Item 5: I engage student interest with every lesson.

As an educator, one of my top priorities is to ensure that my students are fully engaged and invested in the subject matter at hand. To accomplish this, I make it a point to conduct frequent one-on-one check-ins with each of my students. By doing so, I aim to create a supportive and secure learning environment where students feel empowered to share their thoughts, ask questions, and offer feedback.

Rather than remaining seated at my desk, I prefer to actively move around the classroom and engage with students on a personal level. This allows me to establish meaningful connections with each of my students, and to gauge their level of interest and understanding of the material. Through these individual conversations, I am also able to identify any areas of confusion or misunderstanding and provide additional support where necessary (Hale, L. et al…).

Additionally, I find that incorporating physical movement into the learning process is also highly effective in keeping students engaged and focused. To this end, I often organize gallery walks or other activities that require students to get up, stretch their legs, and move around the classroom. Not only does this help to meet students' physical needs, but it also encourages them to interact with their peers and develop strong interpersonal relationships.

By implementing these 10-minute strategies, I am able to foster an environment where students feel empowered to take an active role in their own learning. This, in turn, helps to ensure that they are fully engaged and invested in the material, and are able to achieve their full academic potential.

In my classroom, I prioritize student autonomy and agency by allowing them to take charge of their learning and final projects from the moment I introduce a new concept. Through careful planning and collaboration, I present a lesson plan that outlines a particular art movement, and then empower students to demonstrate their understanding of the concept and its relationship to state standards in ways that resonate with their own interests and passions.

To facilitate this process, I offer my students a range of options for their projects, ensuring that they have at least five different choices from which to select. In this way, each student can take ownership of their learning journey and engage with the material in a way that feels meaningful and relevant to them. Along the way, I offer feedback and guidance to support their progress and help them hone their skills and understanding.

One example of this approach is the "meta-lino-morphosis" project, which encourages students to explore the fantastical elements of metamorphosis in the art world. To begin, students are prompted to brainstorm two or three animals, humans, or objects that might look visually interesting when combined. They then create thumbnail sketches to visualize their ideas and begin carving their designs into linoleum blocks. Throughout the process, students have full control over the color choices, layering and registration of their linoleum stamps allowing them to express their creative vision and showcase their mastery of both the concept and the art technique. By offering differentiated instruction and a range of options, my classroom is a space where every student can thrive and explore their unique interests and talents (Connor, S).

Visual arts classrooms are often interdisciplinary, meaning they draw upon multiple fields of study, such as mathematics, graphic design, science, and technology. This approach to learning not only enriches the educational experience but also allows for the integration of soft skills that are essential in the professional world (Alison, G). By blending different fields of study, students are able to cultivate critical thinking, problem-solving, and communication skills, which are necessary for success in any career path. See Figure 1.1 for a screenshot of my lesson.

When presenting a new unit in visual arts, it is important to not only explain the technical aspects of the media but also to provide a deeper understanding of the "why" behind the assignment. By incorporating the transferable skills that will be used in real-world jobs, students are able to see the relevance and importance of the material being taught. This approach encourages students to think beyond the classroom and see how their skills and knowledge can be applied in their future careers. Conclusively, this interdisciplinary approach to teaching visual arts provides students with a well-rounded education that prepares them for success in any professional field they choose to pursue.

As mentioned above, one of my top priorities as an educator is to actively engage with my students on a regular basis. Rather than remaining stationary behind my desk, I make a conscious effort to move around the classroom and communicate with each of my students individually. This allows me to establish a stronger connection with them and ensure that I am fully invested in their artistic and personal development.

In addition to focusing on their artistic progress, I also prioritize their well-being and make it a point to check in with them regularly. By taking the time to converse with my students about their process, personal goals, and overall well-being, I am able to gain a deeper understanding of their needs and provide the support and feedback that they require to succeed. Ultimately, my goal is to foster a positive and supportive learning environment in which students feel comfortable expressing themselves and pushing their boundaries creatively. By prioritizing student interaction and investing my time and energy in their growth and development, I am able to facilitate meaningful and rewarding learning experiences for all.

As an art educator, I understand the importance of incorporating culturally responsive strategies in my classroom, especially when it comes to catering to the needs of a diverse student population. To achieve this, I employ various approaches that are tailored to the specific needs and cultural backgrounds of my students.

One key strategy that I utilize is building on my students' prior knowledge. By starting with what they already know, I can create a strong foundation for learning and help them feel more connected to the subject matter. Additionally, I encourage my students to connect to their culture through their art-making, whether that be by incorporating cultural elements into their work or exploring themes and issues that are relevant to their cultural experiences.

To further facilitate a sense of cultural connection, I also introduce my students to artists from diverse backgrounds. This not only allows them to see different perspectives and styles of art but also helps to create a sense of representation and validation for their own cultural identity (Alison, G). Building positive connections is another crucial aspect of my approach. By fostering a positive and supportive learning environment, I can create a space where my students feel safe and valued. This can be achieved through various means such as active listening, empathy, and mutual respect.

Finally, the physical set up of my classroom is also an important consideration. I ensure that materials, art pieces, and representation in the classroom reflect the diversity of my students and their backgrounds. This helps to create an inclusive and welcoming space where everyone feels a sense of belonging. By utilizing culturally responsive strategies, I am able to create a more meaningful and relevant learning experience for my students. By validating their cultural identity and creating a supportive environment, I can help to foster their growth and development both as artists and individuals.

References

Alison Gerber. (2017). The Work of Art : Value in Creative Careers. Stanford University Press.

Connor Syrewicz. (2020). The Arts: A Creative Future. National Highlights Inc.

Hale, L., & Adhia, D. B. (2022). The continuous feedback model: Enabling student contribution to curriculum evaluation and development. Focus on Health Professional Education (2204-7662), 23(1), 17–36. https://doi.org/10.11157/fohpe.v23i1.501