Blended Learning and Diversity

1.3.13

Blended learning?

http://teaching.unsw.edu.au/online-teaching

retrieved from:

http://wikieducator.org/Flexible_Learning/What_is_Flexible_Learning%3F

The possibility to use any form of technology is pretty much non-existent (no cell phones, access to Google or Youtube) at Addiction Rehab, hence there can't be any blending of f2f and technology. Because of this, I might look at pedagogy in my teaching context. 
Saying that, I do encourage students to research their area of interest on Google or Youtube once they have weekend leave.

Logic tells me that constructivism, in it’s various different forms, is what I mostly apply in my teaching context:

Constructivism: http://en.wikipedia.org/wiki/Constructivism_(learning_theory)

Constructivism to me simply means: building upon one’s existing knowledge.

There is also:

Experiential learning: (as part / a form of Constructivism)

I found this Figure 1 in the Wikipedia on Google:

Figure 1 – David Kolb’s Experiential Learning Model (ELM) [7]

	→	Concrete Experience	↓
Active Experimentation				Reflective Observation
	↑	Abstract Conceptualization	←

Kolb, D. (1984). Experiential Learning: experience as the source of learning and development. Englewood Cliffs, NJ: Prentice Hall. p. 21

Retrieved from: http://www2.le.ac.uk/departments/gradschool/training/resources/teaching/theories/kolb

Sourced from: http://en.wikipedia.org/wiki/Experiential_learning

And:

On Social constructivism:

'Social constructivism is a sociological theory of knowledge that applies the general philosophical constructivism into social settings, wherein groups construct knowledge for one another, collaboratively creating a small culture of shared artifacts with shared meanings. When one is immersed within a culture of this sort, one is learning all the time about how to be a part of that culture on many levels. Its origins are largely attributed to Lev Vygotsky.'

Vygotsky, L. (1978). Mind in Society. London: Harvard University Press.

Sourced from: http://en.wikipedia.org/wiki/Social_constructivism

(Reference is copied and pasted from the Wikipedia, hence might not be accurate).

As to blending anything – it might eventuate in an art class that constructivism and experiential learning will combine with a tad of social constructivism. 
I do not apply any particular pedagogical theory 'on purpose'. 
Reflecting on some situations, they could be ‘labelled’ this or that pedagogical approach but in my teaching context a lot of interaction/learning happens in the moment, is unpredictable and often not reliable as circumstances and people keep changing.

Two examples of where Constructivism (or any other form of –ism) is simply not going to make any difference:

Students A & B, Age 23-25, NZ European:

1^st class: A making cards; B not feeling well, has an attempt on some stone carving. This was left unfinished.

2^nd class: A & B decide to colour in some pictures in a colouring in book (recommended age: 5)

3^rd class: A making a card; B not motivated to do much at all.

I asked both students in the 3^rd class why they chose to do colouring in (in the previous class): Both answered that they felt doing art is exposing themselves and part of their personality. They both found it saver having a pre-existing template to work with, which only needed to be coloured in, hence no personal exposure or judgment on their skill (in their view).

I could tell that both students didn’t expect me to ask them that question. One turned up late to class so didn’t hear the other’s answer. Both were taken by surprise and answered spontaneously, hence I got what really bothered them rather than an ‘edited version’. I could see that they thought about what they said while they said it and learned something about themselves as they seemed to be slightly surprised at their own answer.

Both students left the program (uncompleted) during that week.

Students exhibiting strongly resistant behaviour don’t seem to last long in the overall rehabilitation program. 

Art & Creativity is a broad subject and it could be perceived as acceptable that colouring in a colouring in book is a suitable, creative activity. Here we could have plenty of pros and cons on this point.
Does this encourage other students in the group to choose a project, which is at a low scale of being a challenge? It’s possible.
Another point is that they chose to do this ‘project’ as a pair – not as an individual person. I get the feeling that they would not have felt brave enough to do this as an individual and actually wanted to see what the teacher (me) would say. In that actual class I only asked them if they were happy doing what they were doing. To which they replied ‘yes’.
The class after that I mentioned that I was interested in the ‘why’ they made that choice of creative project (which they didn’t expect to happen).
The class after that, they both weren’t there as they left the program together.

Freedom of choice is encouraged in my class. I’m all for experiential, practical learning.
I had a student a while ago who chose to paint stripes on everything – boards, sticks, stones etc. Why not stripes? He ended up creating some interesting ‘stripy art pieces’, which he was happy to take home at the completion of his program. He will have gained plenty of knowledge of stripes (any colour/colour combinations, shapes – thick/thin, squiggly or straight etc) and he can build up on that knowledge if ever he does more artwork with stripes.

Before anyone does too much of the ‘raising eyebrows’ over this ‘stripe business’, Momoko Sudo, a Japanese Artist, is doing quite well creating very interesting art work with stripes (lines): http://linescaping.com/

Not worked out yet:

Student C, Age 72, NZ European

1^st class: Helps creating ‘play dough’ with another student, who was asked if he wanted to make it. There was a surplus of ‘Crème of Tartar’ (mix up of order/request from the office/random event). He’s happy to do so.

2^nd class: Tells me of various artists he knows but doesn’t feel like he is inclined to create any art himself.
He decides to make a card for another person in the group. For this I pair him up with a ‘buddy’ who’s doing a card for the same person. They might bounce ideas off each other. Doesn’t find any joy in it and this exercise does result in a rather half-hearted card.
He mentions that he needs to prepare his ‘life story’ for group. I suggest writing it in art class and we will consider it ‘creative writing’. Student is happy with this and spends the rest of Art class doing just that.

Considering his age and limits in enthusiasm for the topic, I wont put any pressure on him but will keep suggesting options (this includes showing him a folder, which I compiled, with info/print outs of simple art/craft projects for any level of skill) and monitoring responses. Through this I might find something suitable, which he will enjoy and can do easily.

When constructivism (building on previous knowledge) makes it easy for me as a facilitator:

Student D, Age 25, NZ European

Right from the first art class this student gets into designing and painting a board (MdF 60x60cm) to be hung in the hallway when finished.
Plenty of drawings and paintings (A4) are created during the week.
Interested in making masks as was inspired by a visit to Mexico (Skull masks). After I mentioned to her what materials are needed and what process is involved, she ordered the materials, picked them up and had them ready for the next art class.
During that class another person offers their ‘face’ to model the plaster bandages on to create a negative. After a short theoretical explanation, we both put pieces of plaster bandage on and she finishes that process independently which results in a successful mask negative.
In the next Art class we mix plaster with water and pour it into the negative to create a positive. While waiting for this to set she gets back to one of her paintings.

I brought some of the masks I made years ago to class to show her and explain the different materials I used (paper mache, paper mache and pulp, gauze and using clay to add shapes/process etc).

She is interested in becoming a tattoo artist and is wondering how to achieve that. I suggested practicing her drawing, creating a portfolio and talking to some tattooists.
This student has creative talent, is not put off by a challenge, is happy to learn and ask questions.

Building on some previous wood carving experience:

Student E, Age 32, NZ Maori

Has been at Rehab before but left early. There is a stand down period of 8 weeks before anyone can come back, which he did.
First time around he produced a small plaster carving.
This time he wanted to do some Oamaru stone carving. I organised this stone (1.5 tonnes of it) by applying for ‘Creative Community Funding Scheme’ through the Council by designing a proposal. The conditions are that the students can learn stone carving but the resulting sculptures will be given to someone in the community (public).

I explain this to every student who wants to do some stone carving. I also ask for a commitment to finish the sculpture within the time of their stay, as the stone is too precious (and expensive) to end up with carvings left unfinished.

I suggested to this student to use clay first to put his idea into a shape. This he did. I explained the basics for tools, safety and design, then left him ‘to it’ with the assurance, that if in doubt, do ask.

He is now in his 3^rd class and has done a wonderful job so far. He shows thoughtfulness, patience and care in the execution of the task. He reflects on his actions then builds on the gained knowledge and analyses the process. His process is the perfect example of the Kolb’s (1984) Experiential Learning Model (above).
This student is getting in touch with the ‘spirit of the stone’ and listens to it’s tone (when hitting it with chisel and hammer), realising that the more substance he takes off the stone the higher and lighter the tone becomes.
He is connecting with his stone carving and is considering the process involved an expression of his inner self, becoming visible in the carving.

No previous carving experience but willing to listen and has a lot of enthusiasm;
his son is his inspiration:

Student F, 30, South African

Before the first class, this student started on a stone carving, carving his son’s name. Unfortunately he wasn’t informed by anyone about the ‘Creative Community Funding Scheme’ and didn’t realise that the stone is not for personal carvings. Nevertheless, enthusiasm is always appreciated. I looked at his design and suggested some changes to make the most use of the size of the stone in comparison with the name he started to carve into it (proportions). He is quite capable of carving, open to suggestions but I have noticed that, as stone carving is quite hard work, he might have some problems with patience and hence finishing it off properly. He may be in need of more help with the finishing off stage than with the basic blocking out of the design. He is in his 3^rd class so far.

Some previous wood carving experience to build on but lacking self-confidence:

Student G, 30, NZ Maori

Also wanted to do a carving. This student, even so quite capable, had self-confidence issues and because of this tended to procrastinate or rush into things and also had issues with finishing the carving. In his last class I needed to be quite pushy to get him to work on it and the only way that worked, was by working on it myself with him, so we both worked on the sculpture together. Like that, he actually managed reasonably well. Some students at some point actually need that ‘hands on’, working together support to carry them through a tough bit.

The three examples above of the stone carving students and their projects could possibly be considered social constructivism (Vygotsky, 1978) as all three of them are working towards creating sculptures for the community – not for themselves (except the South African student – even so his sculpture is for his son). They are supporting each other throughout the project, suggesting ways to use the tools or how to ‘improve’ on the carvings. The knowledge created and shared throughout their project effectively is a knowledge arising through a shared experience (culture of stone carving) hence it makes available, in a way, more learning than what one person would achieve. When one person discovers something helpful, all three of them can build (construct) on that knowledge without necessarily having worked that one out themselves.

They are building up knowledge by learning together, from each other and through doing the same task.

I will check on these student’s progress/process regularly, might make some suggestions and then leave them to it again. When they get stuck – they do ask me how to proceed.

These are just a few examples of some of my students where 'blending' seems to work best and happens quite naturally as a base to start a project from. 

Diversity

Reading through some of the course material on diversity: http://wikieducator.org/Cultural_Diversity_Resources

The few examples above show some of the diversity of my students already. Most have really diverse background such as: their ‘place of origin’ (country of birth), very different skill levels, cultural background (ethnicity), age, ability / disability but there is also a huge diversity of attitudes towards Art & Creativity class, often based on their previous experience of this subject (most likely their past experience at School) or about being in a learning environment like Addiction Rehab, which is different from choosing and attending a public drawing or painting class.

Even so the Rehab program is voluntary and anyone can walk out at any time, there is still a ‘stigma’ attached to that particular environment of ‘there is something wrong with a person being at Rehab’ - by the students themselves and/or others (family, friends, public). It is one of the facts I deal with when a new student arrives – checking out the Art teacher in regards to how I treat them as people. Have I got some judgment about teaching Art & Creativity to someone attending Rehab?

Generally speaking, there might be various ‘issues’ with anyone attending a ‘normal’ drawing or painting class as well. Attending a ‘normal’ Art class can create a different attitude towards self and others, potentially quite different to an Art class at an Addiction Rehab.

As a facilitator for this class, I created a clear boundary from the start for my students, and myself, which is: My exclusive focus is on Art & Creativity – not anyone’s issues or reasons for them attending Rehab. If it hasn’t got anything to do with Art & Creativity (and the process involved in that) the student is asked to see one of the therapists about it. It has happened where a student ‘lost the plot’ and tried to involve me in a discussion of: ‘You have no idea what it is like for me’. My simple answer to that was: ‘Please see a therapist about this, as I am here to teach Art & Creativity only’. That did resolve the situation and also sent a clear message to the other students.


Diversity of attitude or acquired belief systems is a factor in a Rehab environment, as every student relates to being at Rehab in their own, unique way. Some resent being there, others are grateful, still others don’t really care either way. This diversity of attitude has an influence on the approach to - and participation in - Art class.

There is also vocational diversity at Rehab. I won’t ask people what their profession is but some will tell me to indicate what they might be inclined to create in Art class, like a person might be a builder, hence is inclined to choose a 3D project. So far I had primary and kindergarten teachers, nurses, a physicist, builders, designers, IT people, composer/musician, a councilor, tattooist – the list goes on – spanning a vast diversity of vocations.

There are also people who come straight out of prison, single mums or dads and people on a pension/superannuation or an unemployment benefit (not that these last two are necessarily considered vocations).

How does my cultural background affect the way I teach? Undoubtedly having grown up in Switzerland has made a lasting impression on me. Traveling to different countries in my younger years has opened my eyes to the diversity of cultures in this World. Learning different languages has also made me aware how language can affect people and their culture or how different climates affect how people shape/plan their daily lives (heat/cold climate) and so on. Immigrating to a country in the southern hemisphere (about as far away from my home country in the northern hemisphere as is possible – except if I would be moving to the South Pole) has also been an interesting and challenging experience, which has definitely contributed to having an open mind to different ways of ‘doing things’.

Teaching Art & Creativity is a wonderful subject to teach as it can incorporate and accommodate different cultures well.