Strategies

Assessment 1:

Steps in designing strategies for blended learning:

1. Use the Template for Blended Learning Strategies, located on Moodle, to guide your design idea.

Jot them down on the template before describing them more fully.     

Blended Learning Strategy for Art & Creativity Class, I: 

Strategies Personalised Learning Style Based on the students' preferences, interests, knowledge, curiosity, enthusiasm and talents.   Facilitator’s inquiring about: What is the student’s previous experience with Art & Creativity? Tendencies towards ‘hands on’ (3D/doer) or more intellectual (drawing/technical/ analytical, 2D) Constructivism: Some students have not much previous experience (except at school). Build up on what is known, e.g. using paint, glue etc. Project based learning: Choose a project; gather the basic information e.g. what materials are needed/available; start. Experiential learning: The student gains knowledge through ‘doing'.

Content Facilitator creates a collection of achievable project examples in several folders with printouts. These are the result of research based on various skill levels of previous students attending Art class over the last 2 years. The facilitator draws on years of knowledge in Art, Creativity & Craft related to a variety of projects. The facilitator encourages the student to think  about what materials they might need and might suggest making a list of what materials to buy once the student has chosen a project. The facilitator might ask the student to think about how long this project might take (time management/awareness). The facilitator asks the student to think about the skills they need for this project e.g. which techniques can be used, e.g. cutting, gluing, painting and also aspects of: drying time, how many layers, were to start / where to finish, stress points of materials etc.  Facilitator suggests places to ‘out of town students’ of where they can purchase materials. Students who have access to the internet over the weekends when they go home are encouraged to use youtube and Google to find more information about their chosen project.

Activities Student looks through folder or the available Art & Craft books. Facilitator might look through the folder or books with the student to pick up on any interests the student might have. The student chooses a project to their liking. Student gathers materials, prepares a space to work in. The student starts the project and works on it predominantly independently and asks the facilitator or other students’ questions.

Communication During the entire project, the student can ask the facilitator questions and/or the other students for ideas about what could work better or how to do something differently (etc). Group involvement is encouraged as other students might have had previous experience with a similar project but will also learn from other’s projects. The student might be share knowledge gained during the process/project with other students who might be working with similar materials. Feedback from the group is encouraged.

Assessment Student works predominantly self-directed. Student problem-solves, self-corrects and reflects on work independently. Student follows through with the project from beginning to end. If not, student learns from mistakes; either begins the project anew constructed on the gained knowledge or learns that the project is impossible to do. The student will have learned what he doesn’t like or does like and realised better ways of doing it. The student has gained technical, practical and theoretical skills. The student is willing to help other students who embark on a similar project, sharing gained knowledge. The student feels encouraged and confident about his or her own creativity. Has the student enjoyed learning (about something)?

Blended Learning Strategies for Art & Creativity Class, II: 

Strategies	Content	Activities	Communication	Assessment
Inquiring about the students’ cultural background e.g.:	One example for each point in strategies:	Possible activities for this student:	Inquiring with student:	Based on individual student project:
What approximate age is the student?	A person who is in their later stage of life might not necessarily feel comfortable to change direction from what they understand Art & Creativity is meant to be. There is a tendency to keep to traditional methods of – for example – drawing and painting.	Offer the student some of the Art books available in the Art room, which show techniques on traditional methods.	Is there any particular technique the student wants to explore? If so – what help and material is required? Is the time available realistic in relationship to the chosen project or will there be time required to work on this during the week?	Did the student pursue his project with interest? If not – what was missing? E.g.: Sustainable enthusiasm? Some materials? Un/realistic expectations of self?
Has the student got any religious believes (religious cultural background)?	A student having Muslim faith might not want to or feel uncomfortable creating representational Art. Suggestion to write the Serenity Prayer in Arabic on a board, which will be hung permanently on the walls of the establishment.	The student asks for permission from the office to use their computer to research the correct English/Arabic translation (if in doubt about personal correctness).	Observing what the student has done in the first 2 classes. Then suggest this project, watch reaction and inquire about suitability. Discuss materials, techniques and time needed for this.	Did the student finish the project? If not – why not? E.g.: Left the program before completion? Got sidetracked by another project, based on own realization or influenced by others in the group? Lack of personal perseverance?
Are there options of building on previous knowledge gained through their vocation (vocational cultural background)? E.g. being an architect, builder, schoolteacher;	Builders might tend to be inclined to 3D projects. An architect might be inclined towards 2D projects. A schoolteacher might want to explore various techniques / materials.	Encourage student to look through available folders and books. Through this the student might get some inspiration.	Engage students in conversation regarding their interests. These might be completely different from their vocation.	Did the student learn something new about a material, a project or self? If so, has this encouraged the student’s interest in further learning? Did the student build up self-confidence?
Are there any unfulfilled creative interests (Art/creative cultural background)? E.g. creating flower arrangements, working with clay etc.	Suggestions from facilitator of a variety of Art / Craft projects. Point out various books / folders available on different subjects. Encourage student in thinking about this.	Encourage student to look through available folders and books. Through this the student might get some inspiration.	Inquire with student what they found out about their inclinations / interests and what they are willing to explore. Encourage conversation with other students about their projects/discoveries.	Did the student’s experience in Art class encourage him/her to engage in or initiate group interaction? E.g. offer practical help or creative suggestions to other (maybe new) students? Discuss other students’ projects with them or the group?
Encourage the positive – enquire about the negative.			Through conversation pointing out what is successful, looks great, works well etc and asking what the students thinks about it and the reasons for that.

2. Describe the learning environment and your learners, in brief. (300 words.)

a. Course structure - content and resources, communication methods, learning activities and assessments, your measure of flexibility on the continuum (Casey & Wilson, 2005).

b. Learners – aspects of diversity, learning styles and preferences, abilities etc.

Learning environment:

My description of the learning environment at Addiction Rehab is here compared with the ‘4 Component Model’ on the PDF slide designed by the Learning Technologies at Virginia Tech.

The following addresses point a) of task 2:

http://www.edtech.vt.edu/edtech/id/models/environs.html

Sourced from:

http://www.edtech.vt.edu/edtech/id/models/powerpoint/environs.pdf

Referenced to:

Hannafin, M., Land, S., & Oliver, K. (1999). Open learning

environments: Foundations, methods, and models. In C. Reigeluth

(Ed.), Instructional Design Theories and Models (pp. 115-140).

Mahwah, NJ: Lawrence Erlbaum Associates.

Sourced from:

http://www.edtech.vt.edu/edtech/id/index.html

Design shop, Lessons in Effective Teaching
Learning Technologies at Virginia Tech., April 2011.


Enabling (providing a form of) context: 
 
For most of the students, having to attend an Art class is daunting, as most expected – so I had been told – to paint still-life paintings and do charcoal drawing exercises. From that I have learned that - right from the beginning - it was important to give the students a certain context to orientate themselves in.

I try to find out what his or her previous experience with Art & Creativity has been so far. Their vocation could establish a possible creative foundation (constructivism). The students age (18-70) is an indication of what could be interesting
I am then able to suggest some project ideas, which could be suitable.

Resources:


The next step is to explain what kinds of materials are available. The students could then choose a project based on the materials, their previous knowledge, creative thinking and practical skills available to them. 

Tools (PDF 3 & 4): 

The description of tools is based on using IT technology but this could be applied to a purely pedagogical approach.

The points made are: a) seeking; b) collecting; c) organizing; d) integrating; e) generating.


A-d in my teaching context: seeking: a project idea; collecting: materials; organizing: the process; integrating: the lot – and then e: generating e.g. starting/producing the project.

Manipulating the chosen materials allowed the student to test what they thought they knew and planned. These discoveries were often mentioned to other students, which created an exchange of knowledge.

Scaffold (PDF, p. 6):

At the beginning of this process, I would have discussed the student’s project idea with him or her and helped with selecting materials. Throughout the project I checked in with the student, readjusting or building on the ideas/actions so far (scaffolding).

The potential outcome (2^nd of last slide):

After reflecting on student’s projects, I could see that: 
A better understanding was developed of/during the inquiry process; 
Needs had to be identified and ideas tested ‘through doing’. 
Having chosen their projects created an increased sense of (self) responsibility. 
Realizations were made about ‘learning from/through mistakes’, which was accepted as part of the process.

Table 2.1: The five dimensions of flexibility:  Time available: 8 week program but some students leave without completing.

Content of the course: created by the students individual needs and choices.

Entry requirements: Being part of/accepted into the overall Rehab program. Art class is compulsory.

Instructional approaches and resources: Personalized approach and resources as described in my adapted version of the '4 Component Model'.

Delivery and logistics: Delivery based on students individual requirements, projects and processes.

Casey J. and Wilson P., (2005). A practical guide to providing flexible learning in further and higher education, Glasgow: QAA Scotland, (p. 12). 

Diversity of students: 

Nationality of students: NZ European, NZ Maori, Scottish, English, Irish, South African, Lebanese, Holland, Samoa.

Vocations: Physicist, Builders, Architect, School Teachers, Work and Income case manager, Nurses, Composer, Musician, Business owners, Unemployed, Therapists.

Religions: Christians, Muslim, Atheists.

Abilities: Varies greatly between individuals. 

Learning Styles: As diverse as the students. Predominantly: Project based, Personalized, Learner Centered, Constructivism, Self-directed and definitely Flexible.

3. Identify barriers that may impede your learners’ access to the learning environment, and explain why they are problematic. (200 words.)

There is a lack of basic funding, hence there isn't always a guarantee that even the basic materials will be available. Students have a choice of buying their own materials if: a) they can afford it and b) they have been given by the therapists to leave Rehab to shop in town (from week three onwards).


In the absence of any information or communication technology, I suggested to students who show interest in what they are doing to use Google or Youtube (once they have weekend leave), to research or get ideas about what they are interested in. 

The office computer is sometimes available for the occasional research to use get a printout of some research material, needed in that particular class on the day for their project. 


Personal negative attitudes towards Art class can have a hindering effect on personal (or on the overall group's) performance and enjoyment. This negative attitude might be based on a student's previous experiences in (art) education. Negative attitudes can take the form of: a total lack of confidence; resistance to suggestions; refusal to participate or engage; intermittent negative comments about their own or others artwork; finding reasons to question the reasons for having to do art. 


All the above mentioned reasons can impede the learners' enjoyment and accessing of the learning environment. 

4. Outline some solutions, using one or two of the dimensions of flexibility, that you believe may enhance access for your students to the learning environment. (200 words.)

Course content: 

As the students can decide what project they choose to do (as long as it is something artistic/creative, which could include something like writing poetry as well), in a certain way, everyone starts on the same footing.

The individual projects chosen can be as complicated or simple as the student likes (within reason and the availability of materials).

For the students to see that any project pursued with interest will be respected and supported, does give some students the courage to try something as well. This often can 'save' even the ones, which arrive with a very negative attitude towards learning and education in general. It might need a few classes to 'get there' but sometimes it's these students who discover their creativity because they felt save enough to explore 'anything'.

I sometimes wonder if the ones with 'resistance to learning/education/art' have locked their willingness to learn away because their creativity never found an acceptable way to be expressed, maybe by not having been given their own options to choose.

Instructional approaches and resources:

As the facilitator, I will try to find out through conversation, observation and then reflection, what might work best for a particular student and their chosen project. For example, through observation I will see if the student rushes into and/or during a project. I will see where the hurdles are, which keeps the student from having fun, which can limit the learning experience.

5. Describe the design of two blended learning strategies, within these dimensions, considering:

content, activities, communication/interactions and assessment. Discuss how they may enhance the learning experience, with justification of your choice (using evidence from the literature). (600 words.)


Delivery and Logistics:

The picture below portrays really well what most of my students expect to experience when they arrive at Art & Creativity class. I can see the apprehension written all over their faces. Everyone's experience of previous Art classes at School would have been: Everyone does the same and gets assessed on the same task, e.g. 'do this portrait in charcoal'..... because it is part of the set Curriculum.

If I would hold a portrait 'drawing' class, it would probably go like this: Here are the materials we will use: paper and charcoal - and we will create a portrait of ...........
Every student can do it any way they want, e.g. use the two materials whichever way works best for you and create a likeness of ....... as you understand it.

What would happen?

There would be as many different results as there are students (a)
 - not the other way around:
every student is trying to achieve the same result (b).

The outcome would be:
a) 20 students / 20 results;
b) 20 students / 1 result;

This could be debated from many different viewpoints, like: with 20 blogs and 20 students, they would all be different too.
I am trying to make a point in favor of diversity rather than sameness in the context of Art & Creativity, with no risk of failure. At the same time, it describes very much how I facilitate Art & Creativity class at Rehab.

Sourced from:

http://www.kulfoto.com/funny-pictures/22594/our-education-system

posted 2012-05-25 7:38 AM

FUNNY PICTURES

For picture: 

http://3diassociates.files.wordpress.com/2013/01/cartoon12.gif

I have to say that I really do enjoy Sir Ken Robinson's Ted talks. Here is a link to a very recent one of his talks - really well worth watching: 

http://www.youtube.com/watch?v=wX78iKhInsc&noredirect=1

Ken Robinson: How to escape education's death valley

Published on May 10, 2013

There are many points in this video which I enjoyed learning about and they do make good sense. I definitely thought that to ask parents if their children are all the same - was such a basic fact all parents know about and can connect to Education - was fantastic. I have two daughters and they couldn't be more different. The most obvious and simplest thoughts are sometimes the most important in making a connection to other areas in ones life.

Picture sourced from:

http://robertcorvus.com/category/dev-life/

Instructional approaches: 

As I don't facilitate planned and guided classes anymore, because I realized that even that was too unsettling for some of my students, I decided that a combination of the following instructional approaches works best:

Personalized Teaching approach:

http://en.wikipedia.org/wiki/Personalized_learning

Based on the students likes and dislikes, interests and abilities.

Open learning:

http://en.wikipedia.org/wiki/Open_learning

Exert from the Wiki, which I found explained my learning approach well:

......'Open learning is supposed to allow pupils self-determined, independent and interest-guided learning'....... 

And:

 ............'The approach is supposed to face up to three challenges: the vast differences in experiences,interests, and competencies between children of the same age; the constructivist nature of learning demanding active problem-solving by the learner him- and herself'.

Even so the above does address children's education - this transfers well to 'adult education'. 

Constructivism:

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

Building on the students previous knowledge.

Self-directed learning Wiki, (also Autodidacticism):

http://en.wikipedia.org/wiki/Autodidacticism
Independent decision making and taking responsibility for the chosen project/process with support and guidance from the facilitator.

The students in my Art & Creativity class do make a lot of the decisions about their projects. Through this, they will naturally experience a sense of responsibility for their choice throughout the entire process/project.

By being given a choice, the students don't feel that they 'have to' but 'want to', which might be the first time they have experienced that option in connection to learning (education).

Before starting the chosen project, I will talk the idea through with a student and we will establish together, if the materials are all available; if it is a realistic project e.g. time available; the skills most likely needed and so on.

Most of the students end up with a sense of achievement and empowerment through 'being allowed' this approach, rather than being told 'what to do and how to do it'. They feel that their individuality and abilities have been acknowledged and respected.

I am aware that the way I facilitate Art & Creativity in my teaching context is probably very flexible compared to what is possible in other areas of study, like nursing, midwifery and also when teaching (automotive) mechanics, peoples life's depend on the quality and outcome of the professional work delivered, whereas with Art & Creativity, the outcomes do not usually endanger peoples life's. It could harm the artist's health if they do not use certain materials in an appropriately safe way, like plaster (burns, inhalation of), certain (rather toxic) concrete sealants and so on, but the subject of Art & Creativity is in itself a rather flexible one, especially in my teaching context at Addiction Rehab.




Response for Bronwyn:


Hi Bronwyn
Thank you so much for your feedback!

As to the flexibility continuum:

For Table 2.1 - it would be good to see where each of the five dimensions sits on the continuum. For example, how flexible do you rate the personalised learning approach on the flexibility continuum?

Table 2.1: The five dimensions of flexibility:  Time available: 8-week program but some students leave without completing. This is flexible because any participant in this program can walk out at any time. This creates unpredictability which requires flexibility form the establishment / facilitator / other students (group dynamic). In some cases, when a student leaves unexpectedly, some of these ‘exits’ are more dramatic than others hence flexibility needs to be – flexible J The student - in the context of time - chooses the length of their stay. The establishment’s time frame is also flexible: The basic program is 8-weeks long but sometimes students will stay a couple of weeks longer.

Content of the course: created by the student’s individual needs and choices. A couple of examples below.

Entry requirements: Being part of/accepted into the overall Rehab program. Art class is compulsory. Not much flexibility at all. A person who has not been accepted into the program is not ‘allowed’ to ‘join in’ (the program/art class/etc). There is a strict code of confidentiality. Even visitors (family of student) are only allowed in a couple of areas: 1) outside of the building; 2) in the lounge.

Instructional approaches and resources: Personalized approach and resources as described in my adapted version of the '4 Component Model'. Flexibility is high on the instructional approach, and low with ‘handling available resources (materials) with disrespect – lack of care’. Flexibility on mishandling materials is rather low in my case as a facilitator. The establishment has accepted that some materials are not handled with enough care and there is low tolerance for this.

Delivery and logistics: Delivery based on student’s individual requirements, projects and processes. Flexibility - high.

Flexibility in my context viewed as a ‘3-component’ process. 

Example 1: 

a) The flexibility of the student: 

There are students, which are very flexible and there are others, which simply aren’t flexible at all. This inflexibility could be expressed in their approach to art/class, handling of materials, attitude to art class, other students within that context and so on.
One of my latest students would probably get top marks for ‘inflexibility towards Art & Creativity’. She will do anything to avoid art class, like arranging her individual counselling sessions during art class time is her latest choice. I have made it clear to the therapists that I would appreciate it if they would schedule these sessions for other times. This student’s resistance gets a 7 out of 7 for inflexibility on the ‘continuum of flexibility’ (according to the figure 3.1 below).


b) The flexibility of the facilitator: 

In this particular case, no matter how much I personally believe that ‘everyone is creative in some way’, there is no point in trying to persuade this student to participate.
After a couple of attempts to find something she might feel inclined to do, the most respectful attitude towards her was to let her take responsibility for her choice.
My suggestion to her was: ‘As this is a compulsory subject, I hope you can find something to do, which guarantees that you won’t feel utterly bored in this class’.
In this particular case, it would be seen as patronizing (by her) if I’d continue to ‘pester her’.
In this way, I show her I respect her decision.
My flexibility in this is to fully accept that ‘yes – some people are not to be moved from their views’. This one is one of them.


c) The flexibility of the establishment:

How flexible is the DHB with how I facilitate the Art & Creativity class? Lucky for me, the management is fine with however I facilitate as long as the students don’t complain and the Art room doesn’t get damaged (this includes hanging up a picture with a nail or a screw!).

The inflexible part in the case of the establishment is that the Art & Creativity class is compulsory, so everyone has to attend.

With this particular student example above, I have:
1 inflexible student;
1 flexible facilitator;
1 flexible establishment; inflexible part: compulsory attendance required.

What I have noticed is, that by using a personalized approach in this particular case by completely accepting this student’s ‘inflexibility towards Art’ (with the exception on the compulsory attendance), she is now actually being less like a ‘brick wall’ and started making cards for others students.
Also, the less attention I give to this student, the more she feels safe to experiment with some materials. If I would even ask her ‘how is this project going’, she would shrink back into her ‘behind a brick wall’ attitude.

There is most likely an issue for her of being judged (assessed) on her creative performance/work. As long as she attends Art class, I will only take notice of what she is doing in a non-obvious way.
Meeting inflexibility with flexibility might prove to encourage more flexibility in an inflexible student.

I am just debating with myself if I should give the ‘Self-reflection and Art class/project feedback form’ to her at the end of her program – or not. I think I will, as she does have a choice of completing them - or not.


Example 2:

One of my new students, who was also ‘convinced he wasn’t creative at all’:

This student had a flexible attitude right from the first Art Class. Through conversation (assessment part) I found out a little about his background. He used to own a paint business before becoming a sales rep. His inclination was more towards 3D (hand on). He expressed an interest in having a go with stone carving, which worked out perfectly, as I knew that the local Resene Paint Shop was interested in displaying a ‘paint related sculpture’ in their window space.
So here I have a perfect combination: A flexible student with an interest in 3D, who used to own a paint business (constructing on previous in depth knowledge of materials like paintbrushes, paint pots etc) and is willing to make a sculpture for Resene.
Flexible student; flexible facilitator and fits well (no resistance) into flexible establishment/inflexibility on compulsory attendance.
This student is producing great results with the stone. He is enjoying himself so much that he wants to continue to work with stone once he has completed the program. He is even talking about creating and then selling sculptures to businesses.
He has taken to his project like ‘a duck to water’.


Some personal thoughts on this:

Overall, flexibility on all ‘fronts’ probably would/does work best for everyone involved (student/facilitator/establishment).

A personalized approach seems to allow for the most flexibility.

If inflexibility (like standardized testing/establishment) meets inflexible facilitator meets student without option on flexibility – well – I don’t think that combination would encourage a lifelong enthusiasm for learning. After all, the student - in my view - is the most important component to be considered in education.

In my teaching context, looking at the ‘seven-stage continuum of flexibility’ for assessing each student/situation within the context of flexibility – individually – and within the fixed ‘3 components’ in my teaching context– student/facilitator/establishment - I find that the 1-7 grading does change with each student. Flexibility is flexible.

Sourced from:
http://www.enhancementthemes.ac.uk/docs/publications/a-practical-guide-to-providing-flexible-learning-in-further-and-higher-education.pdf

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