arts and universal design for...

Don Glass, PhD Wilhelmina Peraginearts | education | research VSA [email protected] [email protected]

Arts and Universal Design for LearningDesigning for Variability and Expert Learning

.

2015

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Go Digital!

DON GLASS arts | education | research 2015

@VSAIntl #UDL #artsed

WIFI AND GUIDEBOOK: INT2015

Start with Our Goal

To get a deeper understanding of Universal Design for Learning:

Why: Learning Variability and Expert Learning Strategies What: Guidelines and Neuroscience How: Ongoing Application and Use


The Problem of Practice

How do we design curricula and materials that support a

wide range of learners to be engaged and successful?


Variability Exercise


https://www.surveymonkey.com/s/RS5NXST


https://surveymonkey.com/



What did these multiple representations tell us about the variation of interests and knowledge in the room?

UDL Overview

https://youtu.be/KhMD2PDa6do

http://www.udlcenter.org/resource_library/videos/




UDL Overview

Which representation did you like more? Which did a better job of representing the big ideas?

What is the advantage of viewing both?


UDL Big Idea

Learning Variability

We are as unique as our fingerprints


UDL Big Idea

Expert Learning

Learning How to Learn


Resourceful, knowledgeable

learners

Strategic, goal-directed learners

Purposeful, motivated learners

UDL Influence: Neuroscience

Apply what is known from the learning sciences about how we learn to the design and evaluation of curriculum and programs.


http://www.udlcenter.org/research/researchevidence/

Representation Action and Expression

Engagement

Provide options for perception

Provide options for language and symbols

Provide options for comprehension

Provide options for physical action

Provide options for expressive skills and fluency

Provide options for executive functions

Provide options for recruiting interest

Provide options for sustaining effort and persistence

Provide options for self-regulation

Multiple, flexible options for everyone.


http://www.udlcenter.org/aboutudl/udlguidelines

“Listening” to Music

Bach Minuet in G


Counterpoint: The relationship between two or more voices that are independent in contour and rhythm and are harmonically interdependent. Bach is the master of counterpoints and making the instrument speak in multiple voices.



Counterpoint is music written as a combination of two or more melodic lines. In effective counterpoint, each individual line sounds good and the lines complement each other when played together. For example, in the following Minuet, the melody and bass line are well-shaped lines. Each line sounds good when played alone. When they are played together, the lines form beautiful counterpoint.



Can you identify counterpoint?



1 2 3

https://youtu.be/NJyamVKudQY

https://youtu.be/wFaKnqtGNNM

https://youtu.be/wFaKnqtGNNM

Bach Minuet in G BWV Anh. 114

• When could you clearly identify counterpoint?

• Which representation was the most engaging?



https://www.surveymonkey.com/s/RR3W87X

1 2 3



Engagement













Representation

Neural Network UDL Guidelines Expert Learning

Action and Expression


Engagement


Expanding Options for Everyone


Us

Unpredictable Variability

Predictable Variability

UDL Case Example UDL?

1 2

3 4


Engagement










UDL Guidelines UDL?

Educative cases studies

Self-paced online module

Communities of Practice

Join the Arts and UDL Ning

http://community.udlcenter.org/



Contact

Don Glass [email protected]

Wilhelmina Peragine

[email protected]

CAST http://www.cast.org

National UDL Center

http://www.udlcenter.org/


Tweet a Reflection!


@VSAIntl [YOUR REFLECTION] #UDL #artsed

11

Don Glass, PhD Wilhelmina Peraginearts | education | research VSA [email protected] [email protected]

Arts and Universal Design for LearningDesigning for Variability and Expert Learning

.

2015

Good morning! I am Don Glass an independent arts education and evaluation consultant. And my co-presenter is Wilhelmina Peragine of VSA Massachusetts and soon Harvard Graduate School of Education.

We welcome you to this session titled: Arts and Universal Design for Learning: Designing for Variability and Expert Learning. We are very excited to present this on 40th anniversary of the Americans with Disabilities Act!

Designing for how the actually brain learns is a key feature of Universal Design for Learning. On this title slide are drawings of three cross sections of the human brain that use color to highlight the general areas associated with learning in the recognition, strategic, and affective neural networks which we will learn about together in this 90 minute interactive presentation today.

[Describe Room (i.e., classroom set-up; Please use microphone, exit location, navigation, nearest restrooms); # of participants; Please leave for the restrooms when you need to; Please ask questions along the way to clarify and probe.

Go Digital!


@VSAIntl #UDL #artsed

WIFI AND GUIDEBOOK: INT2015

2

If you have digital devices please use them and connect to the internet. WIFI and Guide passwords are INT2015. We will be using a few digital resources today. If you want to tweet, then tweet @VSAintl #UDL #artsed]

Start with Our Goal

To get a deeper understanding of Universal Design for Learning:

Why: Learning Variability and Expert Learning Strategies What: Guidelines and Neuroscience How: Ongoing Application and Use


3

In Universal Design for Learning, we always start with the goal because the brain is goal-oriented. For this session our goal is to develop a deeper understanding of Universal Design for Learning (UDL). TO do so we will be participating in a range of activities about:● Why of UDL: Learning Variability and Expert Learning Strategies● What of UDL Guidelines and Neuroscience ● How of UDL: Ongoing Application and Use

The session is organized into three sections: First, the Why of UDL will be introduced with two videos, a presentation and two activities that highlight variability of interests and learning. Second, the What of UDL will be explained by presenting some key neuroscience that connects to UDL principles with arts examples of strategies for more self-directed and self-regulated learning. And third, we will practice the How of UDL by conducting a UDL Review and Remix of a case example of an arts residency or a unit of study of your own.

The Problem of Practice

How do we design curricula and materials that support a

wide range of learners to be engaged and successful?


UDL was developed by David Rose and Anne Meyer the founders of CAST (formerly the Center for Applied Special Technology) in response to a problem of practice that many of us may share. As our student populations get increasingly diverse and inclusive-- or we become more more aware about just how diverse we all are-- we have to figure out ways to design curricula and materials that support a wide range of learners to be engaged and successful.

We often design learning opportunities that may or may not have clear goals, and often only offer one path to achieving these goals. Unfortunately, this can leave some students behind by creating language, learning, and cultural barriers.

,




If you are using a digital device, I encourage you to go to the URL on this slide and take the brief survey which asks you a little about yourself and what expertise you are bringing to this session. We also have some paper copies:


We can take a look at the results here: https://surveymonkey.com/

I would like us to do this survey and represent the finding in a more participatory way with a small self-selected sample of SIX people who feel comfortable enough to come up front and be part of a People Graph! [Take 6 volunteers and give them yellow dots.]● What is your primary arts discipline? (visual, music, dance, drama, media)● What is your knowledge of UDL? (1-novice-5-expert)?● How familiar are you with Western classical music (1-novice-5-expert)?● What is your skill level at playing music (1-novice-5-expert)?● What is your skill level in reading musical notation (1-novice-5-expert)?

Move to the part of the scale that indicates your skill or knowledge level. [Count and tally each level.] Notice where everyone is. Find someone who is at your level and introduce yourselves. If you are not in the people graph, introduce yourself to your neighbor, Pay attention to where your friend is at every item.



What did these multiple representations tell us about the variation of interests and knowledge in the room?

● What did these multiple representations tell us about the variation of interests and knowledge in the room?

UDL Overview




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UDL was developed to respond to this variability in learning. It can be used to identify and remove potential barriers by having clear goals with multiple options and pathways to get to the goal.

Here is a great short video animation created by Nicole Agois of VSA of Massachusetts that explains the problem of practice and introduces the UDL big idea of addressing learning variability:


The video uses colorful LEGOS to tell a story of inclusive curriculum design. The video features music and a narrative explanation with captions. The animation starts by showing us one pathway to the goal and shows how some may reach the goal easily, some may get side-tracked and require guidance, and some may encounter barriers. UDL is a solution to removing barriers and considering multiple pathways to learning.

The second video is made by CAST and is a narrated animation that highlights the critical features of UDL and introduces key concepts and vocabulary:


.

UDL Overview

Which representation did you like more? Which did a better job of representing the big ideas?

What is the advantage of viewing both?


8

● Which representation did you like more? ● Which did a better job of representing the big ideas? ● Why?● What is the advantage of viewing both?

UDL Big Idea

Learning Variability

We are as unique as our fingerprints


UDL Big Idea

Expert Learning

Learning How to Learn


Resourceful, knowledgeable

learners

Strategic, goal-directed learners

Purposeful, motivated learners

UDL Influence: Neuroscience

Apply what is known from the learning sciences about how we learn to the design and evaluation of curriculum and programs.


http://www.udlcenter.org/research/researchevidence/

A big UDL influence is from the field of the learning sciences. Neuroscience research is showing us how naturally flexible, plastic, and variable the brain is.

Pulling from this research, the UDL Guidelines are organized to support neural networks that are associated with three major areas of learning: recognition, strategic, and affective.

Oftentimes, brain research is too specific to be directly applied to practice. By clustering what we know from specific studies into broader neural network categories, we begin to work more at a more translational level. Luckily this research is embedded into the design of the UDL Guidelines so that we do not have to be neuro-scientists to use it, and we can take advantage of a valuable design framework that is actually supported by what we know about how we learn.


Here is a simple representation of the UDL Guidelines that vertically links the UDL Principles, to the neural network that it supports, and a key design tip to keep in mind.

In the first column on the left, color-coded in red grape, is the Principle of Representation that supports the recognition neural networks which deal with processing the “what” or content of learning. A key design tip for providing multiple, flexible options for Representation is to present information and content in different ways. Research example:

The the middle column, color-coded in blue, is the Principle of Action and Expression that supports the strategic neural networks which deal with the “how” or demonstration of learning. A key design tip for providing multiple, flexible options for Action and Expression is to differentiate the ways that students can express what they know. Research example:

The last column on the right, color-coded in green, is the Principle of Engagement that supports the affective neural networks which deal with the “why” or student interest and perseverance in learning. A key design tip for providing multiple, flexible options for Engagement is to stimulate interest and motivation for learning. Research example:

To summarize, the UDL Guidelines are organized around three principles that are supported by what we know from the learning sciences, and offer design tips and checkpoints to expand the learning options for everyone.

13


Engagement













Here is another representation of the UDL Guidelines, which is a condensed version of the full Guidelines available at the URL on this slide. This version of the UDL Guidelines is similarly structured with three color-coded columns that correspond to the three UDL Principles for providing multiple, flexible options for Representation, Action and Expression, and Engagement.

Each column features a set of thee Guidelines that support the Principle. The guidelines are scaffolded to prompt your design thinking around accessibility, guided supports and feedback for students, and fostering expert learning strategies. In the full version of the UDL Guidelines, each Guideline has 2-5 more specific checkpoints. The online interactive version also includes supports for the research-base and actual practical examples of options. We have chosen this condensed version of the UDL Guidelines because it captures the basic purpose and structure of the framework, and is not too overwhelming in its specificity.


Bach Minuet in G


We are going to do an activity that is about “listening” to music. I have quotation marks around the word because we will be asking you to expand your idea of what it means to listen beyond just hearing auditorily. We are going to engage with several representations of a Bach Minuet. From our earlier activity we know that we have bring varied interests and background knowledge about western classical music. We will spend some time experiencing each representation with a task to guide our learning. We will then ask you to respond to which representation was most engaging and useful for your learning.

Counterpoint: The relationship between two or more voices that are independent in contour and rhythm and are harmonically interdependent. Bach is the master of counterpoints and making the instrument speak in multiple voices.



Counterpoint is music written as a combination of two or more melodic lines. In effective counterpoint, each individual line sounds good and the lines complement each other when played together. For example, in the following Minuet, the melody and bass line are well-shaped lines. Each line sounds good when played alone. When they are played together, the lines form beautiful counterpoint.



● How might this the definition be more helpful?

Can you identify counterpoint?



1 2 3

Bach Minuet in G

Piano https://youtu.be/NJyamVKudQY

Easy Piano: https://youtu.be/wFaKnqtGNNM

Easy Piano: https://youtu.be/wFaKnqtGNNM

Bach Minuet in G BWV Anh. 114

• When could you clearly identify counterpoint?

• Which representation was the most engaging?




1 2 3

● When could you clearly identify counterpoint?● Which representation was the most engaging?


● Role of background knowledge?● Overwhelmed● Learning styles vs. context to learning?● Options become strategies for a purpose?

19


Engagement













Here is another representation of the UDL Guidelines, which is a condensed version of the full Guidelines available at the URL on this slide. This version of the UDL Guidelines is similarly structured with three color-coded columns that correspond to the three UDL Principles for providing multiple, flexible options for Representation, Action and Expression, and Engagement.

Each column features a set of thee Guidelines that support the Principle. The guidelines are scaffolded to prompt your design thinking around accessibility, guided supports and feedback for students, and fostering expert learning strategies. In the full version of the UDL Guidelines, each Guideline has 2-5 more specific checkpoints. The online interactive version also includes supports for the research-base and actual practical examples of options. We have chosen this condensed version of the UDL Guidelines because it captures the basic purpose and structure of the framework, and is not too overwhelming in its specificity.

Representation


Action and Expression


Engagement


23


Engagement













Notes:



Us



25

Notes: Here is a simple diagram that will show how to expand our knowledge of how to design for variability in learning. This variability can be in the natural diversity of our students as well as the diversity of contexts and environments.

Outside the oval shape is unpredictable variability- or what we don't know, cannot anticipate, or prepare for. For example, because of climate change a windstorm knocks out electricity in your school so you can not use digital resources with the desktop computers at the heart of todays lesson.

Inside the oval is predictable variability- which is what the education and affiliated fields know about how to design for learning variance. For example, we now that some English learners may need language supports for reading, so we make resources available for vocabulary using a glossary and a language translation tool.

Inside the yellow concentric oval is what we know individually based on our knowledge and experience.



Us



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Us



27

Systematically using UDL asks us to expand what we know about learning options further into what is generally known, and then perhaps expand what the field knows. Again, we can do this systematically with the UDL Guidelines in PLCs by observing and getting feedback from students, and sharing with expert colleagues.


1 2

3 4

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Now we will be interacting with a great arts residency case example by using the UDL Guidelines. We would like you to pay attention to the presentation, and keep the the following question in mind: Where did the Teaching Artist use UDL?

Hi everyone, I’m going to share a brief story about one of the teaching artists we work with at VSA Massachusetts, who designed a lesson that hit on many of the UDL guidelines.

Our teaching artist was working with a first grade class to integrate visual arts into the English Language Arts curriculum to help students enhance their ability to sequence events in a story. In order to reach this goal, the teaching artist provided students with multiple activities,some of which I’ve shown on this slide, and which I will now describe as a visual summary of the sequence of this UDL case story. Here are four photos: 1. the teaching artist sitting in a circle with students on the carpet discussing a text; 2. a student making a drawing in response to the text; 3. a piece of student work; and 4. a student holding up a page of their book.

On the next slide...


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...you’ll see the mentor text that she used - “Press Here” by Herve Tullet - a book that uses primary colored dots and simple directions to progress the plot. By introducing this simple example of a story, our teaching artist got students to think about sequence using symbols and words. In terms of engagement, this kept the students focused on a sequence without the distracting them with overwhelming elements of a more advanced story such as plot and character traits.

As you’ll see on the next slide...


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By reading the story all together, students had multiple ways to comprehend the text - auditorily, as the teaching artist read aloud; visually - looking at the illustrations and text, and kinesthetically - as they performed the actions dictated by the book. In this picture, the students are pushing on all the yellow dots as instructed in the text. This interaction with the text recruited the students’ interest and curiosity.



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...This physical and interactive reading created an atmosphere of engagement and fun. It also supported students with comprehending the text and getting at the concept of narrative sequence.

Students had to pay attention and listen, respond collectively to the text with their bodies, and apply what they understood from reading the story by collaboratively creating a list of verbs related to the instructions. The teaching artist also acted out the list of verbs as she wrote them on the board. This helped students with information processing by providing a vocabulary resource that would help them make choices as they created their own stories.

In terms of recruiting interest and sustaining engagement - this worked well because students were better able to pay attention by having to respond together to the text.



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...students had a chance to demonstrate what they had learned from reading, listening, and interacting with the book. Here is one student’s process of demonstrating his understanding. He moved from working collaboratively with the class to working independently on his own with arts materials.

I worked with him and saw him piece together the sequence his own story, by using words from the student-created word bank; applying ideas from the story, and adding in his own playful and creative flair. Because he was able to make his own authentic choices, he was engaged the whole time because he knew he would get a chance to share his work with his classmates, something he was thrilled to do -

As you can see on the next slide...


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...and so were all the students. They were proud of their writing and illustrations and each book showed their unique voice. In addition to being proud of what they had created, they saw one another as writers and illustrators who had the power to make them giggle, wonder and react with the same physicality as the professional story they read at the beginning of the session!

This part of the lesson was essential for many reasons - it provided a supportive and safe environment,an audience and format for sharing, and most importantly, it gave students a chance to demonstrate what they understood from the original book and make it their own in a fun way that fostered collaboration and community!

Overall, this lesson was designed with what Mitch Resnick at the MIT Media Lab calls a “Low floor, high ceiling and wide walls” - meaning that there was a way in for everyone (low floor), there was limitless potential for what they could create (high ceiling) and the learning can be applied in other settings and ways (wide walls).

This lesson had a clear goal - it was about sequence - set at an optimal level of challenge for everyone in the room. The lesson used various forms of representation and different options for action and expression to help students comprehend the mentor text and then come up with their own book and share it.

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Engagement










UDL Guidelines UDL?

We are back to the UDL Guidelines. Remember, the goal of this arts residency was to learn how to sequence a story.

Please use the chat, text, or phone options to offer a few quick observations about where did the Teaching Artist use multiple or flexible options?

You can respond at what ever level you feel confident by identifying either:● The general options for the principles of representation, action and

expression, and engagement;● The more specific guidelines as outlined on this slide;● Or. if you have access to the full UDL Guidelines, to specific checkpoints

under each guideline.●

●

● Report out

Educative cases studies

Self-paced online module

Communities of Practice

Join the Arts and UDL Ning




Contact

Don Glass [email protected]

Wilhelmina Peragine

[email protected]

CAST http://www.cast.org

National UDL Center

http://www.udlcenter.org/


.

Tweet a Reflection!


@VSAIntl [YOUR REFLECTION] #UDL #artsed

.

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