The Role Of Language In Connection To Arts-based Practice

The role of language in connection to arts-based practice: how a focus on teaching English vocabulary in relation to art can improve students’ independent art practice.

Introduction

This assignment focuses on the progress and understanding made by Grade 11 art students undertaking the Cambridge International A-Level Art Design course in a bilingual school in China. The class has 16 students aged 16 to 18, fifteen of which identify as Chinese nationals and one as British national. The initial aim was to identify the areas of study within the A-Level programme in which students find the most challenging, thus the assignment’s main area of research was realised: how teaching English language in an art and design context improves student understanding of independent art practice and project-based learning.

Of the 16 students, 15 use English as a second language, their first language being Mandarin, the sixteenth student’s mother tongue is English. The course content is delivered in English and students are expected to use English when speaking and writing. The students who have Mandarin as their mother tongue vary greatly in English language ability. In the school’s most recent CAT4 (Cognitive Abilities Test: September 2021), 15 students completed the test with an average class score of 112 for non-verbal skills and 84 for verbal skills. A score of 90 or above is considered average. Having access to this data at the beginning of the academic year allowed me to identify individual students who may struggle with the language demands of the course and adapt my teaching accordingly. As the class verbal skills score was below average, this indicated to me that an emphasis on writing and speaking about art was going to be an important element to focus on in my teaching.

The students’ artistic skills and abilities also vary, and whilst I could not correlate a direct connection between artistic ability in general (including their progression and understanding of the course structure) and language proficiency, I did discover a strong link between those students who studied the Cambridge International iGCSE Art Design programme the previous year and their attainment levels, compared to those who did not study at iGCSE.

Four out of the sixteen students in the class did not study the iGCSE Art Design programme in Grade 10. These students, therefore, are finding the structure and independent learning approach of the A-Level course a challenge. Although these students did not study iGCSE art, they did study other subjects at iGCSE, and so, have some understanding of what is expected of iGCSE courses. However, what is expected in arts-based learning cannot be generalised and compared to other iGCSE courses, specifically in terms of the language required. B.Frimodig [cited in Richards and Finnigan 2015:Pg.12] comments on the use of English language in art education for international students, ‘the tutor and East Asian students may share an English vocabulary but not necessarily its exact meaning, intention and underlying expectations.’

The expectation of advanced English speaking and writing skills therefore disadvantages weaker English proficient students in how they understand the course structure, often resulting in attainment issues. It is a common misconception that language skills are not needed in art education, however, how we speak and write about art is an integral part of arts-based learning. This assignment looks to investigate ways into improving student understanding of the language used (focusing on key verbs) on the A-Level course with the aim of encouraging independent learning in project-based work.

Context of my teaching role

My teaching position was as an iGCSE and A-Level Art Design teacher in a bilingual school in China. Although I have been teaching art for several years, this was my first full-time position teaching the iGCSE and A-Level courses. The school had a strong focus on international education delivered in the English language as to provide students with overseas opportunities after graduation. Therefore, improving my students’ English language skills was identified as an important focus for my teaching practice and learner development.

Justification for Planning

This assignment follows and explores the principles of ‘scaffolding’ and how facilitating structured, organised lessons for students can improve independent learning. I decided to undertake this theoretical approach as I believe it is closely linked to student-centred learning. A student-centred approach is an important learning strategy in the art classroom for students to make critical decisions and build connections related to their art practice. Therefore, I have adopted a student-centred teaching approach, scaffolding lessons to navigate students through the language requirements of the A-Level course, and at the same time, providing them with the skills to work independently. B.Rosenshine [2010] in his publication Principles of Instruction lists ten teaching principles to support classroom instruction. In my initial research into teaching theory, I found Rosenshine’s theory strongly supports the idea of scaffolding, as the ten principles ‘overlap and add to each other,’ which I believe reinforces the value scaffolding has for learning development.

Five lessons were planned and delivered as part of the assignment, all of which focused on the importance of understanding the language used on the A-Level course and how comprehension of it can improve practical skills. The lessons covered concepts on written annotation, artist research and understanding the language (key verbs) in the course assessment rubric. I identified the need to make the lessons kinaesthetic to further develop the students’ skills in making connections to practice. Three of the five lessons employed group/pair work wherein students discussed and completed interactive activities to improve visual and theoretical artistic connections.

Literature Review

Scaffolding theory is an important tool in teaching and learning where students are given structured support to grasp the understanding and knowledge of a new subject or area within a subject. As knowledge and skill develops, support from the teacher reduces and the teacher can assess what else a student may need to learn to start working independently. As an art teacher, it is important for me to introduce my students to ways of building on their own understanding of art practice and its wider meaning outside the classroom. Students need to gain an understanding of how art, craft, and design is used in culture as well as for self-expression [Addison Burgess, 2015]. This understanding is an ongoing process as students discover areas within art practice that interest them, with the initial scaffolding serving as a vital tool for student individual learner progression.

Scaffolding Theory and Student-centred Learning

An issue that arises around a scaffolding approach is: how do you ensure student learning continues to take place after the scaffolding has been removed? To answer this, I have turned to theory based on student-centred learning and how the teacher can facilitate further learning whilst still allowing students to work independently within an area of art that interests them. By teaching my students the skills to push their learning forward, they will be able to take ownership of their work, promoting their autonomy and volition around art and design concepts [Wehmeyer Zhao, 2020]. Having a small class size allows me to work closely with each student and track their progress, which I use as a regular formative assessment strategy.

Vygotsky’s Zone of Proximal Development

A key scaffolding theory is the Zone of Proximal Development (ZPD) proposed by psychologist Lev Vygotsky. The ZPD defines learner progression as starting with ‘what the student cannot do (or cannot yet do)’ through to ‘what they can do’ by themselves with little input from the teacher. The notion is that through the guidance of the teacher or More Knowledgeable Other (MKO), students can steadily build on their independent learning and road to mastery. Scaffolding theory places emphasis on the learning process improving student cognitive development [Stevens-Fulbrook, 2020] and as my students are guided through stages of artistic development, the aim is that they will gain skills to begin to work independently. Establishing the correct learning environment in which scaffolding can take place is crucial for my students to progress with their projects. An approach I currently use in my teaching practice is group work. I have sort to include activities in my lessons that intrinsically motivate and inspire collaborative discussion, strengthening metacognitive skills and approaches in arts-based learning [Wehmeyer Zhao, 2020]. I have found that by engaging students in group work, they are able to focus on the importance of the process in working towards achieving a goal together, rather than putting emphasis on an end result. The aim is for students to be able to recognise and use this approach in their individual projects and to appreciate the value of the process of making artwork. By demonstrating processes in their work, students can make stronger connections between ideas, material usage and techniques. At the same time, students can improve their English language skills through group work, as they discuss concepts of art together. Unfortunately, however, this isn’t always the case as they quickly default to Mandarin. More work needs to be done to encourage an English-speaking dynamic among student groups which I will continue to foster in my lessons.

Adopting a student-centred learning approach in my classroom has given me a detailed insight into how my students learn. I am a British teacher working in a bilingual school in China where 98% of my students identify as Chinese nationals. Whilst teaching, I need to take into consideration the culture of Chinese education and appreciate the educational backgrounds my students have previously experienced. R.Mast (2016) explains in his essay on how culture effects Chinese students learning in western curriculums, that education is a reflection of ‘the values and philosophies of the predominant culture,’ and this will shape how I understand how my students learn. As an international teacher, I need to consider ESL teaching strategies. Not only do I need to ensure my students understand specific language required of the course, but also what that language means within an art context and how it can be used to develop a meaningful art project.

I have found that my students learn best when provided with clear guidance and instruction, however, they have very little experience of self-directed learning. In a student-centred art classroom, students need to do more than just learn how to complete a project. They need to creatively think for themselves and direct their own study into an area of interest [Henriksen Andrews, 2010]. A formative assessment approach I have adopted in promotion of a student-centred environment includes asking students to set weekly targets. Students must learn skills that engage them in self-directed learning, in turn, they can improve and practice planning, decision-making and problem-solving skills [Wehmeyer Zhao, 2020]. Target setting therefore is used to improve student-centred learning skills, as the students manage their workload and think critically about the artwork they make week-by-week. M.Gershon [2013] argues that setting targets allows students to progress in their learning more effectively than giving them a single grade or level. Gershon further supports this statement by saying that if a teacher delivers formative and summative assessment feedback at the same time, students will put too much emphasis on the summative and ignore the formative feedback. Students then risk ignoring the targets and goals they previously set for themselves. However, I have found that by giving my students both formative and summative assessment feedback at the same time, they value and respect their final grade and then look to me for further suggestions on how to improve. This is another way in which I have found that my students learn best. In light of this, I have been able to plan and deliver further lessons based on the results of both formative and summative assessment, identifying areas of the course that students find difficult and scaffolding further lessons that aim to fill the gaps in student knowledge and understanding.

Bloom’s Taxonomy of Measurable Verbs

As I reviewed literature in relation to language and arts-based practice, I was inspired by Bloom’s Taxonomy of Measurable Verbs and identified the main verbs used on the A-Level course with a direct link to practice. These verbs are: record, explore, develop, and present. Bloom’s theory looks at the notion that observable actions can indicate cognitive development and when we use measurable verbs in teaching, students have more opportunities to demonstrate their learning. By teaching the four verbs identified in the assessment rubric, the aim was to improve student understanding of how the words link to art practice and how this can be demonstrated using different mediums (photography, drawing, primary/secondary resources).

As an ongoing whole school best-practice strategy, teachers at my school were given a copy of Bloom’s Taxonomy including lists of verbs associated with each category to use in teaching practice. In art, the most relevant words were identified with a connection to arts-based practice and Chinese translations provided [see Appendix, p39]. To begin teaching these words, I met with my mentor to discuss the verbs further, connecting them to the A-Level course and double checking the translations. Two of the verbs from the list are present in the course assessment rubric, and so, I designed a lesson as part of this assignment around the importance of how understanding these verbs can help improve practical outcomes.

A disadvantage I found to using Bloom’s verb theory in my practice was the logistics of working around student understanding of the verbs in Mandarin to provide them with an appropriate translation. This links back to R. Mast’s comment on how culture effects student understanding of language, and so, I think Bloom’s verb theory is better suited in teaching environments where the students’ first language is English.

Reflective Practice and understanding how students learn

Identifying how my students learn and adapting my planning and teaching around this has allowed me to give students clear guidelines on what is expected of them on the course. Scaffolding my lessons has allowed me to reflect on my teaching before and after planning with the main aim of ‘what do I want my students to learn?’ at the forefront. In The Reflective Practitioner, Schön [1983] explores two ways in which you can reflect on your professional practice with the aim of improvement. They are reflection-in-action and reflection-on-action. Reflection-in-action is the ability to problem solve during the live event. For example, I have found that I have used reflection-in-action during lessons that have involved a lot of questioning. When I ask a question that has not been understood, I rephrase it or use different vocabulary that my students can better comprehend. This is reflection-in-action as I am changing parts of my lesson as it occurs to adapt to the needs of my students. Reflection-on-action happens after the event where I can consider what needs to change to improve future practice. Considering this, I have discovered the importance of constructing my questions during the lesson planning stage to appropriately plan for my students’ learning this is reflection-on-action.

An argued disadvantage to Schön’s reflection-in-action theory is the potential of unintentionally putting too much pressure on students, resulting in them feeling self-conscious and disengaged. However, I think reflection-in-action takes practice and an awareness of the benefits it can have for student attainment should be the focus. A disadvantage of reflection-on-action is the emphasis put on the practitioner’s further development and not the students. In education it is important for both the teacher and the student to reflect on a lesson and sort areas of improvement together [EWSUK 2020].

During my review of literature, I found the theories discussed above the most beneficial for my professional development and that of my students. I also reviewed but didn’t include theories on metacognition and cognitive load theory. Whilst I see the value and potential of exploring these theories within art education, I decided not to use them in my scheme of work however, as I wanted to concentrate on the intrinsic value developing a robust curriculum has for students in providing them with the skills to support their independent learning. Metacognition is strongly linked to independent learning and is an area of research I will explore in the future.

Analysis

The scheme of work represents a scaffolded approach to student-centred learning with a focus on the importance of the role of language in art practice. As students navigated themselves through their projects, structured lessons allowed for formative assessment to take place with its outcomes shaping further teaching and learning. ‘Formative assessment involves getting the best possible evidence about what students have learned and then using this information to decide what to do next’ [D.Wiliam, 2002].

The scheme of work followed five lessons across an eight-week period, allowing students to implement what they had learned in between each lesson. The time between each lesson allowed me to use formative assessment strategies to track student progress and adapt lessons to their learning needs.

Student misconceptions to inform Strategies for Learning

To begin the research needed for this assignment, I used an observational research methodology, gathering evidence of my students’ misconceptions around art education and then speaking with Chinese colleagues about appropriate strategies for learning. I found that the biggest misconceptions students held around art education were: We don’t need English language skills for art We can research/create anything We chose art because it is easier than [insert subject].I concluded that students not only needed help with their understanding of the meaning of arts education, but also its ‘interrelatedness’ to language and theory [Addison Burgess, 2015].

I conducted a short interview with three bilingual (Mandarin/English) art teachers who studied at universities in the UK. The aim of the interview was to establish specific teaching and learning strategies to improve student understanding and progression on arts-based international courses. The main points raised in the interview concluded students needing tailored support with: research skills, independent learning skills and English language skills [see Appendix, pp.41-46]. This information further supported my intentions in developing students’ English language skills alongside their artistic practice. From this interview, I was able to identify the following appropriate strategies for learning to be included in the scheme of work: weekly target trackers, independent/student-centred learning approaches, written/oral activities to improve language skill and visual/kinaesthetic activities for ESL inclusivity.

Limitations to research and further assessment strategies

A limitation to this research approach was the time in which student learning could be accurately measured and evaluated. Due to the course structure, one project takes 4-5 months to complete, therefore, a summative evaluation of student learning could not take place before the end of this research project. Instead, I used multiple formative assessment strategies throughout the research period to measure student ongoing progression. Weekly target trackers allowed for effective independent learning to take place as students monitored their own progress. Observations made during group work and independent study allowed me to differentiate lessons according to student needs. Weaker English proficient students were paired with stronger students during group tasks. By observing how these students communicated in a group, I could make notes and speak with them one-to-one to ensure they understood the lesson and if not, we worked together to find ways to improve their learning.

An important formative assessment strategy used throughout the scheme of work and lesson planning was, questioning. Planning my questions enabled me to direct students down a path of inquiry that addressed them as a whole class or in groups, providing them with a shared sense of achievement in giving a correct answer [M.Gershon, 2013]. Through questioning, I could plan for the inclusivity of my ESL learners by being mindful of my use of vocabulary and terminology. I found that providing translations in a written form did not automatically mean all students understood the content in the lesson, therefore, I had to include both translation and live interpretation with the help of a higher English proficient student and/or Chinese member of staff (when available). As I reflected-in-action, my questioning approach would change to ensure all students understood the lesson content before we moved on.

A comparison of activities in the SOW that impacted student learning

In order to better understand how my students learn, I incorporated a range of teaching activities into the scheme of work to improve and assess student English language comprehension. The A-Level programme is incredibly flexible regarding curriculum content, and I was able to adapt my lessons to the required English language needs of the students. I sort to provide lessons for my students that improved their English language skills, in turn boosting their confidence to complete practical work independently.

The main piece of content used to push student understanding of the language expectations of the course was the course assessment rubric [see Appendix, p.47]. In an attempt to model success criteria, the rubric served as a vital source of information for students to follow in promotion of a student-centred classroom [M.Gershon 2017] and by providing both written and practical exemplar work, I have found that students appreciate these examples as a source of guidance for their own work.

Having learned that my students worked best when given guided and clear instruction (both benefitting their ESL needs and previous experiences of learning) I included activities in the scheme of work to support this. Activities included: using templates and sentence starters, visual/kinaesthetic tasks, peer assessment, and group/pair work. After each lesson, I was able to reflect-on-action to decide whether the activity was appropriate in realising the lesson learning objectives. Activities involving group and pair work achieved the highest learning outcomes, as students were able to share ideas and support each other in speaking/writing in English. As an international teacher in a bilingual environment, I have learned the importance of letting students think and discuss in their mother tongue before completing the task in English. This cognitive process should not be disqualified and should be appreciated for its benefit to improve language development.

An exit questionnaire at the end of Lesson 4 (Understanding the Course Assessment Rubric) allowed me to assess whether students met the learning outcomes of the lesson [see Appendix pg.48]. The questionnaire provided immediate feedback on 14 student’s thoughts on the lesson, with around 65% of students saying they felt ‘very confident’ in understanding the rubric vocabulary, 75% felt the rubric was ‘very useful’ in assessing their own practical work, and 75% said the rubric was ‘very useful’ in making decisions about what kind of work to make and at what stage in the project. Further lessons on how to use the rubric effectively need to be delivered and questionnaires will remain a key feature in assessing student understanding.

There were few ethical implications to consider during this assignment as I ensured to remain transparent with students about the research I was conducting, and my mentor acted as interpreter to answer any questions students raised. Two of the lessons were recorded as part of the course requirements with prior student and school administrative consent.

Conclusion

In the delivery and evaluation of the scheme of work, it is evident that students are capable of and show an enthusiasm for learning English language in connection to the A-Level Art Design course. Connecting language learning to art practice has a two-fold benefit students improve their vocabulary in an art context, and they can use their understanding of language to make decisions on practical artwork. For example, students are now able to demonstrate how the interpretation of the word ‘record’ can mean either photographic, hand drawn, and/or primary-secondary resources, and when used in association with the assessment rubric, they can independently assess which resource best conveys their project intentions.

Teacher and learner progression

Using theory to measure the impact of my teaching on learner progression has been vital in my practice as a reflective teacher. Through Schön’s reflection-in and reflection-on-action theory, I have been able to adapt my teaching for ESL students by altering the course curriculum to fit with their learning needs. This has resulted in students feeling confident in their independent learning as they navigate the course without feeling overwhelmed by its language requirements. Lessons with a focus on language will be an area I shall further develop, as I have noticed the lasting impact it has had on students’ understanding of art practice. What I have learned so far can also be adapted to other year groups and courses.

This assignment has taught me how students learn my subject and how their previous experiences have shaped their understanding and misconceptions around art education. I was able to address these misconceptions by scaffolding lessons with a focus on English language and through one-to-one discussions, I spoke of my own experience of art education, and how their understanding would need to change if they planned on studying art at higher education overseas. I think these conversations are important for students to develop and we will continue them throughout the academic year and into Grade 12 as they begin to plan for university.

Evaluation of ESL teaching strategies

A defining strategy in supporting ESL learner progression was questioning. Planning and using questioning techniques in the lessons enabled for differentiation, in turn, allowing me to scaffold lessons to support ESL needs. I have learned that by using questioning I not only need to be mindful of the vocabulary I’m using, but also the meaning of the vocabulary when phrased in specific ways. Using Bloom’s Taxonomy of Measurable Verbs as a tool for identifying verbs in the course content and using them in during questioning helped me evaluate my students’ comprehension of vocabulary in an art context. In Chinese education, emphasis is not put on evaluating the meaning of words, instead it is believed that understanding will develop during adulthood [R.Mast, 2016]. Chinese students therefore find it difficult to access higher order thinking and questioning can play a vital role in supporting them in the practice of this skill. Questioning will remain a key tool in my teaching practice, and I will look to further improve my knowledge of how it can be used to benefit ESL learners by researching and practicing relevant theory.

Continued development in teaching practice and learner progression

I will continue with the theory and practices I have learned and used in this scheme of work to further improve my teaching practice and to benefit my students’ language development. One way in which I will ensure this is by continuing to scaffold future lessons based on my learners’ needs. The next step is to identify those students who need continued scaffolded support and work with them to revise and strengthen their arts-based knowledge and language skill. At the same time, I will identify those students who I think are capable of working independently, taking away the scaffolding in promotion of a student-centred learning approach.

Further areas of theoretical research I would like to explore in the aim of improving my teaching practice include, John Hattie’s Visible Learning and how seeing through the eyes of the student can help me understand more on how they learn. This is directly linked to me needing to further understand the Chinese educational system and how student learning is affected as they transition to western curriculums. I could further support this by reviewing other works by Barak Rosenshine whose theories influenced me earlier in this assignment in providing well scaffolded lessons to improve student understanding of my subject. I also plan to continue working closely with Chinese colleagues to find the best strategies for learning in my subject, as well as understanding more on how culture affects student learning development.