From Fail to B - not because of talent but the presence of mind!

When teaching lower secondary art (or middle school grades), my focus is always to get students to grow their self-efficacy in art learning and hope that also build towards the overall self-efficacy in the young minds in their overall mindset towards life-long learning.

Present in the body, absent in heart and mind

This is a grade 7 (Sec 1) boy, and I shall call him EN here. When I started teaching the class, EN showed that he can learn but so often distract himself and others. It was clear very early in the semester that EN wasn’t at all interested in art. He never took the instructions seriously. It just did not matter to him at all, he was present in the body and absent in mind and heart.

The first assignment task was badly done, and incomplete. The second project of self-portrait pencil shading was shoddily done, just meeting minimum requirement after much descriptive feedback. I decided something must be done. So the first thing I did was changed his seating arrangement because he was seated near to a couple of students who were habitually inattentive although they did better work. I told EN that because he often missed out on instructions, I needed to help him improve on that. He complied, good start!

The ensuing module is a 1-point perspective painting of a bedroom. This isn’t the project I would readily include in a general art programme Scheme of Work (SOW), because there is too much constraint to prevent optimal mastery of knowledge and skill. 

Context - curriculum challenge versus student readiness 

Firstly, the biggest constraint is time versus complexity of skills – a very short 1-hour lesson once a week. To draw in linear perspective first and followed with painting involve too many sets of subskills (Popham, 2012), and they are different genres of subskills, hence they are not skills that directly built with cumulatively in a smooth learning progression. This makes learning challenging for s short lesson duration.  

Secondly, an equally onerous problem is the students' readiness in learning linear perspective. Linear perspective is essentially a trigonometry challenge in the visual / perceptive domain. The complexity of understanding how to protect X,Y and Z axes on a flat 2D picture plain of an A3 cartridge paper is demanding on any 13-year-old (and younger). It is not impossible for this age range to learn this art topic but that requires very careful micro scaffolding and sufficient time. Moreover, this is a challenge to any students who is less dominant in Logical-Mathematical Intelligence (in the 8 Multiple Intelligence or MI). At 13 years old, the development of Logical-Math MI is at a very sensitive and pivotal stage and if it is not scaffolded sufficiently, it guarantees high level of difficulty in learning and does not give positive efficacy cues to the students. The eminent consequence is that unsuccessful mastery will perpetuate a common belief that art depends on talent and not on cognitive engagement (i.e. understanding, application, and effort). Teaching linear perspective in a purely theoretical and technical approach does not engage students sufficiently in the affective domain, making them feeling disenfranchised. They will deem it was irrelevant to their learning life per se.

I agreed to allow this module to have another run after I joined the school because I must teach the module once before I am able to advise on appropriate revision to the curriculum for the level. And I did ensure that the whole module is allocated a minimum of 7 weeks. (I was certain that this module needs to be trimmed further in scope to make it more age and developmentally aligned to student readiness, and with post module student survey data, my hunch is confirmed. This will be something to be reviewed at the end of the year). 

Leveraging on general students' preference as the window to engage

Now most of the students in my school prefer to do well in mathematics. And that’s the leverage point for me. So I positioned the module as a way of visualizing mathematics. It's a case of creating situational interest. It worked for a number of student and their interest was piqued (but this had to be followed up closely with proper scaffolding for mastery as situational interest has a very short lifespan and hold on students' engagement). Still, EN wasn’t connecting himself to the learning. For the drawing part, he did meet the minimum requirement in terms of accuracy of 1-point perspective angle. When it came to the painting part, the domain of skills evidently was not his 'cup of tea', hence he just rushed through the motions and submitted incomplete work. 

A 'tight-rope' pedagogical decision!

When I saw the incomplete submission, I acknowledge I was in a tight spot pedagogically. I wasn’t willing to let it go - that is - to let his decision to disregard effort to stand. I was critically aware to insist on him redoing it could also backfire as he has long made up his mind that he wanted nothing to do with art. Given the small positive progress I was able to make with another boy in the same class who did not commit effort in the portraiture project*, I decided to take a risk and got EN to stay in one afternoon, together with several other students who were slow in their work and needed to stay to complete the art task. 

I re-demonstrated to EN the various ways to hold and control the brush angles and bristles**. I also made sure I frequently checked on EN to check on his effort and gave him some encouragement when he was on the right track. I had to give him explicit affirmation when his painting was heading in the right qualitative direction. Well, it worked! He completed the work and it was a world of difference! (See the 2 images below, The first image is the incomplete rushed work, and the image below is the redone work!) 

I gave EN one more verbal affirmation before I collected the work and let him go home. 

Investment return in FULL

In the next lesson, when I returned the marked works, I specifically highlighted (to the whole class) that EN has shown that he is able to do quality work when he put his mind and heart to it. I first showed the rushed incomplete work, then very quickly showed the new work! I did not even finish with my praise on EN and the whole class applauded! EN gave a smile of satisfaction! EN although was wearing his mask but I knew he smiled because his eyes became half-closed and the cheeks raised slightly under his mask.

Then I took one more risk (I got to seize the moment and strike while the iron is hot!) ... 

I asked EN in front of the class, "EN, tell me honestly, is this your best currently, which is really fine, OR do you think you still can up one more notch in this project?"

EN: "I can still do better"

The whole class roared and cheered! EN's smile became a grin. Now I knew he grinned because his cheeks raised more and pushed his mask further outward and his eyes became two curved slits - This is one sweet sight I shall never forget! This brought me back to 2013 when I wrote about teaching "teaching as a continuum of aesthetic moments" 

(https://mun-artcurriculumexplorer.blogspot.com/2013/09/teaching-continuum-of-aesthetic-moments.html?m=1). 

Today, the class's loud affirmation for EN and his partially veiled grin is another of such aesthetic moment. 

When given deliberate scaffolding and affirmation of effort and progress in competence, EN's effort went from fail to a B according to the assessment criteria. My calculated pedagogical risk and investment reaped a 2-fold dividend: 

- for the teacher, I got his presence of mind; and 

- for the student, he gained self efficacy!

* (see post: https://draft.blogger.com/u/1/blog/post/edit/4140709329500757677/7194177665919031379)  

** Pertaining to the 'how to hold a brush' - This is a very essential scaffolding that is often neglected because their fine sensory motor skills are not yet well-developed at age 13, and especially with the generation of students growing up with mobile devices and not tactile toys and games. Many students were actually surprised how they could control the painting strokes better by choosing the right brush size and holding the brush handle at the appropriate height. Many had assumed that by just telling students to paint carefully, the students would know how to control the brush. Given the 'mobile device generation' of a teenage urbanite, this assumption is pedagogically archaic, and not helpful in building students' sensitivity towards tactile learning experience.  

Not letting go of an unwilling student

We all encounter students who are dismissive or indifferent towards art. 

This is long but I am sharing on a stubbornly reluctant student who used to shut out my instructions to being more attentive. 

This Sec 1 boy is really just into cricket - full commitment to cricket and not academically driven and didn’t want to have anything to do in art. 

In Jan, he simply just didn’t submit the first work, a mini task. He wasn’t outwardly defiant but showed a certain passive-aggressive face, and calmly and softly told me behind his mask - he didn’t want to do his art. I called his mother to alert her that he was nearly 3 weeks late. His mother was apologetic but did tell me her son doesn’t like art. 

I explained to her that he must learn to be responsible even in the things he doesn’t naturally like to do. If he would only do what he likes, then he will always be like a kid and not mature. I informed the mother that the mini task deadline is well over and the zero remains because the integrity of the assessment structure should be maintained and to be fair to those who submitted on time or within grace period. I emphasized that I really want him to complete it so as to learn to be a responsible student. Subsequently I told the boy to stay on the day I have aep lesson. He did stay but did a very rushed job within 15 minutes and it was very poor effort. 

Tuning myself to the student’s frequency in interest

I decided to try helping him connect the learning of art to something he is more familiar and ready to engage - the sport of cricket. I hardly know cricket game but do know what’s the difference between bowling the ball and throwing. Throwing means the elbow is bent and it’s a foul. I was annoyed at his stubborn indifference but knew he was so hardened that a reprimand won’t change him. So I asked him a question: “In cricket, if the coach finds that your ‘bowling in cricket’ technique is wrong, what will he do? Why?

He answered ‘keep practicing the bowling’.. (the reason is obvious because wrong technique in cricket is considered a foul). 

So I said ‘Exactly! I am sure not every bit of cricket is something you want to have to keep repeating the practice. Right? (He nodded). In art is the same, talent or no talent, you just have to use the right method we taught in class’. 

I then told him, you got a failed mark but what is more important is that you did not apply the method, and actually that’s all you needed to do’.

I wasn’t sure if he was convinced but stopped  at that and said “ok, you need to add a bit of details here”. He again did a rushed job but I decided to let go as he did ‘fill up the spaces’. So I let him go but reminded him that he should make better effort as I am sure he won’t want to have to stay back again in next project. 

He again did a rushed job for the next project of self-portraiture, in the drawing stage, then again for the shading stage, totally not applying any of the methods we meticulously scaffolded. 

When the work was marked the 2nd time, I decided I could either just fail him according to the assessment descriptors (which he deserved) or make one more effort to make him understand the true spirit of learning to build self-efficacy. So in the next lesson, I took him aside and said, “I really want you to apply the methods because i want to see what you can learn and do. So you need to stay again to redo the whole work. Remember I talked about the cricket practice? Perhaps I should discuss this with your CCA teacher and coach (now I gave a little ‘notion of consequence’), that on Wednesday when I have AEP lesson, you first finish your art before you can proceed to cricket. Or you can stay on Monday instead (ok I didn’t want to corner him so I gave an option). If he said no, I was sure I would speak with his mom again. He agreed and offered to turn up. 

This time he did apply the methods. He rushed a bit still but unlike the last time, (when he just randomly did his work, ignoring all use of methods), he applied the method I had taught and when he was done, I told him that the quality of the work shows he can draw when he applied the method. I pointed specific areas that he improved drastically putting the new work next to the first failed piece. 

Art learning not for art sake 

This boy will never love art and that’s fine. The crux and my focus is not about whether he can do well in art but what art learning can do for him. What is critical is his self efficacy as a learner - that all learning is possible and it is a matter of applying knowledge properly and attentively. It’s not about getting A but about proving to himself he can learn by responding to structured scaffolding. 

A former student of mine (now a mother of 2) once shared “I did not shine in art but art helped me shine”. The latter part of the sentence, truly is more significant! 

From Jan to March, he was barely listening in class. Yesterday he did listen when I clarified on some common errors in 1-point perspective! 

The picture below shows 2 self portraits by the same boy. From not applying actionable technique to applying. Both were rushed, the 2nd one a little less rushed. But see the difference!

This week in class, we are already halfway into 1-point perspective module. Knowing the boys put more effort in Math, I approached the teaching like a mathematical visual inquiry. This has worked for some students who are competent in math but had been indifferent to art. 

It’s very clear. When the source of motivation switches from being externally pushed to intrinsically generated by evidence of competence, the quality of attention and effort improves! 

This reluctant boy’s recent presence of mind is enough to make my week!

Talent alone does not serve learning

This is a 2nd follow up on N, the boy who is eager to learn in AEP

N does not qualify to be in AEP but that’s no stopping him joining in the learning. One would think that letting him learn along side the more talented art students in AEP, means he can gain much. But is it just 1-way? No! It’s a reciprocal social learning. I also want the AEP the students to learn that they cannot take things for granted just because they have more natural ability and must be just as attentive. Talent make no provision for inattentive learning. 

In the same lesson I set the parameters of the painting background and gave the options and explanation of the purpose. Boy N was listening intently, while another boy, an AEP boy (I call him J) who mixed tertiary colours almost intuitively, BUT wasn’t paying attention! 

Naturally J approached the background not according to the parameters and I took J aside, asked N to join us at the side. I asked N to tell J what the parameters of the background was to be. N gave precise details, with only very minor gaps, and I filled the gaps easily. I thanked N, let him return to his work.  

I turned to J, “J, do you noticed what you have missed out? What is the reason you got all the instructions wrong?”

J acknowledged he did not pay attention. 

Then I told J: “J, I really like how enthusiastic you are when you work. You are very accurate in getting the colours right, but you often rush too fast to even note down the instructions. So learn from N, pay attention to the important instructions. Ok?”

J is a fervent and talented AEP student but very much a work in progress when it comes to mindfulness, that of being alert and tuned-in, which is a very essential attribute in a social learning environment. Talent alone will not serve him far. I don’t want to develop a student who lives in a talent bubble. N in contrast has very low self esteem but high self efficacy. It is the high self efficacy that drives him to have an alert mind. They all can and must learn from one another. N surely has a legitimate place in my AEP lessons!

Everyone screws up, talented or not - So get up and go again!

This is a follow-up on the sharing of a Sec 1 boy who did not qualify but still wanted to join AEP class for the experience. I referred to him as N in my first post in this blog thread. 

Last week I formally introduced N to the class. He already know several of them and has started joining the lessons but I thought it’s good to formally ‘welcome’ him to give him a psychological affirmation! I welcomed him at the start of the lesson and said that he will now be the learning critic because he is free to ask anyone to explain their work process. 

Then in the last 2 lessons I have heard N saying repeatedly “I screwed up” in his attempt at drawing and painting a bunch of bananas. I also heard him, in his chat with the AEP students, that whenever he draws his mom will say to him ‘something is not right’. I understand that the mom meant no insult to her son but obviously lack skills in giving feedback. 

So on Monday, I decided to sit down with N for a 1-to-1 chat. I first asked him what he has observed in AEP lesson that is different from his usual art lesson. He said ‘the students are better’ (There was a pinch in my heart!).

So I asked again: “How have I coached them? And what do they struggle with?”

He couldn’t answer. 

I said “Have you noticed I always focus on them observing WHAT they do and HOW they do their work and WHAT NEXT they can do to improve? Do you notice I get them to test this and that out in painting? It is through the testing of paint that their eyes learn to observe. I am training their eyes to see and analyse HOW to be better.” (i.e. Self assessment, self monitoring and self regulation in AfL) 

I continued “So whether talented or not - it’s the same in learning, it’s just that AEP  has more time for them to test things out.”

I told N that I heard him saying ‘I screwed up’ several times. Then I explained that everyone ‘screws up’ sometimes or many times and I said “Ma’am here (referring to myself) messed up big time many times in my learning too!  But that’s not the end. The more important thing is to know WHY and HOW I screwed up in my work, so that I will then know what I can try next to un-mess the mess up (said with a smile😉😊). This is when we need to treat learning like a lab scientist - think back the steps we did and try to see WHAT we missed out here and there and WHERE we didn’t do something right in a method. Then try another way to test out if it can work. Ok?

“I also heard you say that your mom critiqued your art. Ok, maybe your mom doesn’t know she needs to tell the WHY, WHERE and HOW it went wrong. So here in AEP class, I will be helping you to understand this part.”

N has a special place in my heart - I asked myself was there a time when I was a student, that I so wished I could be given an opportunity to be coached in an area I was weak in but I was interested? Certainly! I can see N knows very well he is weak in art but so relish the opportunity to learn! 

This is what I believe Art Education should be

 I want to share this: this is what I believe art education should be! 

I usually don’t give art homework because of the lack of in-class prompt and quality guidance by the teacher that cannot be replicated at home (and the home set up is often not ready for art making). But because we lost curriculum time for some sec 1s non-AEP* art classes, I reluctantly agreed to letting students finish the shading of self-portraits at home during March break. 

*AEP is Art Elective Programme, a premium art programme in a few schools for students who have both talent and passion in developing in art. There is a selection process, and all students selected into the programme are provided with more art studio time and a range of art media to explore and learn.

A student came back with the quality of shading that is way beyond a 13-year old. In fact it’s way beyond an untrained adult. The shading is very deft and skilled. But I also recall that student being very attentive in class and very on task and constantly seeking feedback. I will call the student as N (I will be referring to N again in subsequent posts).

To get to the truth - I asked the student if he had sought help. He said his mom guided him but did not do his work. I made sure within two hours i called his mom (I made sure I got the mom’s number ready before proceeding with speaking with student).

I told the mom the shading was very skilled and showed reasonable training and practice. I asked the mom to describe ‘how’ she coached the boy. She said she demonstrated the shading. She insisted she ‘only touched up’. I quickly asked if she demonstrated on a separate paper or on his work. She said demo on his work. BINGO! The truth revealed 

So I explained to the mom I understand that it is very common for parents to assist and contribute to their children school artwork in nursery, kindergarten and even primary school because there was no GA or WA. I explained that the real learning comes from applying the strategies taught in class. And we want students to experience the learning through application. 

I decided i did not want to turn this into a punishment but a teachable moment for both mom and son. 

I told the mom I want her son to redo the shading part and i have no desire to punish him. I assured her i will work out something with him, something that the son can manage and the purpose is all about learning. She agreed.

Next day the boy came. I asked him why he didn’t tell me that his mom demonstrated on his work. He started tearing. That’s when I know he knew he did wrong, no reprimand needed at all. I told him I won’t punish him but asked why he was so sad (because he kept tearing). He said he didn’t know why. I didn’t push further.

So I told him this:

“I saw you did a very serious job drawing with the grid system. So you don’t need to redraw but I want you to learn to apply what you have learnt about shading. I will scan your finished piece but use photoshop to remove the shading so the drawing is still there. Then I will print it on a drawing paper. And you come in one afternoon to do the shading.”

He agreed and turned up. He was conscientious and asked for feedback. 

He then told me his mom said to him that she now wants to restart drawing again! (My praise on her skills may have motivated her!) .. and he said “my mom can draw well but I can’t”, he shrugged and smiled. 

Then seeing him having calmed I asked again 1-to-1, why he was so sad the other day and cried. He paused and said ‘I don’t know’ and the corner of his eye glistening. I stopped and didn’t ask further. 

There may be many reasons but 1 possible reason (based on what he just said) - that it could be he really really wished he had the talent as the artistic ones, like his mom, but he doesn’t. Perhaps that could be why he teared. This cuts my heart but I can’t perform magic to give him talent. 

Then to my surprise he asked if he could join AEP. I said let me check. I asked the HOD to help dig out the January AEP selection test task for all sec 1 classes - found and it was obvious his standard was weak. Too weak.

So I went back to him another day to explain why he cannot join AEP but I praised him for being so attentive in class and so serious during lesson. I highlighted some of his actions (how he was the first one to stand up to have a clearer view of his drawing to check for accuracy) showed that he was exercising thinking in his drawing. 

Guess what.. he asked if he could just join the AEP lesson in the afternoon even if he doesn’t take AEP. I told the art trs I have no heart to say ‘no’ to him. 

I let him join and provided the paint and let him try. Thankfully the AEP students were very friendly to him. 

He tried to mix the brown tone for the banana (reference image) from primary colours and the AEP students actually gave him feedback by saying ‘that is grey and not the brown’. I gave him a bit of paint ratio tips here and there. This is great because now the AEP students are activating their recently acquired knowledge to help him. He was also very curious and kept asking the AEP students what they were doing. This is great chatter in an art class!

This is very special for me as an art educator! It nearly made me cry. I encouraged him but I got encouraged greatly in return!