I was pretty sure that Professor Goldstein omitted blog #8 on the syllabus during one of our classes, but I could be wrong. In the place of that blog, I have decided to write about the question: Will I teach urban education?
I am having an internal debate with myself that I feel is important to address. I have many questions of doubt and comments about excitement. I understand that the topics and issues that we covered over the course of the semester can carry into any school or classroom. Even though it is the end of the semester, I hope that some you have similar questions that I raise, and can give constructive feedback and thoughts.
Honestly, I took this class because it was a requirement for the MAT program and it sounded interesting. Before this class, I had never considered teaching in an urban school/location. Fortunately, I have learned a lot about urban education through class readings, discussions, and the inquiry project that have persuaded me to consider teaching in an urban school. My visit to the Arts High School really put into perspective how successful urban schools are. However, there are several factors regarding my career path that I am still considering, and questions that I am still asking myself:
-Can I handle myself in an urban school that is not a magnate school? (Arts High was a magnate school). Non-magnate schools are more violent and have higher disciplinary issues and crime.
-Will my kind, passive personality be effective in my instruction? Will my students walk all over me? Do I have to constantly worry about my students' safety as well as my own? (I understand that it is not a large concern in magnate schools).
-Will I be more happy in a school that can afford plentiful art materials and nice equipment? Will these elements make teaching more fun?
-I do want to make a difference in history by helping to turn the current education system around for the better. I also want to make positive differences in the lives of urban students. Am I the person for the job? Will teaching in a suburban school give me the same gratification as teaching in an inner city?
I guess I will not know the answers to these questions until the time comes. Observational field work and student teaching will also help make these connections more concrete. I am thinking that the best way to figure out if I like teaching urban education will be to observe or student teach in a city. Only then will I really have a taste of the inner city school systems, and how well I will teach in these conditions.
Monday, May 4, 2009
Self-Assessment
When I began this class, I was a bit unsure of myself with regards to urban education. As some of you may remember from my culture paper, I grew up in the middle class town of Flemington, NJ. Looking back, I was very spoiled with luxurious school facilities and opportunities in this predominately white town. The culture paper/collage made me realize the different traits, people, and places that makes me who I am. Because of my background, it took a little while for me to discover how to relate to the inner city and to get a grasp on many realities.
Through class discussions, readings, and my inquiry project, I was made aware of the many issues that go into urban education. Some of this knowledge was upsetting. For example, the Lareau text made it clear that working class students are at many disadvantages with social, reading, and writing skills because of their class and race. My inquiry project titled, "What are the relationships between art, public education, and the community," allowed me to do a case study involving physical research and interactions. I learned a lot through this project, including the disconnect between parents and arts education. These disconnects seemed to be mainly because of economic and cultural reasons.
Despite the negative, I did learn about positive issues in urban education. Spectacular Minds, for example, left me with hopeful thoughts about teaching and my future students. Through visiting Arts High School in Newark, I witnessed first hand the power of strong, effective teachers and smart, determined students.
I will be more in tune to my students through my awareness of urban community's economic, physical, mental, and social factors. I will take what I have learned and apply it to my classroom. I will use interdisciplinary teaching methods combined with students' interests to connect with my students. I will value students' opinions in classroom instruction, and tell them that they can make an immediate difference in their lives and in the lives of others through their school work. My students will be the center of my teaching and pedagogy.
Through class discussions, readings, and my inquiry project, I was made aware of the many issues that go into urban education. Some of this knowledge was upsetting. For example, the Lareau text made it clear that working class students are at many disadvantages with social, reading, and writing skills because of their class and race. My inquiry project titled, "What are the relationships between art, public education, and the community," allowed me to do a case study involving physical research and interactions. I learned a lot through this project, including the disconnect between parents and arts education. These disconnects seemed to be mainly because of economic and cultural reasons.
Despite the negative, I did learn about positive issues in urban education. Spectacular Minds, for example, left me with hopeful thoughts about teaching and my future students. Through visiting Arts High School in Newark, I witnessed first hand the power of strong, effective teachers and smart, determined students.
I will be more in tune to my students through my awareness of urban community's economic, physical, mental, and social factors. I will take what I have learned and apply it to my classroom. I will use interdisciplinary teaching methods combined with students' interests to connect with my students. I will value students' opinions in classroom instruction, and tell them that they can make an immediate difference in their lives and in the lives of others through their school work. My students will be the center of my teaching and pedagogy.
Sunday, May 3, 2009
Inquiry Paper Abstract
Abstract:
The purpose of this study was to discover the relationships between urban communities, the arts, and public education. The focus of our study was the community located within ten city blocks of Newark, NJ. Over the course of six weeks we collected qualitative data through research, observation, and interviews of community members, teachers, and students. Analysis revealed that the street art and local arts sites in Newark directly mirror the culture and current trends of the community. Data revealed that arts education is an important trait of the community and is reflected in the public schools, teachers, students, and local performances. There is an economic disconnect, however, between the parental community and the arts. This study and analysis is important because communities largely impact the local arts and education systems, and arts education is crucial for cognitive development in children.
Summary of what I've learned:
Newark seems to generally be moving in the right direction with regard to the arts, public education, and community involvement. There are examples of advertisement street art that are representative of the culture and current trends of the community. Affordable art sites open to the public is plentiful, but community economic issues seem to create a disconnect between the locals and these arts sites. Public schools have positive connections between school performances and the community. Performances generally have significant turnouts of students’ families, but performances at the Arts High School are plentiful resulting, again, in economic issues.
The supportive relationship between parents and their children can make or break students’ futures regarding the arts, so the school administrations must raise student and parental awareness for future art careers. For example, more partnerships to universities, field trips to local museums, and artist guest speakers will help raise understanding. These experiences should include the school, students, and parents. Lastly, instructors need to be supported to teach outside of the box by integrating the arts when appropriate to foster high-level thinking. When connections are made from classroom content, to the arts, and to the outside world, students begin to see the big picture and relate material to their personal lives.
The purpose of this study was to discover the relationships between urban communities, the arts, and public education. The focus of our study was the community located within ten city blocks of Newark, NJ. Over the course of six weeks we collected qualitative data through research, observation, and interviews of community members, teachers, and students. Analysis revealed that the street art and local arts sites in Newark directly mirror the culture and current trends of the community. Data revealed that arts education is an important trait of the community and is reflected in the public schools, teachers, students, and local performances. There is an economic disconnect, however, between the parental community and the arts. This study and analysis is important because communities largely impact the local arts and education systems, and arts education is crucial for cognitive development in children.
Summary of what I've learned:
Newark seems to generally be moving in the right direction with regard to the arts, public education, and community involvement. There are examples of advertisement street art that are representative of the culture and current trends of the community. Affordable art sites open to the public is plentiful, but community economic issues seem to create a disconnect between the locals and these arts sites. Public schools have positive connections between school performances and the community. Performances generally have significant turnouts of students’ families, but performances at the Arts High School are plentiful resulting, again, in economic issues.
The supportive relationship between parents and their children can make or break students’ futures regarding the arts, so the school administrations must raise student and parental awareness for future art careers. For example, more partnerships to universities, field trips to local museums, and artist guest speakers will help raise understanding. These experiences should include the school, students, and parents. Lastly, instructors need to be supported to teach outside of the box by integrating the arts when appropriate to foster high-level thinking. When connections are made from classroom content, to the arts, and to the outside world, students begin to see the big picture and relate material to their personal lives.
Summary of Project Findings
Interviews of community members:
There seems to be a disconnect between community members and the arts. Most of the parents that we interviewed on the street stated that they are aware of communal arts sites in Newark (i.e. NJPAC, NSA, and the Newark Museum), but they have never been to these sites with or without their children.
Street Art:
We found one street artist painting name banners, painted trashcans, banners hanging on the streetlight poles, historical sculptures, and music playing at street vendors. These forms of street art seem to all convey aspects of advertisement, but they are also reflective of the community of Newark and the current trends of society.
Interviews with teachers:
We interviewed a bunch of teachers at the Arts High School. All of the teachers we interviewed seemed very passionate about teaching. The teachers incorporate elements of the arts into their classroom curriculum. One math teacher gave us an example of teaching math functions using balls of clay. The teachers also ranted and raved about the disconnect between the support of the parents and the arts.
Teachers also commented about the struggle between the teachers, who want to teach our of the box, and the administration. One teacher said, "they [the administration] want you to teach out of the box, but they keep putting you back in! I carry a box cutter!" This teacher continued to say that teachers teach out of fear; fear of getting fired if they do something wrong, fear of budget cuts, etc.
Teachers also explained that there is a strong disconnect between the parents and arts education. Economic reasons alone prevent parents and their families from seeing their children in school performances. Also, parents do not see a the arts as an area that is suitable for making money. Consequently, students do not respond well to out-of-class field trips to the Newark Museum.
The Arts High School was very inspiring for me, a future art teacher. It was such a great experience, and the students and teachers were so friendly and helpful.
There seems to be a disconnect between community members and the arts. Most of the parents that we interviewed on the street stated that they are aware of communal arts sites in Newark (i.e. NJPAC, NSA, and the Newark Museum), but they have never been to these sites with or without their children.
Street Art:
We found one street artist painting name banners, painted trashcans, banners hanging on the streetlight poles, historical sculptures, and music playing at street vendors. These forms of street art seem to all convey aspects of advertisement, but they are also reflective of the community of Newark and the current trends of society.
Interviews with teachers:
We interviewed a bunch of teachers at the Arts High School. All of the teachers we interviewed seemed very passionate about teaching. The teachers incorporate elements of the arts into their classroom curriculum. One math teacher gave us an example of teaching math functions using balls of clay. The teachers also ranted and raved about the disconnect between the support of the parents and the arts.
Teachers also commented about the struggle between the teachers, who want to teach our of the box, and the administration. One teacher said, "they [the administration] want you to teach out of the box, but they keep putting you back in! I carry a box cutter!" This teacher continued to say that teachers teach out of fear; fear of getting fired if they do something wrong, fear of budget cuts, etc.
Teachers also explained that there is a strong disconnect between the parents and arts education. Economic reasons alone prevent parents and their families from seeing their children in school performances. Also, parents do not see a the arts as an area that is suitable for making money. Consequently, students do not respond well to out-of-class field trips to the Newark Museum.
The Arts High School was very inspiring for me, a future art teacher. It was such a great experience, and the students and teachers were so friendly and helpful.
Sunday, April 19, 2009
What I Am Learning From My Inquiry Question
Inquiry Topic Question: What is the relationship between the community, the arts, and public education?
Walking the streets of Newark, interviewing community members and children, and taking photographs and field notes have revealed a wealth of information answering the question above.
I have discovered that there is not an abundance of street or public art in the community. The only pieces of public art that I have been are the boldly painted garbage cans that line the street beginning at the Lincoln Park Historic District and moving down Broad Street,. There is also very little graffiti, which could also be considered “street art,” and the only mural is the devils hockey icon on the Prudential Center.
However, there are many community sites that are affordable for the public and that celebrate the visual and performing arts. An extra-curricular school called the Newark Community School of the Arts (NSA) is open to both children and adults. This school has a high population of people who participate in the arts programs and classes. There is also the New Jersey Performing Arts Center (NJPAC), which is a venue that holds attractions for the performance arts and musical arts concerts. There are several museums and galleries in the area, including the Newark Museum. This museum is one of the top three museums in the country that spends the majority of its budget on programs and classes for the local students.
Interviews with community members informed me that the community values and takes pride in the arts, but the artwork is only visible inside the sites built to honor the arts. I saw and spoke with one street artist who was painting “name banners.” He is trying to inspire to community, and he saws that it is the artist’s job to create the art that speaks to the public.
I am learning that Newark public schools also value the arts. Parents that I have interviewed shared that their kids produce a lot of art in school. The only time student work becomes part of the community is when student work is chosen for an exhibit in a local museum or gallery.
Walking the streets of Newark, interviewing community members and children, and taking photographs and field notes have revealed a wealth of information answering the question above.
I have discovered that there is not an abundance of street or public art in the community. The only pieces of public art that I have been are the boldly painted garbage cans that line the street beginning at the Lincoln Park Historic District and moving down Broad Street,. There is also very little graffiti, which could also be considered “street art,” and the only mural is the devils hockey icon on the Prudential Center.
However, there are many community sites that are affordable for the public and that celebrate the visual and performing arts. An extra-curricular school called the Newark Community School of the Arts (NSA) is open to both children and adults. This school has a high population of people who participate in the arts programs and classes. There is also the New Jersey Performing Arts Center (NJPAC), which is a venue that holds attractions for the performance arts and musical arts concerts. There are several museums and galleries in the area, including the Newark Museum. This museum is one of the top three museums in the country that spends the majority of its budget on programs and classes for the local students.
Interviews with community members informed me that the community values and takes pride in the arts, but the artwork is only visible inside the sites built to honor the arts. I saw and spoke with one street artist who was painting “name banners.” He is trying to inspire to community, and he saws that it is the artist’s job to create the art that speaks to the public.
I am learning that Newark public schools also value the arts. Parents that I have interviewed shared that their kids produce a lot of art in school. The only time student work becomes part of the community is when student work is chosen for an exhibit in a local museum or gallery.
Wednesday, April 15, 2009
Online Assignment 4/13
1. Review the families in Unequal Childhoods, and see if you can create a chart that reflects the following demographic and cultural information.
See chart. (hard copy only)
2. Turn to the NJRCL report and pay specific attention to the information provided about Essex County, and the concerns, challenges, and recommendations in the report. Review the six families in Unequal Childhoods, and make connections between the NJRCL report and the realities these families might face if they lived in Essex County, NJ.
The annual self-sufficiency wage for a single parent with one or more children in Essex County ranges from $39,299-$61,017. All of the single-parent families, the Taylor’s, Brindle’s, and the McAllister’s, make much less than the annual self-sufficiency wage. The Driver family might get away with living in Essex County, but the politics of the family is sticky because Ms. Driver’s boyfriend is not legally tied to the Driver children. Without his contribution, the family would suffer.
There are only four families that would be able to live comfortably on the annual self-sufficiency wage, the Tallinger’s, Williams’, Marshall’s, and the Handlon’s. The other families would need to cut out expenses such as transportation, extra curricular activities, childcare, and food in order to survive in Essex County. For example, Tyrec Taylor would not have been able to play football, the McAllister family would run out of their food supply more often, and the Brindle’s may not have electricity for a couple days until they could pay their electric bill. The parents are forced to sacrifice certain needs to match the needs most important.
The poor families from Unequal Childhoods would have a fighting chance to survive if they lived in a city in Essex County. Cities, compared to the suburbs, have free transportation, markets and stores within walking distance, and more job opportunities for adults who have little educational background. Unfortunately, cities are a dangerous environment to raise a family. Mrs. Taylor comments that she currently lives in a “ghetto” city with high crime rates. If the Taylor family were to have moved into a city in Essex County, their situation would be sadly worse compared to their current living conditions. The Taylor’s would have to downgrade their house size as well as other expenses that they have in their current location.
3. Look at the two reports from the LSNJ on living in poverty. What further information can you glean from the reports regarding the struggles the poor families in Unequal Childhoods might face if they lived in NJ?
New Jersey is a very expensive state to live in. Compared to the federal poverty level of $17,600 per year, the self-sufficiency wage in Essex County is well above that mark beginning at $39,299. Although this number seems self-sufficient, there would be many currently affordable expenses and activities that the poor families from Unequal Childhoods could not afford if they lived in Essex County. The drastic cut in expenses could drastically altar the children’s learning ability and cognitive development.
If the Brindle family moved to Essex County, for example, Ms. Brindle could not financially support Katie singing and performing talents if she was asked to compete at a higher level. If Katie’s mother cannot financially support Katie’s talents and passions through extra-curricular activities, this may drive Katie to more serious self-destructive behavior. Young Katie is already traveling down a dangerous road considering her family’s current situation, and the more bumps in that road the more challenging it will make Katie’s life. Moving to Essex County followed by the Brindle’s budget cuts might cause Katie to suffer mentally, socially, and cognitively.
Similar to the Brindle’s, the Driver’s would be in a similar situation if they had to live in Essex County. Wendy is currently unusually busy with extra-curricular activities that require her mother to transport Wendy from place to place. If living in Essex County, the Driver’s would have to cut back on travel expenses, therefore taking away most if not all of Wendy’s extra-curricular activities. These activities are most likely helping Wendy with her cognitive development as well as with her learning disability. It would be a shame if Wendy were forced to give up the activities that play a crucial role in her educational development.
4. Turn inward and think about who you are as a budding urban educator. In what ways is this information useful (or not) for you? In terms of better understanding a community? What do you need to learn, or what skills and dispositions (frames of mind) do you need to develop related to demographics and economics to be a successful urban educator?
As a future urban educator Unequal Childhoods, the NJRCL report, and the LSNJ reports have helped me realize that every child comes from a different race, class, and family environment. While it may be difficult to know the full details of a student’s daily life, past, and future, it will be very important that I make a strong attempt to understand and relate to each student’s life so that I can be an affective teacher.
Art is a lively aspect of culture and education. It is important to be open-minded towards my students’ abilities, artworks, and opinions. Individuality and expression will hold a high standard in my art lessons and pedagogy. I believe it is crucial to get to know each student’s interests and culture so that the student can incorporate a large piece of themselves into their artwork.
An instructional method that I could use of the first day of my art classes is an Interest Inventory, which will give me a general idea of who my students are, their interests, likes, dislikes, favorite activities, hobbies, family life, and perspective on education. It is important that I have an understanding of the type of lives my students have outside of the classroom, because it will affect their schoolwork and outlook on life.
Ice Breakers are also a good method to begin to learn about students. These teaching techniques barely scrape the surface of getting to know students. I understand that to be a successful teacher it is important to get to know the community that the school resides including local demographics and self-sufficiency wages. I would also love to meet my students’ parents and families.
I believe it is important that I learn more about what I can do as a teacher to become a more active member in the community and in my students’ lives. What is a practical way of researching this type of information? What have other art teachers done with their local communities in the past? Will I be encouraged or discouraged by the school to take these actions?
See chart. (hard copy only)
2. Turn to the NJRCL report and pay specific attention to the information provided about Essex County, and the concerns, challenges, and recommendations in the report. Review the six families in Unequal Childhoods, and make connections between the NJRCL report and the realities these families might face if they lived in Essex County, NJ.
The annual self-sufficiency wage for a single parent with one or more children in Essex County ranges from $39,299-$61,017. All of the single-parent families, the Taylor’s, Brindle’s, and the McAllister’s, make much less than the annual self-sufficiency wage. The Driver family might get away with living in Essex County, but the politics of the family is sticky because Ms. Driver’s boyfriend is not legally tied to the Driver children. Without his contribution, the family would suffer.
There are only four families that would be able to live comfortably on the annual self-sufficiency wage, the Tallinger’s, Williams’, Marshall’s, and the Handlon’s. The other families would need to cut out expenses such as transportation, extra curricular activities, childcare, and food in order to survive in Essex County. For example, Tyrec Taylor would not have been able to play football, the McAllister family would run out of their food supply more often, and the Brindle’s may not have electricity for a couple days until they could pay their electric bill. The parents are forced to sacrifice certain needs to match the needs most important.
The poor families from Unequal Childhoods would have a fighting chance to survive if they lived in a city in Essex County. Cities, compared to the suburbs, have free transportation, markets and stores within walking distance, and more job opportunities for adults who have little educational background. Unfortunately, cities are a dangerous environment to raise a family. Mrs. Taylor comments that she currently lives in a “ghetto” city with high crime rates. If the Taylor family were to have moved into a city in Essex County, their situation would be sadly worse compared to their current living conditions. The Taylor’s would have to downgrade their house size as well as other expenses that they have in their current location.
3. Look at the two reports from the LSNJ on living in poverty. What further information can you glean from the reports regarding the struggles the poor families in Unequal Childhoods might face if they lived in NJ?
New Jersey is a very expensive state to live in. Compared to the federal poverty level of $17,600 per year, the self-sufficiency wage in Essex County is well above that mark beginning at $39,299. Although this number seems self-sufficient, there would be many currently affordable expenses and activities that the poor families from Unequal Childhoods could not afford if they lived in Essex County. The drastic cut in expenses could drastically altar the children’s learning ability and cognitive development.
If the Brindle family moved to Essex County, for example, Ms. Brindle could not financially support Katie singing and performing talents if she was asked to compete at a higher level. If Katie’s mother cannot financially support Katie’s talents and passions through extra-curricular activities, this may drive Katie to more serious self-destructive behavior. Young Katie is already traveling down a dangerous road considering her family’s current situation, and the more bumps in that road the more challenging it will make Katie’s life. Moving to Essex County followed by the Brindle’s budget cuts might cause Katie to suffer mentally, socially, and cognitively.
Similar to the Brindle’s, the Driver’s would be in a similar situation if they had to live in Essex County. Wendy is currently unusually busy with extra-curricular activities that require her mother to transport Wendy from place to place. If living in Essex County, the Driver’s would have to cut back on travel expenses, therefore taking away most if not all of Wendy’s extra-curricular activities. These activities are most likely helping Wendy with her cognitive development as well as with her learning disability. It would be a shame if Wendy were forced to give up the activities that play a crucial role in her educational development.
4. Turn inward and think about who you are as a budding urban educator. In what ways is this information useful (or not) for you? In terms of better understanding a community? What do you need to learn, or what skills and dispositions (frames of mind) do you need to develop related to demographics and economics to be a successful urban educator?
As a future urban educator Unequal Childhoods, the NJRCL report, and the LSNJ reports have helped me realize that every child comes from a different race, class, and family environment. While it may be difficult to know the full details of a student’s daily life, past, and future, it will be very important that I make a strong attempt to understand and relate to each student’s life so that I can be an affective teacher.
Art is a lively aspect of culture and education. It is important to be open-minded towards my students’ abilities, artworks, and opinions. Individuality and expression will hold a high standard in my art lessons and pedagogy. I believe it is crucial to get to know each student’s interests and culture so that the student can incorporate a large piece of themselves into their artwork.
An instructional method that I could use of the first day of my art classes is an Interest Inventory, which will give me a general idea of who my students are, their interests, likes, dislikes, favorite activities, hobbies, family life, and perspective on education. It is important that I have an understanding of the type of lives my students have outside of the classroom, because it will affect their schoolwork and outlook on life.
Ice Breakers are also a good method to begin to learn about students. These teaching techniques barely scrape the surface of getting to know students. I understand that to be a successful teacher it is important to get to know the community that the school resides including local demographics and self-sufficiency wages. I would also love to meet my students’ parents and families.
I believe it is important that I learn more about what I can do as a teacher to become a more active member in the community and in my students’ lives. What is a practical way of researching this type of information? What have other art teachers done with their local communities in the past? Will I be encouraged or discouraged by the school to take these actions?
Monday, April 6, 2009
Introduction to Inquiry project
Art education represents an important part of a student’s education in order to form well rounded individuals. It has been proven to help students cognitively and motivate them in many other school activities.
Therefore, this study which took place in Newark, New Jersey, is a research on the importance of art education in Newark public schools. In particular there is a focus on Newark Arts High School, the opportunities this public school provides, how art is integrated in the curriculum, and the public art that surrounds the school in a ten block radius.
Because our main purpose of research is to find out what are the relationships between the arts, the community, and its public schools, it was necessary to observe the community of the Newark Arts High School, to look at art on the streets, popular art in particular, and to discover what ways art represents the community and how is it linked to public education. Do teachers use popular art in classes to engage students?
In this study the main characters were students and teachers. It was crucial to have an understanding of the interests students had compared to what the teachers wanted them to learn. The opinion of the rest of the community was also an important aspect of our study, so therefore we also interviewed people on the streets.
Therefore, this study which took place in Newark, New Jersey, is a research on the importance of art education in Newark public schools. In particular there is a focus on Newark Arts High School, the opportunities this public school provides, how art is integrated in the curriculum, and the public art that surrounds the school in a ten block radius.
Because our main purpose of research is to find out what are the relationships between the arts, the community, and its public schools, it was necessary to observe the community of the Newark Arts High School, to look at art on the streets, popular art in particular, and to discover what ways art represents the community and how is it linked to public education. Do teachers use popular art in classes to engage students?
In this study the main characters were students and teachers. It was crucial to have an understanding of the interests students had compared to what the teachers wanted them to learn. The opinion of the rest of the community was also an important aspect of our study, so therefore we also interviewed people on the streets.
Sunday, March 29, 2009
Inquiry Project: Data Collection
Main Question: Is there a relationship between the community, art, and the public schools?
Sub-Questions:
-Do the arts play an important role in education?
-Is art integrated into classroom curriculum? How?
-How are the arts related to the community?
-What are the forms of Pop Art (popular art, art for the people) in the community?
Data Collection:
Map/Description of the city
-Walk/drive around the ten-block radius in Newark: (www.googlemaps.com)
-Observation: Field notes and photography
-10 blocks include: Carter Hwy (runs along the Passaic River), Central Ave, Martin Luther King Blvd, Mercer St., Market St., Broad St.
-10 sites include: Arts High School, Newark Public School, New Jersey Performing Arts Center, Rutgers State University Art and Design Program, North Star Academy Charter School of Newark, New Jersey Symphony Orchestra, Newark Museum, Seed Gallary, Central Business District, Passaic River.
-Walking tour of the sites including field notes, photography, collecting physical data (i.e. pamphlets, flyers, brochures, visiting websites online), and interview questions (if possible).
Research questions to be answered:
-Are youth’s involved in these sites?
-What kind of art do these sites support?
-What kind of art is on the street? (i.e. graffiti, music, formal sculptures)
-Are youth participating in art activity on the street?
Semi-formal interviews with community members (Audio recorded):
-Is art an important part of the community? The culture?
-What is your opinion of public art in the area?
-In your opinion, is there a connection between art, education, and public art in the community?
-Is there anything else you want to add regarding community art or education?
Geographical information: http://www.citytowninfo.com/places/new-jersey/newark
-History and Culture of Newark
-Area Demographics and population statistics
Newark Public Schools:
-District information http://www.nps.k12.nj.us/districtinformation.html
-History of the Newark Public Schools
-Mission Statement
-General information http://www.answers.com/topic/newark-public-schools
-Newark Public School, Located on 2 Cedar St. #1
-Arts High School, located on 550 Dr. Martin Luther King Jr. Blvd.
-Website: http://www.nps.k12.nj.us/arts/default.htm (Includes school history and profile)
Data collection methods:
-Walking tour of the schools
-Observation: Field notes and photography
-Semi-formal interviews(audio recorded)
Teacher/Faculty interview questions:
-What art are students making? Is there a common theme?
-What involves classroom curriculum in general?
-In your opinion, what do the arts bring to student learning and development?
-Can you give me an example of a lesson that integrates the arts with classroom curriculum that you or another faculty member has used?
-Do you see a relationship between student artwork and public art in the community?
-What is special or different about the Arts High School compared to the neighboring public school(s)?
Student interview questions:
-What are you making in art class?
-Do you enjoy art?
-Do you see art in public? (i.e. graffiti, music, dance, sculpture, painting)
-Local News in Newark involving the arts, community, and education that may affect the ten-block radius in the city.
Sub-Questions:
-Do the arts play an important role in education?
-Is art integrated into classroom curriculum? How?
-How are the arts related to the community?
-What are the forms of Pop Art (popular art, art for the people) in the community?
Data Collection:
Map/Description of the city
-Walk/drive around the ten-block radius in Newark: (www.googlemaps.com)
-Observation: Field notes and photography
-10 blocks include: Carter Hwy (runs along the Passaic River), Central Ave, Martin Luther King Blvd, Mercer St., Market St., Broad St.
-10 sites include: Arts High School, Newark Public School, New Jersey Performing Arts Center, Rutgers State University Art and Design Program, North Star Academy Charter School of Newark, New Jersey Symphony Orchestra, Newark Museum, Seed Gallary, Central Business District, Passaic River.
-Walking tour of the sites including field notes, photography, collecting physical data (i.e. pamphlets, flyers, brochures, visiting websites online), and interview questions (if possible).
Research questions to be answered:
-Are youth’s involved in these sites?
-What kind of art do these sites support?
-What kind of art is on the street? (i.e. graffiti, music, formal sculptures)
-Are youth participating in art activity on the street?
Semi-formal interviews with community members (Audio recorded):
-Is art an important part of the community? The culture?
-What is your opinion of public art in the area?
-In your opinion, is there a connection between art, education, and public art in the community?
-Is there anything else you want to add regarding community art or education?
Geographical information: http://www.citytowninfo.com/places/new-jersey/newark
-History and Culture of Newark
-Area Demographics and population statistics
Newark Public Schools:
-District information http://www.nps.k12.nj.us/districtinformation.html
-History of the Newark Public Schools
-Mission Statement
-General information http://www.answers.com/topic/newark-public-schools
-Newark Public School, Located on 2 Cedar St. #1
-Arts High School, located on 550 Dr. Martin Luther King Jr. Blvd.
-Website: http://www.nps.k12.nj.us/arts/default.htm (Includes school history and profile)
Data collection methods:
-Walking tour of the schools
-Observation: Field notes and photography
-Semi-formal interviews(audio recorded)
Teacher/Faculty interview questions:
-What art are students making? Is there a common theme?
-What involves classroom curriculum in general?
-In your opinion, what do the arts bring to student learning and development?
-Can you give me an example of a lesson that integrates the arts with classroom curriculum that you or another faculty member has used?
-Do you see a relationship between student artwork and public art in the community?
-What is special or different about the Arts High School compared to the neighboring public school(s)?
Student interview questions:
-What are you making in art class?
-Do you enjoy art?
-Do you see art in public? (i.e. graffiti, music, dance, sculpture, painting)
-Local News in Newark involving the arts, community, and education that may affect the ten-block radius in the city.
Sunday, March 22, 2009
Annotated Bibliography
1.) Buffington, Melanie. (July 2007). Art to Bring About Change: The Work of Tyree Guyton. National Art Education Association: Reston, VA.
URL: http://www.NAEA-Reston.org/index.html
Tyree Guyton is an African-American artist who created the Heidelberg Project, a body of work that consists of public artwork such as painted abandoned houses, outdoor sculptures, and pieces made of found objects. Guyton’s work focuses on issues of racism, politics, religion, and homelessness. Buffington discusses specific works of art from the Heidelberg Project and integrates suggested lesson plans, including questions for discussion, art-making activities, and assessments, which parallel each public artwork. This article is intended for urban teachers looking to make connections between their students and the community by analyzing public artwork and its functions. The article also provides seven color images of Guyton’s work, which helps the reader visualize the content.
2.) Long, Trisha Wies. (March 2008). The Full Circling Process: Leaping into the Ethics of History Using Critical Visual Literacy and Arts-Based Activism. Newark, DE: International Reading Association.
URL: http://dx.doi.org.ezproxy.montclair.edu:2048/10.1598/JAAL.51.6.6
In an effort to change current classroom curriculum of teaching to the test, the author describes a multi-layered learning process called “full circling” that uses visual media as a text to be critically read and interpreted by all types of learners. Long thoroughly describes her four-step process of combining visual media (i.e. paintings, drawings, and photographs) with more traditional texts (i.e. reading and writing), and providing example images that compliment the full circle teaching method. The author works with urban adolescents, teachers, and university interns, describes how a teacher would begin the full circling process, and where the process is heading. This article is informative, clear, and is a good source for urban teaching methods combined with the arts. Integrating the arts into classroom curriculum stimulates creativity and critical thinking.
3.) Mishlove, Robert, Strange, Wayne. (October 2008). Knowing Neighborhoods: Students and Teachers as Artistic Colleague. Routledge: London.
URL: http://www.informaworld.com.ezproxy.montclair.edu:2048/openurl?genre=article&id=doi:10.1080/15411790802344272
Bob Mishlove is an art teacher at Nathan R. Goldblatt Elementary School in Area 7 on Chicago’s west side, and is a member of a city curriculum (CAPE). CAPE offered six teachers to work with visiting artists and to exhibit their work at one of Chicago’s highest art galleries. Bob chose to collaborate with one of his students, Wayne Strange, to create a photo instillation exploring the community surrounding Goldblatt Elementary School. The article is a conversation between Bob and Wayne about their experiences working together, including a collaborative artist statement, images of the installation, and the ways in which this experience has affected Bob’s curriculum. This article is important because it ties urban art education pedagogy with the surrounding community. It it crucial that students create their own learning experiences, and that art instructors facilitate these learning possibilities.
4.) Ross, Jerrold. (Jan-Feb 2005). Arts Education and the Newer Public Good. Heldref Publications: Washington DC, MD.
The federal financial support of the arts is declining, and the public’s knowledge of the importance of the arts is diminishing even faster. Ross argues that our anti-arts society has a direct influence on “teaching to the test” in current education, which is directly cutting imagination and creativity in learning and teaching. Moreover, Ross points out that schools’ “immagineless” curricula are hindering learning for the urban, “disadvantaged” youth. The article is very one-sided, but provides a lot of supporting arguments and facts. This article would hopefully make more school administrators, educators, and parents more aware of the affects “teaching to the test.” Educators would likely consider changing their curricula to incorporate the arts, imagination, and creativity.
5.) Hutzel, Karen. (2007). Reconstructing a Community, Reclaiming a Playground: A Participatory Action Research Study. National Art Education Association: Reston, VA.
URL: http://www.naea-reston.org/index.html
There are some art instructors who are heavily involved with the communities where they teach and provide methods of teaching that cater to the needs of the community, which broadens students’ perspectives on local art and culture. Hutzel conducts a study in her own community that examines participant’s perceptions the community of the West End neighborhood in Cincinnati, Ohio. The author is interested in how these perceptions shape community, art curriculum, and social change.
In the beginning of the study, participants were reluctant to work with an “outsider” of the African-American-based community, because in the past many had experienced white, middle class researchers making false promises and creating artificial hope in the community. Hutzel’s relationship to the West End community provided interesting tension in the beginning of the article.
Hutzel chose to focus on improving the community’s quality of life by creating an asset-based community art curriculum, as opposed to need-based approaches, which is important because it relies on the positive aspects of the community. The author held a service-learning pedagogy while working with adolescents of the community to create two public murals. Adolescents were required to dig into their personal experiences and perceptions to design their own portion of the mural. There are a few photographs of the mural in the article. Results from the study indicate that participants from the West End believe that their community has strong social bonds despite local violence and crime.
The article touches on important issues regarding art education, curriculum, community, and public art. It is necessary for art educators to examine the identities of urban youth and to create a curriculum that reaches students that live in low-income, minority, and violent communities. Urban art education should incorporate these realities into the curriculum as a way to make real connections between reality and education. Public art projects can give students the opportunity to change their existing environment in a positive way through art-making and community development. This article is a useful and inspirational tool for urban art teachers motivated to make a difference in the lives of their students.
URL: http://www.NAEA-Reston.org/index.html
Tyree Guyton is an African-American artist who created the Heidelberg Project, a body of work that consists of public artwork such as painted abandoned houses, outdoor sculptures, and pieces made of found objects. Guyton’s work focuses on issues of racism, politics, religion, and homelessness. Buffington discusses specific works of art from the Heidelberg Project and integrates suggested lesson plans, including questions for discussion, art-making activities, and assessments, which parallel each public artwork. This article is intended for urban teachers looking to make connections between their students and the community by analyzing public artwork and its functions. The article also provides seven color images of Guyton’s work, which helps the reader visualize the content.
2.) Long, Trisha Wies. (March 2008). The Full Circling Process: Leaping into the Ethics of History Using Critical Visual Literacy and Arts-Based Activism. Newark, DE: International Reading Association.
URL: http://dx.doi.org.ezproxy.montclair.edu:2048/10.1598/JAAL.51.6.6
In an effort to change current classroom curriculum of teaching to the test, the author describes a multi-layered learning process called “full circling” that uses visual media as a text to be critically read and interpreted by all types of learners. Long thoroughly describes her four-step process of combining visual media (i.e. paintings, drawings, and photographs) with more traditional texts (i.e. reading and writing), and providing example images that compliment the full circle teaching method. The author works with urban adolescents, teachers, and university interns, describes how a teacher would begin the full circling process, and where the process is heading. This article is informative, clear, and is a good source for urban teaching methods combined with the arts. Integrating the arts into classroom curriculum stimulates creativity and critical thinking.
3.) Mishlove, Robert, Strange, Wayne. (October 2008). Knowing Neighborhoods: Students and Teachers as Artistic Colleague. Routledge: London.
URL: http://www.informaworld.com.ezproxy.montclair.edu:2048/openurl?genre=article&id=doi:10.1080/15411790802344272
Bob Mishlove is an art teacher at Nathan R. Goldblatt Elementary School in Area 7 on Chicago’s west side, and is a member of a city curriculum (CAPE). CAPE offered six teachers to work with visiting artists and to exhibit their work at one of Chicago’s highest art galleries. Bob chose to collaborate with one of his students, Wayne Strange, to create a photo instillation exploring the community surrounding Goldblatt Elementary School. The article is a conversation between Bob and Wayne about their experiences working together, including a collaborative artist statement, images of the installation, and the ways in which this experience has affected Bob’s curriculum. This article is important because it ties urban art education pedagogy with the surrounding community. It it crucial that students create their own learning experiences, and that art instructors facilitate these learning possibilities.
4.) Ross, Jerrold. (Jan-Feb 2005). Arts Education and the Newer Public Good. Heldref Publications: Washington DC, MD.
The federal financial support of the arts is declining, and the public’s knowledge of the importance of the arts is diminishing even faster. Ross argues that our anti-arts society has a direct influence on “teaching to the test” in current education, which is directly cutting imagination and creativity in learning and teaching. Moreover, Ross points out that schools’ “immagineless” curricula are hindering learning for the urban, “disadvantaged” youth. The article is very one-sided, but provides a lot of supporting arguments and facts. This article would hopefully make more school administrators, educators, and parents more aware of the affects “teaching to the test.” Educators would likely consider changing their curricula to incorporate the arts, imagination, and creativity.
5.) Hutzel, Karen. (2007). Reconstructing a Community, Reclaiming a Playground: A Participatory Action Research Study. National Art Education Association: Reston, VA.
URL: http://www.naea-reston.org/index.html
There are some art instructors who are heavily involved with the communities where they teach and provide methods of teaching that cater to the needs of the community, which broadens students’ perspectives on local art and culture. Hutzel conducts a study in her own community that examines participant’s perceptions the community of the West End neighborhood in Cincinnati, Ohio. The author is interested in how these perceptions shape community, art curriculum, and social change.
In the beginning of the study, participants were reluctant to work with an “outsider” of the African-American-based community, because in the past many had experienced white, middle class researchers making false promises and creating artificial hope in the community. Hutzel’s relationship to the West End community provided interesting tension in the beginning of the article.
Hutzel chose to focus on improving the community’s quality of life by creating an asset-based community art curriculum, as opposed to need-based approaches, which is important because it relies on the positive aspects of the community. The author held a service-learning pedagogy while working with adolescents of the community to create two public murals. Adolescents were required to dig into their personal experiences and perceptions to design their own portion of the mural. There are a few photographs of the mural in the article. Results from the study indicate that participants from the West End believe that their community has strong social bonds despite local violence and crime.
The article touches on important issues regarding art education, curriculum, community, and public art. It is necessary for art educators to examine the identities of urban youth and to create a curriculum that reaches students that live in low-income, minority, and violent communities. Urban art education should incorporate these realities into the curriculum as a way to make real connections between reality and education. Public art projects can give students the opportunity to change their existing environment in a positive way through art-making and community development. This article is a useful and inspirational tool for urban art teachers motivated to make a difference in the lives of their students.
Sunday, March 1, 2009
My Culture, My Pedagogy
When I begin to think about my culture I start by breaking down my heritage and family values. I come from a large, Catholic, Irish-American, English speaking family with six people in my immediate family including myself, my mom and dad, two sisters, and brother. My mom is the oldest of six, my dad is one of eight, and we are very close to all of my aunts, uncles, cousins, and second cousins. Family is a huge part of my culture because they are my foundation, my rock, and for my entire life both immediate and extended family gatherings and parties have been a top priority. My family and childhood is the largest part of my culture, which will affect my methods and beliefs of teaching.
For the past twenty years I have grown up in a suburban town that consists of mostly white, middle-upper class, Catholic people. I had everything as a child; many toys, TVs, video games, computers, plenty of art-making supplies, a nice yard with a swing set and a pool, a dog and a cat, and two-week summer vacations. Life was good. I grew up watching and owning many Disney movies, where there is always a happy ending. My plentiful supply of luxuries and optimistic outlook on life was not much different than the majority of the children my age growing up in Flemington, NJ.
In pre-school through kindergarten I loved to wear all my beautiful dresses, but when I reached the first grade I was “one of the boys.” I wore jeans and over-sized t-shirts and was very active. I loved to play sports, and was one of the few girls who would play kickball at recess instead of chatting with the girls on the playground. I grew out of that phase when I reached middle school as I became more interested in boys, but I continued to be actively involved in sports playing on the school’s competitive sports teams through high school.
Fortunately, the public school system in Flemington was strong, had many great teachers, a lot of school funding, and a positive learning environment. Because of my strong public school system I have received a great education, have always been successful in school, and have gone onto college to get a higher education. However, my “perfect” childhood and predominately white-peer education background left me accustomed to little diversity. Socially, this resulted in having mostly white friends, and rarely coming into contact with peers from a different culture and religion. My suburban, sheltered life has given me a blind eye to surrounding Americans and their ways of life. For example, I never thought about how the ESL students must feel growing up in Flemington full of rich, white kids. I did not consider the challenges students coming from poverty must face every day, and I could not imagine struggling schools with under funded programs, bad teachers, and students who come from poor families. My life has always been fairly easy when I compare it to some lives others have.
My parents always said that I could be anything that I wanted to be. I have always held high expectations for myself, especially in school, because I come from a highly educated family. I was taught to never be racist towards people of different cultures, but, to be honest, I have held stereotypes towards the uneducated. I believed that education holds power and a higher-class statue, and, in the past, I have viewed others who are not educated as unequal. While I still believe people with an education have a leg up on others who do not, I believe that the uneducated can still do well if given a chance. My partner of six years, Carl, did not attend college similar to his parents. Despite not having an education, he and his parents lead happy lives and hold steady jobs. Carl is in a local trade program to become an electrician, which is the best road for him to travel because he is following his passions and talents of working with his hands and with people. With the help of a positive role model, I believe that regardless of class, race, religion, and gender one can find a positive direction in life and succeed.
I am fortunate to have had positive role models to guide me through my life thus far. I am unsure where religion fits into my life as far as its influences on me. As a child, my family attended mass most Sunday’s, my siblings and I went to CCD after school, and we have all been baptized, received our first communion, and have been confirmed. I would not consider myself to be a religious person, and in fact the only time I attend church is during some holidays with my family. However, I do appreciate faith and the people who regularly attend mass. My grandmother, Nanny, went to church every day after my grandfather passed away and while she was fighting cancer. When I spent weekends with Nanny I looked forward to going to mass with her because I felt that I was a part of her life that gave her hope and made her strong enough to fight the evil disease. Nanny was a hero in my life who encouraged my artistic talents and inspired me to be a kind person like she was. Currently, religion is not a large part of my life, but I appreciate and accept people who make it part of theirs. I am open-minded to many different kinds of beliefs and faiths, and I do not judge people with religions different than the one I was raised in.
I plan to connect with my students by sharing my culture and personal experiences with them, and asking them to use their culture and interests to create meaningful art. For example, I would share with my students that a big part of my culture and my artwork is music. Since I can remember, all family parties had music playing in the background, and on many occasions we had sing-alongs, karaoke, and instrument playing. Into my college years I became more fascinated with music; I attended many music concerts and road tripped to festivals with cousins, family members, and Carl, and I brought the positive feeling of music into my art. The body of work that I produced over my senior year of undergraduate school was the theme of “painting the music.” I believe that my students will find something positive that they can connect to in their lives and bring it into their art.
From my learning experience, I understand that the process is as important if not more important than the final product in all subjects, but especially in art. For example, as a student, play and experimentation combined with teacher guidance helped me learn the different consistencies of clay, how to manipulate it, and what to do so that my piece would survive the kiln. I was fortunate to attend elementary and secondary schools that had the equipment to make clay art and fire them in a kiln. Teachers from other cultures may use different strategies to motivate students in the art room. For example, an African American teacher who grew up in the same urban community as she/he is teaching will use his/her personal experiences of growing up in the city to relate to the students. This teacher will make immediate connections with the students because she/he understands what it is like to be in the students’ shoes. Perhaps the African American teacher would use examples of artwork and history from the city that both the urban students and teacher are familiar with. It is important to keep in mind that one’s own culture will affect their teaching and students differently, but teachers with different backgrounds can achieve the same common goal.
My existing beliefs of open-mindedness and individuality will carry into my art classroom. Because I grew up with people from similar cultures, I am interested in learning about the different cultures in an urban classroom and gearing my lessons toward my students’ variety of backgrounds and beliefs. Art is a language where my students will be free to express and explore their culture, identity, beliefs, and emotions.
For the past twenty years I have grown up in a suburban town that consists of mostly white, middle-upper class, Catholic people. I had everything as a child; many toys, TVs, video games, computers, plenty of art-making supplies, a nice yard with a swing set and a pool, a dog and a cat, and two-week summer vacations. Life was good. I grew up watching and owning many Disney movies, where there is always a happy ending. My plentiful supply of luxuries and optimistic outlook on life was not much different than the majority of the children my age growing up in Flemington, NJ.
In pre-school through kindergarten I loved to wear all my beautiful dresses, but when I reached the first grade I was “one of the boys.” I wore jeans and over-sized t-shirts and was very active. I loved to play sports, and was one of the few girls who would play kickball at recess instead of chatting with the girls on the playground. I grew out of that phase when I reached middle school as I became more interested in boys, but I continued to be actively involved in sports playing on the school’s competitive sports teams through high school.
Fortunately, the public school system in Flemington was strong, had many great teachers, a lot of school funding, and a positive learning environment. Because of my strong public school system I have received a great education, have always been successful in school, and have gone onto college to get a higher education. However, my “perfect” childhood and predominately white-peer education background left me accustomed to little diversity. Socially, this resulted in having mostly white friends, and rarely coming into contact with peers from a different culture and religion. My suburban, sheltered life has given me a blind eye to surrounding Americans and their ways of life. For example, I never thought about how the ESL students must feel growing up in Flemington full of rich, white kids. I did not consider the challenges students coming from poverty must face every day, and I could not imagine struggling schools with under funded programs, bad teachers, and students who come from poor families. My life has always been fairly easy when I compare it to some lives others have.
My parents always said that I could be anything that I wanted to be. I have always held high expectations for myself, especially in school, because I come from a highly educated family. I was taught to never be racist towards people of different cultures, but, to be honest, I have held stereotypes towards the uneducated. I believed that education holds power and a higher-class statue, and, in the past, I have viewed others who are not educated as unequal. While I still believe people with an education have a leg up on others who do not, I believe that the uneducated can still do well if given a chance. My partner of six years, Carl, did not attend college similar to his parents. Despite not having an education, he and his parents lead happy lives and hold steady jobs. Carl is in a local trade program to become an electrician, which is the best road for him to travel because he is following his passions and talents of working with his hands and with people. With the help of a positive role model, I believe that regardless of class, race, religion, and gender one can find a positive direction in life and succeed.
I am fortunate to have had positive role models to guide me through my life thus far. I am unsure where religion fits into my life as far as its influences on me. As a child, my family attended mass most Sunday’s, my siblings and I went to CCD after school, and we have all been baptized, received our first communion, and have been confirmed. I would not consider myself to be a religious person, and in fact the only time I attend church is during some holidays with my family. However, I do appreciate faith and the people who regularly attend mass. My grandmother, Nanny, went to church every day after my grandfather passed away and while she was fighting cancer. When I spent weekends with Nanny I looked forward to going to mass with her because I felt that I was a part of her life that gave her hope and made her strong enough to fight the evil disease. Nanny was a hero in my life who encouraged my artistic talents and inspired me to be a kind person like she was. Currently, religion is not a large part of my life, but I appreciate and accept people who make it part of theirs. I am open-minded to many different kinds of beliefs and faiths, and I do not judge people with religions different than the one I was raised in.
I plan to connect with my students by sharing my culture and personal experiences with them, and asking them to use their culture and interests to create meaningful art. For example, I would share with my students that a big part of my culture and my artwork is music. Since I can remember, all family parties had music playing in the background, and on many occasions we had sing-alongs, karaoke, and instrument playing. Into my college years I became more fascinated with music; I attended many music concerts and road tripped to festivals with cousins, family members, and Carl, and I brought the positive feeling of music into my art. The body of work that I produced over my senior year of undergraduate school was the theme of “painting the music.” I believe that my students will find something positive that they can connect to in their lives and bring it into their art.
From my learning experience, I understand that the process is as important if not more important than the final product in all subjects, but especially in art. For example, as a student, play and experimentation combined with teacher guidance helped me learn the different consistencies of clay, how to manipulate it, and what to do so that my piece would survive the kiln. I was fortunate to attend elementary and secondary schools that had the equipment to make clay art and fire them in a kiln. Teachers from other cultures may use different strategies to motivate students in the art room. For example, an African American teacher who grew up in the same urban community as she/he is teaching will use his/her personal experiences of growing up in the city to relate to the students. This teacher will make immediate connections with the students because she/he understands what it is like to be in the students’ shoes. Perhaps the African American teacher would use examples of artwork and history from the city that both the urban students and teacher are familiar with. It is important to keep in mind that one’s own culture will affect their teaching and students differently, but teachers with different backgrounds can achieve the same common goal.
My existing beliefs of open-mindedness and individuality will carry into my art classroom. Because I grew up with people from similar cultures, I am interested in learning about the different cultures in an urban classroom and gearing my lessons toward my students’ variety of backgrounds and beliefs. Art is a language where my students will be free to express and explore their culture, identity, beliefs, and emotions.
Sunday, February 22, 2009
Community Inquiry Project Questions
The general issue I want to examine is NCLB and its effect on the community, schools, students, and teachers. I know this is a broad topic, so I am going to attempt to narrow this topic down as I discuss NCLB in this blog entry....
I am studying to be an art teacher. Coming from a large, wealthy, suburban high school I did not see the effects of NCLB when I was in high school. In fact, our art department was growing, offering new courses and hiring more teachers. The budget cuts barely effected my art teachers' ability to function pre-NCLB, and they always had an abundance of supplies and resources. It was only until I came to MSU to study education that I learned about NCLB and the affect it has on schools.
I understand that the goals of the NCLB act is for all levels of students to move to high levels of achievement through focusing on reading and mathematics, and assessing student achievement through standardized tests. I do not think highly of the NCLB act, and, in fact, NCLB is doing more damage to students that good. Teachers and students are now focusing entirely on how to boost their test scores so that they can move on to the next grade. Both students and teachers are on auto-pilot, focusing strictly on reading and mathematics and neglecting science and the arts. How does the NCLB act drastically change how urban schools operate? On a larger scale, how does NCLB effect the urban community? Are the local stores/businesses where teachers and schools would go to buy crayons, paper, glue, and other "creative" school supplies going out of business or suffering?
I am floored that the arts are being cut from school and classroom curriculum nationally. I believe the arts teach students cognitive skills through skilled lesson plans involving group discussions, class critiques, and interdisciplinary lessons incorporating other subjects such as reading, writing, history, science, and mathematics. The arts gives students a different way of viewing the world, and teaches students to be creative and use problem-solving techniques. How is teaching to the test effecting students' cognitive thinking and development?
My MSU training to become an art teacher has got me thinking of the different lessons I could do with my students. I try to think of the different ways I can create lessons that intrigue the students using multiple media and the fast-paced technology that kids today are exposed to. This brings me to another question, what kind of technology are urban children exposed to? Do most urban families own a computer? How many computers does the school have, and what of programs are available to the teachers and the students? How are the budget cuts effecting urban art teacher's supplies? How are these teachers getting by with the limited supplies they have?
I hope to conclude my inquiry project with some answers of how NCLB effects the community, school, teachers, and students. I am curious to find out if NCLB has an impact on the community's businesses, the physical conditions of the community (murals and other art work that might brighten a dull shaded town), and the resources (such as libraries or an Internet cafe) that the people of the community have open to them. I am interested in who designs the curriculum and who is in charge of making sure that the students meet their obligations. I wish to discover what teachers are doing to meet NCLB guidelines and benchmarks, and what art teachers are doing to survive budget cuts. Lastly, I want to know how students' cognitive development and social skills needed for the outside world is effected by NCLB.
I am studying to be an art teacher. Coming from a large, wealthy, suburban high school I did not see the effects of NCLB when I was in high school. In fact, our art department was growing, offering new courses and hiring more teachers. The budget cuts barely effected my art teachers' ability to function pre-NCLB, and they always had an abundance of supplies and resources. It was only until I came to MSU to study education that I learned about NCLB and the affect it has on schools.
I understand that the goals of the NCLB act is for all levels of students to move to high levels of achievement through focusing on reading and mathematics, and assessing student achievement through standardized tests. I do not think highly of the NCLB act, and, in fact, NCLB is doing more damage to students that good. Teachers and students are now focusing entirely on how to boost their test scores so that they can move on to the next grade. Both students and teachers are on auto-pilot, focusing strictly on reading and mathematics and neglecting science and the arts. How does the NCLB act drastically change how urban schools operate? On a larger scale, how does NCLB effect the urban community? Are the local stores/businesses where teachers and schools would go to buy crayons, paper, glue, and other "creative" school supplies going out of business or suffering?
I am floored that the arts are being cut from school and classroom curriculum nationally. I believe the arts teach students cognitive skills through skilled lesson plans involving group discussions, class critiques, and interdisciplinary lessons incorporating other subjects such as reading, writing, history, science, and mathematics. The arts gives students a different way of viewing the world, and teaches students to be creative and use problem-solving techniques. How is teaching to the test effecting students' cognitive thinking and development?
My MSU training to become an art teacher has got me thinking of the different lessons I could do with my students. I try to think of the different ways I can create lessons that intrigue the students using multiple media and the fast-paced technology that kids today are exposed to. This brings me to another question, what kind of technology are urban children exposed to? Do most urban families own a computer? How many computers does the school have, and what of programs are available to the teachers and the students? How are the budget cuts effecting urban art teacher's supplies? How are these teachers getting by with the limited supplies they have?
I hope to conclude my inquiry project with some answers of how NCLB effects the community, school, teachers, and students. I am curious to find out if NCLB has an impact on the community's businesses, the physical conditions of the community (murals and other art work that might brighten a dull shaded town), and the resources (such as libraries or an Internet cafe) that the people of the community have open to them. I am interested in who designs the curriculum and who is in charge of making sure that the students meet their obligations. I wish to discover what teachers are doing to meet NCLB guidelines and benchmarks, and what art teachers are doing to survive budget cuts. Lastly, I want to know how students' cognitive development and social skills needed for the outside world is effected by NCLB.
Friday, February 20, 2009
Open Topic -- ABC News: "Does Paying for Grades Really Work?"
I found an interesting article from abcnews.com titled, "Does Paying For Grades Really Work?" by Ann Pleshette Murphy and Laura Lacy (Feb. 18, 2008). The article discusses the Spark incentive program that participates with Family Academy, a NYC public school, which pays fourth and seventh-graders for good grades and attendance. The Spark program participates with 60 NYC public schools and was created to narrow the educational gap by giving students short-term rewards that will be in their long-term best interest. The money students earn is deposited into the students' bank accounts and they are free to spend it however they wish.
There are other programs similar to the Spark program in about a dozen states. For example, "in Albuquerque, N.M., students at the Cesar Chavez Charter School can earn up to $300 a year for good attendance. In Santa Ana, Calif., kids who do well on their math tests can earn up to $250 and in Baltimore, students can take away $110 depending on their test scores."
These specific programs are very new and have not been studied, but "research on rewarding children for good grades shows that despite short-term gains, it may be detrimental in the long-term by decreasing their motivation, especially when the incentive is removed." Aside from this research, students are excited to make the cash
This article raises a number of issues, but I'd like to focus on the issue of ethicacy. A scholarship is a reason to give students money to do well in school, not to pay school-aged children to do well. A scholarship is given to a student who is already performing well in school and the money they will receive helps that student stay at the level of achievement that they are at. If you give a student money to do well in school and it works, what happens when you stop paying the student? Will they continue to do well? I don't think so.
I understand that urban students need an extra boost. Unfortunately, most of these kids are not receiving the pat on the back from Mom and Dad at home, or they may not have any motivation to learn how to read and write once they reach the high school level. The Spark program and others alike are saying that poor, city kids (who are mainly African Americans) need to be bribed with money in order to succeed in school. These programs are saying that poor kids cannot be inspired or engaged by a teacher to learn, and is a target for racism.
If you pay a child to get good grades, than the student is working for the money verses working for receiving an education. What are we teaching our children when we offer them money for good grades? I doubt very much that paying students pursuades them to love school for learning. We are teaching them to work for money, not for the greater good. We are teaching our children to become greedy, and that money is the only thing in the world worth having. We single handedly ruining our children's morals.
Also, who is saying that this child will use the money earned wisely? If this is an idea worth exploring, maybe an education fund should be set up for the student as payment towards their college tuition. Or maybe the money earned could go towards a greater good of a class dance at the end of the year or some other kind of nice treat.
There are other programs similar to the Spark program in about a dozen states. For example, "in Albuquerque, N.M., students at the Cesar Chavez Charter School can earn up to $300 a year for good attendance. In Santa Ana, Calif., kids who do well on their math tests can earn up to $250 and in Baltimore, students can take away $110 depending on their test scores."
These specific programs are very new and have not been studied, but "research on rewarding children for good grades shows that despite short-term gains, it may be detrimental in the long-term by decreasing their motivation, especially when the incentive is removed." Aside from this research, students are excited to make the cash
This article raises a number of issues, but I'd like to focus on the issue of ethicacy. A scholarship is a reason to give students money to do well in school, not to pay school-aged children to do well. A scholarship is given to a student who is already performing well in school and the money they will receive helps that student stay at the level of achievement that they are at. If you give a student money to do well in school and it works, what happens when you stop paying the student? Will they continue to do well? I don't think so.
I understand that urban students need an extra boost. Unfortunately, most of these kids are not receiving the pat on the back from Mom and Dad at home, or they may not have any motivation to learn how to read and write once they reach the high school level. The Spark program and others alike are saying that poor, city kids (who are mainly African Americans) need to be bribed with money in order to succeed in school. These programs are saying that poor kids cannot be inspired or engaged by a teacher to learn, and is a target for racism.
If you pay a child to get good grades, than the student is working for the money verses working for receiving an education. What are we teaching our children when we offer them money for good grades? I doubt very much that paying students pursuades them to love school for learning. We are teaching them to work for money, not for the greater good. We are teaching our children to become greedy, and that money is the only thing in the world worth having. We single handedly ruining our children's morals.
Also, who is saying that this child will use the money earned wisely? If this is an idea worth exploring, maybe an education fund should be set up for the student as payment towards their college tuition. Or maybe the money earned could go towards a greater good of a class dance at the end of the year or some other kind of nice treat.
Sunday, February 15, 2009
Influences That Shape Schools
Many influences effect how schools are shaped, including myths and many external and internal factors of a school.
When many people picture rural, suburban, and urban schools many set images come to mind. These are images that are planted in our heads through the television programs, movies, and the news. Stereotypes are built upon mainly myths regarding rural, urban, and suburban education and are major influences that shape schools and define education. The Anderson and Summerfield article give examples of many myths that are proven statistically to be false, but these myths are still giving urban centers and schools a bad reputation. For example, there is a huge misconception that urban schools have the highest crime rate in the country. In reality, students in suburban schools are victims of most crimes and the suburbs have the highest crime rate compared to urban and rural locations.
Because of false myths like these, many people are turned off by the urban school system. Parents who believe this false myth will most likely send their child to a private, suburban, or even rural school if they can affort to do so. However, school violence is everywhere, even in rural atmospheres. Remember the Amish school shooting that took the lives of five girls in Lancaster, PA? It is important to realize that crime unfortunately happens everywhere regardless of location.
I am a victim of falsely judging schools and their environments based on stereotypes. When I think of urban schools I picture small, crowded classrooms with few teachers. I was surprised to read that the student/teacher ratio for urban, suburban, and rural schools are about the same. Now that I think of it, our CURR523 class is pretty crowded! Not that I am not excited to work with all of you, but it is important to point out that regardless of location, population management like school violence is always an issue wherever we are.
False myths and stereotypes are influences on how most people view different schools, but what truly and physically shapes schools? Schools are influenced both by a school's external and internal environment. Obviously, the physical conditions of an area labels the school urban, suburban, or rural, but other external factors consist of American history, the existing government, population densities, and area demographics/culture.
American history that effects urban education is the existing racism against African-Americans because of slavery. Fruchter discusses the Brown vs. The Board of Education, which ordered the desegregation of schools. Our government and school systems never followed through with desegregating school, which left many poor black children doomed for a terrible education and limited futures. Not much as changed since 1954 when the Supreme Court ordered desegregation, and there have been few efforts to change since then. I believe that there were good intentions to desegregate by passing this law, but not following through made matters worse. Additionally, our existing government heavily influences bureaucracy and school decisions. Teachers have benchmarks to meet and have to teach to the test thanks to NCLB.
Population densities and demographics shapes schools because it gives a school physical characteristics of the student body. Focusing on urban schools, these communities are heavily populated and consist of primarily Spanish-American and African-American decent. These people are poor and some live in extreme poverty. The culture of the students and surrounding community heavily influences the way schools practice such as school holidays, traditions, and academic content. Also, a student's family life effects their education. Some families may place an importance on family time, religion, or work, and some may be homeless and have to move around a lot.
Internal factors that shape schools are school policy, budget, curriculum, teaching techniques and experience. These internal factors directly effect urban schools' ability to function. Urban schools do not have proper funding, which results in small budgets, inexperienced teachers, and few teachers. It only takes a couple bad teachers to make a child turn away from education. I am not sure what I could do as a teacher to make a difference in the large scheme of things besides to be a great teacher to these urban children. Negative urban education influences have existed since the beginning of time. How will it change?
When many people picture rural, suburban, and urban schools many set images come to mind. These are images that are planted in our heads through the television programs, movies, and the news. Stereotypes are built upon mainly myths regarding rural, urban, and suburban education and are major influences that shape schools and define education. The Anderson and Summerfield article give examples of many myths that are proven statistically to be false, but these myths are still giving urban centers and schools a bad reputation. For example, there is a huge misconception that urban schools have the highest crime rate in the country. In reality, students in suburban schools are victims of most crimes and the suburbs have the highest crime rate compared to urban and rural locations.
Because of false myths like these, many people are turned off by the urban school system. Parents who believe this false myth will most likely send their child to a private, suburban, or even rural school if they can affort to do so. However, school violence is everywhere, even in rural atmospheres. Remember the Amish school shooting that took the lives of five girls in Lancaster, PA? It is important to realize that crime unfortunately happens everywhere regardless of location.
I am a victim of falsely judging schools and their environments based on stereotypes. When I think of urban schools I picture small, crowded classrooms with few teachers. I was surprised to read that the student/teacher ratio for urban, suburban, and rural schools are about the same. Now that I think of it, our CURR523 class is pretty crowded! Not that I am not excited to work with all of you, but it is important to point out that regardless of location, population management like school violence is always an issue wherever we are.
False myths and stereotypes are influences on how most people view different schools, but what truly and physically shapes schools? Schools are influenced both by a school's external and internal environment. Obviously, the physical conditions of an area labels the school urban, suburban, or rural, but other external factors consist of American history, the existing government, population densities, and area demographics/culture.
American history that effects urban education is the existing racism against African-Americans because of slavery. Fruchter discusses the Brown vs. The Board of Education, which ordered the desegregation of schools. Our government and school systems never followed through with desegregating school, which left many poor black children doomed for a terrible education and limited futures. Not much as changed since 1954 when the Supreme Court ordered desegregation, and there have been few efforts to change since then. I believe that there were good intentions to desegregate by passing this law, but not following through made matters worse. Additionally, our existing government heavily influences bureaucracy and school decisions. Teachers have benchmarks to meet and have to teach to the test thanks to NCLB.
Population densities and demographics shapes schools because it gives a school physical characteristics of the student body. Focusing on urban schools, these communities are heavily populated and consist of primarily Spanish-American and African-American decent. These people are poor and some live in extreme poverty. The culture of the students and surrounding community heavily influences the way schools practice such as school holidays, traditions, and academic content. Also, a student's family life effects their education. Some families may place an importance on family time, religion, or work, and some may be homeless and have to move around a lot.
Internal factors that shape schools are school policy, budget, curriculum, teaching techniques and experience. These internal factors directly effect urban schools' ability to function. Urban schools do not have proper funding, which results in small budgets, inexperienced teachers, and few teachers. It only takes a couple bad teachers to make a child turn away from education. I am not sure what I could do as a teacher to make a difference in the large scheme of things besides to be a great teacher to these urban children. Negative urban education influences have existed since the beginning of time. How will it change?
Monday, February 2, 2009
Media Shapes Perception of Education
Film
Urban: Dangerous Minds, John N. Smith
The film takes place in an inner-city high school in East Palo Alto, California. The streets are dangerous, full of violence and drugs. I saw this film when I was about ten years old. This film certainly put the stereotypes of urban schools being dark, dangerous, and scary. Similar to my perception of urban high schools, the students in this film are poor, angry minorities who are violent drug users and caught up in gang life. They do not show respect, and are lost in street-life. LouAnne Johnson’s character is an inspirational teacher who finds ways to connect to her students by changing her teaching methods. Johnson changes her teaching style by wearing a leather jacket, teaching karate, and teaching poetry using Bob Dylan’s lyrics. Johnson is also a mentor to these students by guiding them through tough decisions.
Suburban: Breakfast Club, John Hughes
This film takes place in a suburban middle-upper class high school. The viewer can tell this is a wealthy high school because it has a nice library, a football team, and the hallways look new and clean. I assume that the community is predominately white, because all of the students are white. The main characters are five high school students of all different stereotypes (the criminal, the princess, the brain, the athlete, and the basket case) who meet in detention and get to know one another on a very personal level. They discover that they all have more in common than they thought. This reminds me of my high school years because I came from a very large school with many different “cliques.” I never fit into one click as an adolescent because I was a part of a few different stereotypes: I played sports (the athlete), was an art student (the basket case), and did well in school (the brain). The principle is a power hungry man, who gets pleasure from seeing students suffer. This was my perception of my principle when I was in middle school, and I was scared of him.
Rural: Varsity Blues, Brian Robbins
This film takes place in a small-town Texas high school where high-school football is a religion. There is a lot of pressure from the people in the community for the football team to do well. I can see elements of this movie into my own stereotypes of rural communities; the rural south is undereducated and their priorities are far different than the coasts.’ Football is more important than school and grades and it is all these boys know. The ball players also learn to face the fame and pressures that come along with football, girls, popularity, etc. I feel sorry for kids who are uneducated. Their hometown lives are all these kids will ever know. As role models for these boys more emphasis is put on the coaches rather than the teachers. The coach has his ethics mixed up; he is verbally abusive control freak, and all he cares about is winning. This film is an example of my perception that mid-western and southern states revolve their lives around sports, not education.
Music
Urban: Coolio, “Gansta’s Paradise”
This song was part of the soundtrack for the film, Dangerous Minds. I assume that the artist is discussing a personal story or one from the point of view from an urban adolescent. The street life is the “community” in this song. The singer says that he has received some kind of education, but not good enough to keep him off the streets, “So I gotta be down with the 'hood team, Too much television watching, got me chasing dreams. I'm an educated fool with money on my mind, Got my ten in my hand and a gleam in my eye.” I picture an African American young high school or post-high school-aged kid who is constantly running from the police, drug dealing, and committing other types of crime. The teachers obviously did not have a powerful impact on this young man, “I’m an educated fool.” When I think of inner-city adolescents in the media I usually do not picture them to be well educated.
Suburban: Vitamin C, “Graduation (Friends Forever)”
The listener can assume this is based on a suburban school; “Will the past be a shadow that will follow us 'round? Will these memories fade when I leave this town?” This song came out during my senior year in high school and reminds me of my youth because I went to a large, suburban high school. The song represents the stereotypical moments of high school; “Will we still remember everything we learned in school? Still be trying to break every single rule. Will little brainy Bobby be the stockbroker man? Can Heather find a job that won't interfere with her tan?” The song does not discuss the teachers, but obviously the experiences that the singer shares are pleasant and will be missed. Relating this song with my high school experience, there were many great memories of teachers that I miss.
Rural: Loretta Lynn, Coal Miner’s Daughter
The community that Loretta Lynn lived in was a small town called Butcher Hollar. Everyone who lived there was poor, and her father was obviously a coal miner. I believe during this time survival was important, not education. Loretta had little to no education, and left her town at the age of thirteen. By the age of 17 she was married with a large family. Her teachers were her life experiences, the people she met, and the struggles she had. The lesson I take from the story is that hard work and determination can take you far, but these kinds of stories are few and far between.
Television
Urban: Family Matters
This show was based in inner-city Chicago. This was an African-American, middle class family who lived in an African-American neighborhood. Watching this sitcom as a child gave me the impression that most people who lived in cities were African-American. Laura Winslow (the oldest daughter) was a smart, straight-A student who had the goal of going to Harvard Law School. Eddie Winslow (the son) is a smart boy, but he only performed average in school. This family was similar to my own; the girls in my house were straight-A students while my brother was an average student. As a child I thought girls were smarter than boys. I don’t recall episodes that involved teachers, but it is interesting how this family was not “perfect.”
Suburban: Boy Meets World
The high school’s exists in a suburban community of middle class white people. Cory’s family and school life are perfect for the most part. I watched this show almost every Friday night, and I enjoyed it because it resembled my life as a kid. The main characters, Cory Matthews, Sean Hunter, and Topanga Lawrence, are the best of friends. Each character has their own unique personality; Cory and Sean struggle to keep out of trouble and to stay focused in class, Topanga is very smart and always does well in school, and Minkus is the brain of the class. George Feeny, Cory’s high-school principle and next-door neighbor, has a special relationship with Cory. Mr. Feeny acts like a mentor more than a teacher to Cory, Sean, and Topanga throughout their adolescents. Another teacher, whose name escapes me, is also a friend to the boys so much so that he takes Sean under his custody temporarily. These two male teachers represent how teachers should treat their students. The teachers find comical ways to connect with the mischievous teens.
Rural: Little House on the Prairie
This show takes place during the 1870s in Minnesota. The community is so small that everyone knows everyone, and everyone knows everything about everyone. I watched this show as a child and believed that life must have been so hard back than. The students were extremely obedient during class and never talked back. I remember Laura’s parents always making sure that Laura and Mary did their homework before bedtime. Of course, the students/children back than still dealt with similar pressures and dramas of the lives of children today. Education was very important to this community and Laura Ingalls became a kind-hearted and caring teacher.
News
Urban: 4/22/08, CBS: “Shock Over Student Gun Deaths: In This School Year Alone, 24 Students Were Killed, Leaving City Rattled To The Core”
Ignorant people turn a blind eye and say, “That will never happen to my kid. Most of the victims are poor and black.” I’m sure the students are always on the lookout for violent behaviors. I can only hope that the teachers are doing the best they can to keep the students safe, and to teach them how to be book smart and street smart as well.
Suburban: Columbine School Schooling, 4/20/1999
Columbine is a small suburban town of Littleton, CO. I believe that the students were well educated, and it seemed to be an average high school with the typical cliques of students. Sadly, two male students decided to shoot the students and athletes who picked on them. Several students and one teacher were murdered. I can’t imagine what the teachers who had these boys in class were feeling.
Rural: Amish school shooting, 10/3/2006
In Lancaster, PA a humble Amish community lost two young girls in a school shooting. After the shooting the community tore down the school because they could not bare to relive the horror. Students were horrified. There were five girls killed, and five survived. One teacher was let go by the shooter, Charlie Roberts. This tragedy demonstrates the sad truth that school violence can take place anywhere, in urban, suburban, and rural atmospheres.
Urban: Dangerous Minds, John N. Smith
The film takes place in an inner-city high school in East Palo Alto, California. The streets are dangerous, full of violence and drugs. I saw this film when I was about ten years old. This film certainly put the stereotypes of urban schools being dark, dangerous, and scary. Similar to my perception of urban high schools, the students in this film are poor, angry minorities who are violent drug users and caught up in gang life. They do not show respect, and are lost in street-life. LouAnne Johnson’s character is an inspirational teacher who finds ways to connect to her students by changing her teaching methods. Johnson changes her teaching style by wearing a leather jacket, teaching karate, and teaching poetry using Bob Dylan’s lyrics. Johnson is also a mentor to these students by guiding them through tough decisions.
Suburban: Breakfast Club, John Hughes
This film takes place in a suburban middle-upper class high school. The viewer can tell this is a wealthy high school because it has a nice library, a football team, and the hallways look new and clean. I assume that the community is predominately white, because all of the students are white. The main characters are five high school students of all different stereotypes (the criminal, the princess, the brain, the athlete, and the basket case) who meet in detention and get to know one another on a very personal level. They discover that they all have more in common than they thought. This reminds me of my high school years because I came from a very large school with many different “cliques.” I never fit into one click as an adolescent because I was a part of a few different stereotypes: I played sports (the athlete), was an art student (the basket case), and did well in school (the brain). The principle is a power hungry man, who gets pleasure from seeing students suffer. This was my perception of my principle when I was in middle school, and I was scared of him.
Rural: Varsity Blues, Brian Robbins
This film takes place in a small-town Texas high school where high-school football is a religion. There is a lot of pressure from the people in the community for the football team to do well. I can see elements of this movie into my own stereotypes of rural communities; the rural south is undereducated and their priorities are far different than the coasts.’ Football is more important than school and grades and it is all these boys know. The ball players also learn to face the fame and pressures that come along with football, girls, popularity, etc. I feel sorry for kids who are uneducated. Their hometown lives are all these kids will ever know. As role models for these boys more emphasis is put on the coaches rather than the teachers. The coach has his ethics mixed up; he is verbally abusive control freak, and all he cares about is winning. This film is an example of my perception that mid-western and southern states revolve their lives around sports, not education.
Music
Urban: Coolio, “Gansta’s Paradise”
This song was part of the soundtrack for the film, Dangerous Minds. I assume that the artist is discussing a personal story or one from the point of view from an urban adolescent. The street life is the “community” in this song. The singer says that he has received some kind of education, but not good enough to keep him off the streets, “So I gotta be down with the 'hood team, Too much television watching, got me chasing dreams. I'm an educated fool with money on my mind, Got my ten in my hand and a gleam in my eye.” I picture an African American young high school or post-high school-aged kid who is constantly running from the police, drug dealing, and committing other types of crime. The teachers obviously did not have a powerful impact on this young man, “I’m an educated fool.” When I think of inner-city adolescents in the media I usually do not picture them to be well educated.
Suburban: Vitamin C, “Graduation (Friends Forever)”
The listener can assume this is based on a suburban school; “Will the past be a shadow that will follow us 'round? Will these memories fade when I leave this town?” This song came out during my senior year in high school and reminds me of my youth because I went to a large, suburban high school. The song represents the stereotypical moments of high school; “Will we still remember everything we learned in school? Still be trying to break every single rule. Will little brainy Bobby be the stockbroker man? Can Heather find a job that won't interfere with her tan?” The song does not discuss the teachers, but obviously the experiences that the singer shares are pleasant and will be missed. Relating this song with my high school experience, there were many great memories of teachers that I miss.
Rural: Loretta Lynn, Coal Miner’s Daughter
The community that Loretta Lynn lived in was a small town called Butcher Hollar. Everyone who lived there was poor, and her father was obviously a coal miner. I believe during this time survival was important, not education. Loretta had little to no education, and left her town at the age of thirteen. By the age of 17 she was married with a large family. Her teachers were her life experiences, the people she met, and the struggles she had. The lesson I take from the story is that hard work and determination can take you far, but these kinds of stories are few and far between.
Television
Urban: Family Matters
This show was based in inner-city Chicago. This was an African-American, middle class family who lived in an African-American neighborhood. Watching this sitcom as a child gave me the impression that most people who lived in cities were African-American. Laura Winslow (the oldest daughter) was a smart, straight-A student who had the goal of going to Harvard Law School. Eddie Winslow (the son) is a smart boy, but he only performed average in school. This family was similar to my own; the girls in my house were straight-A students while my brother was an average student. As a child I thought girls were smarter than boys. I don’t recall episodes that involved teachers, but it is interesting how this family was not “perfect.”
Suburban: Boy Meets World
The high school’s exists in a suburban community of middle class white people. Cory’s family and school life are perfect for the most part. I watched this show almost every Friday night, and I enjoyed it because it resembled my life as a kid. The main characters, Cory Matthews, Sean Hunter, and Topanga Lawrence, are the best of friends. Each character has their own unique personality; Cory and Sean struggle to keep out of trouble and to stay focused in class, Topanga is very smart and always does well in school, and Minkus is the brain of the class. George Feeny, Cory’s high-school principle and next-door neighbor, has a special relationship with Cory. Mr. Feeny acts like a mentor more than a teacher to Cory, Sean, and Topanga throughout their adolescents. Another teacher, whose name escapes me, is also a friend to the boys so much so that he takes Sean under his custody temporarily. These two male teachers represent how teachers should treat their students. The teachers find comical ways to connect with the mischievous teens.
Rural: Little House on the Prairie
This show takes place during the 1870s in Minnesota. The community is so small that everyone knows everyone, and everyone knows everything about everyone. I watched this show as a child and believed that life must have been so hard back than. The students were extremely obedient during class and never talked back. I remember Laura’s parents always making sure that Laura and Mary did their homework before bedtime. Of course, the students/children back than still dealt with similar pressures and dramas of the lives of children today. Education was very important to this community and Laura Ingalls became a kind-hearted and caring teacher.
News
Urban: 4/22/08, CBS: “Shock Over Student Gun Deaths: In This School Year Alone, 24 Students Were Killed, Leaving City Rattled To The Core”
Ignorant people turn a blind eye and say, “That will never happen to my kid. Most of the victims are poor and black.” I’m sure the students are always on the lookout for violent behaviors. I can only hope that the teachers are doing the best they can to keep the students safe, and to teach them how to be book smart and street smart as well.
Suburban: Columbine School Schooling, 4/20/1999
Columbine is a small suburban town of Littleton, CO. I believe that the students were well educated, and it seemed to be an average high school with the typical cliques of students. Sadly, two male students decided to shoot the students and athletes who picked on them. Several students and one teacher were murdered. I can’t imagine what the teachers who had these boys in class were feeling.
Rural: Amish school shooting, 10/3/2006
In Lancaster, PA a humble Amish community lost two young girls in a school shooting. After the shooting the community tore down the school because they could not bare to relive the horror. Students were horrified. There were five girls killed, and five survived. One teacher was let go by the shooter, Charlie Roberts. This tragedy demonstrates the sad truth that school violence can take place anywhere, in urban, suburban, and rural atmospheres.
Frames of Reference Urban School Paper
When I think about inner city schools and urban life I immediately think of a non-white, multi-cultural student body, over-crowded classrooms, high stress level situations, and troubled students. This is my second semester in the MAT Art program at Montclair State University. I have only taken two education courses prior to this spring semester, and I feel very uneducated about what inner city education is all about. As a future art teacher and possible inner city teacher I hope to learn more about how urban centers, schools, teachers, and students function so that I can make a difference in the lives of my future community, colleagues, and students.
My naive assumptions regarding urban schools also stems from my childhood. I was raised and went to school in Flemington, NJ where I was surrounded by predominately white children pre-school through high school, and I also attended a predominately white college for my undergraduate studies at the University of Delaware. Unfortunately, during my education I have not been exposed to a multi-cultural community until I began attending Montclair State University last fall. Many of my beliefs are shaped through stereotypes, fears, and rumors that I have heard from friends and acquaintances that teach or work in urban areas. I have heard horror stories including school violence, large classes with little to no discipline, and teens having sex in the hallway.
Much of my negative beliefs about urban schools, teachers, and students are based on television shows, movies, music, and the media that has surrounded me my entire life. Television shows such as CSI, Law & Order, and Without A Trace and movies such as Dangerous Minds and Boys in the Hood are all based in cities around the country and involve stories about urban teen life, violence, and education. Even musicians like Jay-Z and Biggie rap about their past and what it was like to grow up in the ghetto.
Fortunately, I have some experience working with inner-city children, which has given me a positive outlook on urban education. An art education methods course that I took last semester required me to travel to Franklin Elementary School in Newark, NJ. For four Fridays between the hours of 1:30PM-3:30PM I worked with my peers and Dr. Heard in the Art Backpacks Program where I helped teach children about art. This program gave me a first-hand experience of what it is like to work with inner city children. I was surprised to see that these children were very obedient, polite, and sweet. They wore uniforms, always used their manners, and acted as any other suburban students would act. I realize now that structure and discipline work best when inner-city students receive proper instruction early and are given assignments that jog their interests.
My first-hand experiences gave me a small window to see into an urban school for only four days. There is still so much that I have not witnessed first-hand such as what urban centers are, how urban schools function, the role that the teachers play, and the diverse body of students.
I have a vague understanding of what urban centers are and their function in a community. I believe that an urban center is a facility in center city where members of the community experience the cultures of the city by assembling for sporting events, parades, festivals, music events, travel, and dining. Urban centers are a common place where many people come from all over the city to find unity. I think that an urban center gives the public a sense of belonging and is the glue that holds cultural ties together. Similarly, I think that urban schools are a place where students can express themselves as individuals, but also have a sense of belonging.
Urban schools have more issues to maintain than a suburban school because of city life. Urban schools need to look out for the welfare of the school itself, the teachers, and more importantly the students. I believe that urban schools are under-funded because of local poverty, which results in a high-stress environment, over-crowded classrooms, classroom management issues, and student motivational problems. Because urban schools are over-crowded, there is a high dropout rate in high schools and the school and surrounding neighborhoods can be unsafe because of everyday violence and gangs. Urban life can be difficult, and I believe that inner city schools are a safe haven and a second home for many students. When children/adolescents are in school they are kept out of trouble, they are off the streets, and students have the potential to make a life for themselves. Art programs in inner city schools are certainly smaller and their budgets are shorter than suburban schools. Because of this, art educators must be creative in designing a curriculum that is based on the diverse students as well as using scarce supplies that the school can afford.
The teachers of inner city schools deal with high stressed factors on a daily basis, but they are there to make a difference in the lives of their students. Teachers face issues of classroom management with over-crowded classrooms, learning disabilities, behavioral issues, and gaining the students’ respect. Educators work with a multicultural and diverse body of students, have to overcome literacy, language, cultural, and gender diversity, and may struggle with connecting with their students. Urban teachers must be hard working and dedicated to their job. For many students good teachers are more like mentors to them, and the students’ daily issues and problems become the teacher’s issues and problems. Educators will be required to guide students through issues of peer pressure, drug abuse, gangs, and the use of unprotected sex.
The students are multicultural from many different backgrounds, families, and cultures. Students live a fast-paced life and learn to cope with peer pressure, pressure at home, pressure at school, finding their own identity, living a poor life style, violence, gangs, drugs, sex, etc. Students constantly have hard decisions to make on a daily basis; life is not easy. I believe that if young children are given a stable education from the beginning, than they will have a better chance of graduating from high school and have potential to go on to college. It all comes down to the teachers to guide these children and help them be successful.
My beliefs will affect my interactions with my future colleagues and students, but before I allow my beliefs to affect my teaching I must educate myself thoroughly to gain a better understanding of urban life. I will use the classes in the MAT program at MSU, future personal experiences, and personal research to better determine what inner city education requires. I cannot teach based on stereotypes, rumors, media drama, and word-of-mouth, so therefore I will do everything I can to drop false existing beliefs and replace them with experience. I need to see first-hand who my students will be, what community I will be working in, and the types of people I will be working with.
I will plan and strategize how to survive and teach in an inner city classroom prior to my first day as a teacher. I will build strong relationships with my fellow teachers so that I can always look to them for help, gain awareness through my colleagues as to how they manage their classrooms, and familiarize myself with the history of my future school’s community and city by visiting the urban centers. Prior to my first day I will also set time aside to converse with the students to get an understanding of the student community, who they are as people, and their needs.
Once I have educated beliefs about the urban community, school, teachers, and students I will begin to shape my classroom. My first goal is to create a strong teacher-student relationship using icebreakers and other get-to-know-you activities. I believe that when the students respect you, classroom management should follow naturally with little struggle. I want my students to trust me, and I will to be a mentor to my students as they deal with the difficult life situations that they are in. I want to make learning fun for my students, and I hope to spread joy by bringing art and beauty into my students’ urban lives. My classroom will be a place where learning is not a chore, and students of all abilities will learn to create something that they are proud of. I want to build a classroom where students feel safe, happy, and excited to be a part of.
I believe that teaching in an inner-city takes hard work and dedication, and I hope to hit the ground running as an educator and as a part of the urban community. I want to use art as a tool to help me connect with my school’s community. I believe it is important to bring the school and community together, because it will also bring students closer to their families and their families closer to students’ education. I plan on coordinating art-related activities such as painting murals, displaying student work inside and outside the school building, and hopefully tie in some fundraisers that will benefit the school and/or art program. I believe that art and beauty brings about positive change and people become more optimistic and peaceful. More specifically to my students, I hope to motivate them and to demonstrate that they can create a positive future for themselves. I want to use art as motivation, and ingrain my belief that passions and dreams can be turned into real goals and careers.
My beliefs, hopes, and standards about my teaching and future students already have high standards. I want to make a difference in the lives of as many students, teachers, and communities as I can. However, my lack of experience and education leaves me with many questions: What makes urban students tick? What are some strategies that will help me deal with managing an overcrowded classroom with children with learning disabilities and different personalities? How do I motivate a variety of students at the same time? How will I know what advice to give when a student comes to me for help? Is teaching in an urban school as scary and overwhelming as I believe it is?
Saturday, January 31, 2009
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