had small groups of students to build their confidence. Those who taught art in their final years may have had full class experiences. Conclusion Both the third and final-year preservice teachers had real-world art teaching experiences. The third years experiences were a series of short sharp art activities that could be implemented with primary students in the university setting. The final years had longer practicum involvement and could implement art education over several weeks duration. In addition, they had mentors assigned to the class and taught whole class art lessons. The third years initial reaction to the art teaching experiences was overwhelmingly positive. They brought forward the strengths of the program with insight into their pedagogical development, such as understanding the students zone of proximal development, needs and interests for learning about art. Government, educators and key stakeholders should work collectively to nurture the creative skills and capacities of all students and preservice teachers through an education system rich in arts (Duncum, 1999; Ehrich, 2004; Hudson & Hudson, 2007). 13

14 Acknowledgements: This work was conducted within the Teacher Education Done Differently (TEDD) project funded by the Australian Government Department of Education, Employment and Workplace Relations. We would also like to acknowledge Jenelle Edser as project officer and Lauren Wedge. References Alter, F. (2010). Using the visual arts to harness creativity. UNESCO Observatory; 1(5). Ashton, L. (1999). Deconstructing the aesthetic discourse of drawing: a study of generalist primary teachers in transition. Australian Art Education; 22(2); Bennett, L. and Paul, P. (2008). Taking care of new teachers at Chandler Primary. Education Horizons; 10(2); Beutel, D. and Spooner-Lane, R. (2009). Building mentoring capacities in experienced teachers. The International Journal of Learning; 16(4); Brown, D. (2005). Teachers' implicit theories of expression in visual arts education: a study of Western Australian teachers. Imprint: Joondalup WA: Edith Cowan University, 20 Clarke, M. (2004). Reconceptualising mentoring : reflections by an early career researcher. Issues in Educational Research; 14(2); Coutts, B. (2004). Bridging the gap: becoming a mentor. Training and Development in Australia; 31(2); Culpan, A. (2008). Scaffolding creativity in arts education. Victorian Journal of Music Education; p Dawes, G., and Dawes, C. (2005). Mentoring 2: A program for 'at risk' indigenous youth. Youth Studies Australia; 24(4); Dinham, J. (2007). Delivering primary visual arts education: where rhetoric meets reality. Australian Art Education; v.30 n.1 p.16-30; Dinham, j., Wright, P., Pascoe, R., MacCallum, J., Grushka, K. (2008). Proving or improving visual education : implications for teacher education. Duncum, P. (1999). What elementary generalist teachers need to know to teach art well. Art Education; 52(6); Eddy, C. (2006). You've got a friend. Teacher; 174, Ehrich, L. C. (2004). Benefits and pitfalls of mentoring for mentors. Perspectives on Educational Leadership; 14(2). Ehrich, L. C. (2008). Three P's for the mentoring of women educators: Purpose, power, propriety. Redress; 17(2); Eisner, E. W. (1994). The Educational Imagination: One the design and evaluation of school programs. 3 rd Edition. New York, New York, Macmillan College Publishing Company. Eisner, E. W. (2001). Should we create new aims for art education? Art Education 54(5), Eisner, E. W. (2004, October 14). What can education learn from the arts about the practice of education? International Journal of Education & the Arts, Exley, B. (2008). Grammar in the brain: literacy knowledge for middle years visual arts teachers. Literacy Learning : the Middle Years; v.16 n.1 p.18-25; Ganser, T. (2002). How teachers compare the roles of cooperating teacher and mentor. Educational Forum, 66(4), Ganser, T. (2008). Mentoring beginning teachers. Education Horizons; 10(2), Garvis, S. (2008).Teacher self-efficacy for arts education : defining the construct. Australian Journal of Middle Schooling; v.8 n.1 p Gattenhof, S. (2006). Working (LATT)erally : one experience of arts education in South Korea. NJ (Drama Australia Journal); v.30 n.1 p

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16 O'Mahony, G. R. and Matthews, R. J. (2006). Wisdom meets hope: Mentoring relationships in supporting the development of beginning principals. Leading and Managing; 12(1); Paige, K., and Whitney, J. (2008). Vanishing boundaries between science and art : modelling effective middle years of schooling practice in pre-service science education. Teaching Science; v.54 n.1 p.42-45; Pascoe, r. (2007). Harmonising or homogenising arts and education? Perspectives on the arts in Australian schools outside in and inside out. Journal of Artistic and Creative Education; v.1 n.1 p Peers, C. (2008). Investigating myths and perceptions of visual arts education: findings of a pilot study on current practices in visual arts pedagogy in Victorian primary schools. Australian Art Education; v.31 n.1 p Penman, J. and Willsher, K. (2007). Academic partnerships at a regional university campus: A fresh look at faculty mentoring. Education in Rural Australia; 17(2); Roffey, S. (2007). Behaviour, belief and action. Every Child; 13(2), Rolfe A. How to design your mentoring program. Training and Development in Australia; 35(5); Russell-Bowie, D. (2006). So why engage in the arts? The relationship between learning in the arts and other key learning areas and the development of skills in key workplace competencies. : In 'AARE 2005 International education research conference : UWS Parramatta : papers collection' : [Conference of the Australian Association for Research in Education, 27 November - 1 December 2005] compiled by P L Jeffrey. Melbourne : Australian Association for Research in Education, 2006 Russell-Bowie, D. (2007). Creating harmony in practice and pedagogy across the primary curriculum through an innovative arts project. Journal of Artistic and Creative Education; v.1 n.1 p ; Smith-Shank, D. (2008). Visual culture and issues-based curricula. Australian Art Education; v.31 n.1 p Starr-Glass, D. (2005). From teaching to mentoring: Principles and practice, dialogue and life in adult education. Journal of Transformative Education, 3, Swainston, A. (2007). A primary school arts festival, 30 primary generalist student teachers, a street parade and six Macs. Victorian Journal of Music Education; p Tarr, K. (2008). Enhancing environmental awareness through the arts. Australian Journal of Early Childhood; v.33 n.3 p.19-26; Terreni, L. (2008). Providing visual arts education in early childhood settings that is responsive to cultural diversity. Australian Art Education; v.31 n.1 p.66-79; Walkington, J. (2005). Mentoring preservice teachers in the preschool setting: Perceptions of the role. Australian Journal of Early Childhood; 30(1); Walsh, C. (2008) Teaching literacy in the new media age through the arts. Literacy Learning : the Middle Years; v.16 n.1 p Wilks, S. (2005). Only good for the art class : I don't think so! Australian Art Education; v.28 n.1 and 2 p Wright, P., and Pascoe, R. (2004). Nurturing change in generational arts education: a West Australian experience. Change: Transformations in Education; v.7 n.2 p ; Wright, S. (2001). Guiding learning in the Integrations of the Arts. Contemporary Issues in Early Childhood; 2(2);

17 Appendix 1 Teaching Experiences for Learning to Teach Arts (TELTA) INSTRUCTIONS: The following statements focus on your school-based / student related experiences in the program. Please indicate the degree to which you disagree or agree with each statement below by circling only one response to the right of each statement. Key SD = Strongly Disagree D = Disagree U = Uncertain A = Agree SA = Strongly Agree During my real-world teaching experiences in this unit, I felt I had developed: 1. my understanding of creating a safe and supportive learning environment. SD D U A SA 2. educational language from the subject syllabus. SD D U A SA 3. lesson preparation skills. SD D U A SA 4. an understanding of school practices and policies. SD D U A SA 5. appropriate educational challenges for students. SD D U A SA 6. ways to motivate students for teaching visual arts. SD D U A SA 7. a good rapport with students while teaching. SD D U A SA 8. my understanding on how to implement visual arts lessons SD D U A SA 9. further enthusiasm for teaching. SD D U A SA 10. an understanding of how to timetable art lessons. SD D U A SA 11. my knowledge of the syllabus documents. SD D U A SA 12. effective student management strategies. SD D U A SA 13. an understanding of how to evaluate learning. SD D U A SA 14. effective teaching practices suitable for art. SD D U A SA 15. my understanding of a lesson structure. SD D U A SA 16. effective hands-on ideas for students learning. SD D U A SA 17. my content knowledge required for teaching art. SD D U A SA 18. positive attitudes for teaching visual arts. SD D U A SA 19. reflective practices for improving my teaching. SD D U A SA 20. my planning for teaching visual arts SD D U A SA 21. a greater understanding of the aims of teaching. SD D U A SA 22. more confidence in teaching visual arts. SD D U A SA 23. my problem solving strategies for teaching visual arts. SD D U A SA 24. my lesson plans for teaching visual arts. SD D U A SA 25. an understanding of well-designed visual arts activities for students. SD D U A SA 26. new viewpoints for teaching visual arts. SD D U A SA 27. active listening skills when teaching visual arts. SD D U A SA 28. strategies for assessing students learning in visual arts. SD D U A SA 29. ways to improve my teaching in visual arts. SD D U A SA 30. my monitoring of students visual arts activities with constructive feedback. SD D U A SA 17

18 Appendix 2 Mentoring for Learning to Teach Art Education Instructions: The following statements are concerned with your mentoring experiences in art teaching during your last field experience (practicum). Please indicate the degree to which you disagree or agree with each statement below by circling only one response to the right of each statement. Key: SD = Strongly Disagree D = Disagree U = Uncertain A = Agree SA = Strongly Agree During my last field experience (i.e., practicum) for teaching art my mentor: 1. was supportive of me for teaching art. SD D U A SA 2. used art language from the current art syllabus. SD D U A SA 3. guided me with art lesson preparation. SD D U A SA 4. discussed with me the school policies used for art teaching. SD D U A SA 5. modelled art teaching. SD D U A SA 6. assisted me with classroom management strategies for teaching. SD D U A SA 7. had a good rapport with the students learning art. SD D U A SA 8. assisted me towards implementing art teaching strategies. SD D U A SA 9. displayed enthusiasm when teaching art. SD D U A SA 10. assisted me with timetabling my art lessons. SD D U A SA 11. outlined state art curriculum documents to me. SD D U A SA 12. modelled effective classroom management when teaching art.sd D U A SA 13. discussed evaluation of my art teaching. SD D U A SA 14. developed my strategies for teaching art. SD D U A SA 15. was effective in teaching art. SD D U A SA 16. provided oral feedback on my art teaching. SD D U A SA 17. seemed comfortable in talking with me about art teaching. SD D U A SA 18. discussed with me questioning skills for effective art teaching. SD D U A SA 19. used hands-on materials for teaching art. SD D U A SA 20. provided me with written feedback on my art teaching. SD D U A SA 21. discussed with me the knowledge I needed for teaching art. SD D U A SA 22. instilled positive attitudes in me towards teaching art. SD D U A SA 23. assisted me to reflect on improving my art teaching practices. SD D U A SA 24. gave me clear guidance for planning to teach art. SD D U A SA 25. discussed with me the aims of art teaching. SD D U A SA 26. made me feel more confident as a art teacher. SD D U A SA 27. provided strategies for me to solve my art teaching problems. SD D U A SA 28. reviewed my art lesson plans before teaching art. SD D U A SA 29. had well-designed art activities for the students. SD D U A SA 30. gave me new viewpoints on teaching art. SD D U A SA 31. listened to me attentively on art teaching matters. SD D U A SA 32. showed me how to assess the students learning of art. SD D U A SA 33 clearly articulated what I needed to do to improve my art teaching. SD D U A SA 34. observed me teach art before providing feedback. SD D U A SA 18

19 Describe one of your artworks you did today: An awesome collage tree it had different colours on it I did my hands and cut them out and dot painted them. Aboriginal painting. A milky way, paint blowing. Printing with paddle pop sticks and paint Fun a little bit of origami with cubes Crazy faces where you make random faces We made cubes and they had the seasons on it and I drew a snowman for winter Shading and tinting. You had to mix colours to see what are light and dark. What did you think of this art activity? It was awesome and fun. Extraordinary, exciting and fun. It was cool. I liked it because it was different. It was really fun; I enjoyed putting the dots on the best. What did you think of the university teacher you had for the artworks? They were very nice and sweet Kind and helpful. Cool Fantastic and helpful. Funny, nice awesome, fantastic. They were nice and they were pretty. Why? Because you learn new and different things. It was great. The people were very nice. It was fun and I love the art activity. Because its like being in heaven because everyone is so nice and sweet. Because we used glue, scissors, pencils and crayons. 19

20 Because there were lots of art to do. Everyone was really nice and I like the campus. Because a lot of it was awesome and I wanted to come and try something different. 20

21 Thus, some mentor teachers may believe that they do not have adequate art teaching ability to achieve good student performance and will focus on areas they can successfully achieve specific tasks (Garvis, 2008). Hamilton (2008) outlines the importance of art educators being able to critically reflect on their pedagogical practices and how these practices traverse with their students lives. Preservice teacher preparation can break down art education barriers and broaden their thinking about art education (Russell-Bowie, 2009). 21