interpretation || concerns of pre-service art teachers and those who prepare them to teach

National Art Education Association

Concerns of Pre-Service Art Teachers and Those Who Prepare Them to TeachAuthor(s): Enid ZimmermanSource: Art Education, Vol. 47, No. 5, Interpretation (Sep., 1994), pp. 59-67Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3193502 .

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...AND NOW, ON ANOTHER MATTER

Concerns of Pre-Service Art Teachers

and Those Who Prepare Them to Teach

BY ENID ZIMMERMAN

n the last decade, there has been increased respect for teachers' practical theories about

teaching and learning processes. The terms reflective practitioner, action research, reflective

teaching, reflection-in-action, teacher as researcher, and research-based or inquiry-oriented teacher education often appear in literature about teacher education programs. Reflection

can serve as a means for pre-service teachers, under the guidance of teacher educators, to restructure their own knowledge about teaching as well as about their understandings of themselves in relationships with others. Teacher educators can help pre-service teachers be reflective about not only practical issues, but moral, political, and technical issues that affect them as integral parts of their thinking and practice (Zeichner, 1983).

SEPTEMBER 1994 / ART EDUCATION N All photos courtesy of Enid Zimmerman



Ire-service teacher education progrrams, that are structured around using critical inquiry as a means of understanding the context of teaching, have used reflective journal writing to help students confront dilemmas they face in beginning teaching experiences (Clift, Houston, & Pugach, 1990; Ross, 1990; Schoin, 1991). Reflective journal writing can help pre-service education students learn about themselves in terms of what they know, how they feel, what they do, and how they do it (Yinger & Clark, 1981). Journal writing also can enable a teacher educator to know student writers in many different ways and contexts. Students have better opportunities to come to know their teacher educators who read and respond to their journals. Students and supervisors can thereby become what Maas (1991) referred to as "authentic, caring audiences" (p. 221) for each other.

PRE-SERVICE ART TEACHER EDUCATION

Although there is a body of research about general pre-service education, in the past there has been much neglect of research and practices related to specialist art teacher education programs (I)avis, 1990; Zimmerman, 1994). Although researchers such as (albraith (1991), Smith-Shank (1992, 1993), and Stoddard (1993), recently have studied pre-service elementary teachers in art methods classes, there is a need for contemporary research studies about pre-service art specialist education. In light of the need for research about specialist pr(-service art teacher preparation and current interest in reflective thinking and critical inquiry, I will describe a study I

conducted in which I analyzed and interpreted issues found in reflective journals of pre-service students in a visual art specialist teacher education experience. According to Tabachnick and Zeichner (1991):

reflective teaching, like any teaching, is a social activity. Reflective teaching looks back at social interactions and tries to make sense of them in order to planfor future teaching;or it looks forward to social interactions of ;teaching and learning that have not yet taken place and attempts to shape these, or reflective teaching is within the process of teaching and learning, in which ideas and behavior interact to shape one another. (p.11)

This study focuses on all three aspects of reflective teaching described by Tabachnick and ZeAichner. First, emphasis is on the process of teaching and learning as explored through pre- service art teachers' reflective journals. Second, I reflect on these pre-service teachers' journal entries and use my observations to plan for future teaching

Novice art

teachers need to be

encouraged to

sharpen their

reflective skills as

well as be

provided with

opportunities to be

flexible and

consider

alternative ways of

teaching art.

_I | ART E D U C A T ION ' SEPTEMBER 1 9 9 4



of novice art teachers. Third, some general recommendations are made for future pre-service art teacher preparation based on both my and the pre-service art teachers' reflections.

AN ART METHODS CLASS My advanced methods class for art

education majors is the last of three methods classes that are required to meet state certification. Pre-service art teachers take the advanced methods course the semester before they student teach. They develop a unit with five to six lessons they will teach to students in an elementary art class in a local school. In their field experiences, they conduct three observations before

they teach their unit. These students also are required to keep reflective journals based on their teaching experiences.

Pre-service art teachers in my methods class are expected to work closely with their mentor art teachers, who are in constant contact with me. At least once during the semester, I observe each student teaching. In addition, the mentor teachers meet together with me once a semester to critique field experiences and make suggestions for future changes. My methods class incorporates reflective thinking about child development, mainstreaming, multicultural, global, and gender issues in art education, as well as requiring students to develop an instructional unit.

The reflective journal that each pre- service art major student is required to keep begins with a biography focused on their past experiences. Although these self-reflective stories form the first part of their reflective journals and contain important information, they are not the focus of this study. Rather, emphasis is on analysis and interpretation of the pre-service art teachers' experiences when observing and teaching art in the public schools. The reflective journal assignment, as described in the course syllabus, is "to record and reflect on your impressions of the field experience as it relates to your art teaching." Students are then asked to:

1. Describe, in about three pages, your own art experiences when you were a student in elementary and secondary school. A remembrance of things from your past will help you relate to your students when you are teaching. It also will help you examine your motivations for doing art work and your own teaching style.

2. Write in your journals about each of the three classroom observations you make prior to teaching and the five lessons you actually teach. Write about what you observe in the classroom and raise questions and concerns based on your observations. In yourjournal, identify and explain at least three dilemmas that you faced and how you were, or were not, able to solve these dilemmas.

3. Write a summary of about two pages as after-thoughts of your field experience that goes beyond description and addresses some meaningful discoveries you have made about art teaching. Required readings for this class are several chapters of

SEPTEMBER 1994 / ART EDUCATION



Posner's book, Field Experience: Methods of Reflective Teaching (1989). According to the author: This book is based on the premise that we benefit from our experiences by preparing for and reflecting on them ... Reflection enables us to consider the consequences of our actions in light of our past experiences and the ideas derived from our formal study of education (pp. ix-x).

Interpreting the reflective journals, I was interested in what issues and practices were of concern to the 20 pre- service teachers in my advanced art methods class. I focused on the nature of the problems and dilemmas they encountered in their classroom practice, how they reflected on these teaching experiences, and how they attempted to improve their subsequent practice teaching lessons. To analyze the data in their journals, I used content and comparative analysis as suggested by (laser and Strauss (1967) and Gordon (1978). Content analysis was used to search for conceptual themes and comparative analysis was used to interrelate these conceptual themes to form themes that provided insights for understanding effective instruction of pre-service art teachers. The three interrelated conceptual themes that emerged were (1) theory as practice, (2) transformations, and (3) outcomes. IThese themes are presented with quotes from students' reflective journals to demonstrate ways they reflected on their pre-service art teaching experiences.

THEORY AS PRACTICE In their journals, ten of the 20 pre-

service teachers discussed how important it was to have field experiences in which theoretical notions about teaching could be experienced first hand.

The field experience was an invaluable experience ... itgave me more time in an actual classroom and a broader view of what we may encounter as future teachers. Nothing we could possibly have done could educate us quite like actuallygoing out into thefield.

One pre-service teacher reacted dramatically to the schism between the idealism found in his teacher education classes and his actual classroom practice.

Today Ifelt like a big part of me had been ripped out. Ifelt the whole educational system had lied to me ... Ifelt as if the educational goals of the School of Education are so different than what is going on out there in the schools ... Ifeel I have to lower my standards in the real classroom ... What ifour personalities change as we settle into teaching? What if the desire leaves? The reality and hard work take their toll on us idealistic, smiling, pre-service teachers.

Specific teaching strategies were discussed and expressed through a variety of concerns, some more practical, others more theoretical, including discipline, flexibility, individualizing the curriculum, communicating information, clean-up, use of visuals, telling stories, time constraints, and evaluation.

All 20 pre-service teachers addressed the issue of discipline in classroom practice. They noted the difficulty of controlling students' behaviors and creating a classroom that had a safe, and at the same time, enjoyable environment. About the issue of control, one student wrote:

One problem for me is control. The kids are wired up and it's the last class from them on Friday... I need to learn when to tighten and when to loosen the reins.

Two others wrote: Keeping them in their seats and

i^ ART EDUCATION / SEPTEMBER 1994



askingfor help, instead of having them all running around, is the biggest challenge.

By not establishing discipline right away, Ifelt I was not respected as a teacher. I had a tendency to try to establish an interpersonal contact with individual students and lost oversight of the class as a whole.

Teachingflexibility was another topic of concern to all 20 pre-service teachers. Following lessons plans and accommodating to the daily changing demands found in an actual art classroom challenged all these pre- service teachers. Two pre-service teachers were sensitive to the sequence of events and the need to be flexible in teaching their art classes:

Certain situations arise within the classroom which require on the spot changes. For instance, I had a lesson plannedfor a day when the students came back from a music program. When they came to the art room they were excited about the music program ... I should have used that energy, not attempted to suppress it.

I can write the best lessons on paper, but if I am notflexible togo with how the students act, I willfail as a teacher.

All 20 pre-service teachers' reflective journals referred, in some part, to the difficulty of teaching art lessons to meet individual students'needs. One observed:

I need to make sure that I talk to everyone ... I know from personal experience that it is easy to develop a rapport with some students and realize that there are others you hardly ever talk to. This skill needs constant work.

When teaching a lesson, several novice teachers described their difficulties in having students who are at several different levels of development working and finishing art projects. One decided to solve this problem this way:

I have several options ... I can have somefinish them as homework and next time I can get everyone together and we can talk about them. Also, Mrs. [mentor teacher] could have somefinish the projects later after I am gone.

One pre-service teacher reflected on how to include two learning disabled students equitably in the art class she was teaching:

I should become more sensitive to the needs oflearning disabled students ... I failed to make special provisions for them ...I wish there was some way I could have incorporated them more directly into the flow of the class.

Explaining concepts clearly and effectively was an issue that eight pre- service teachers noted in their journals:

I realize some of the students' problems are because of unclear explanations on my part.

Once I realized I was getting through to them, I became more confident and expressive in the ideas I needed to communicate.

In more than half the pre-service students' journals, clean-up activities were mentioned as areas of concern. One journal entry read:

Clean-up still needs to improve. I need to give them more time ... Assigning more tasks to students can help here.

Another journal entry indicated that clean-up time can be extremely time consuming, but might take less time in the future:

Of course, it may mean that some of those duties and concerns are alleviated once one becomes familiar with projects, materials, and efficient ways to do things.

Thirteen of these novice teachers indicated that time constraints were a problem. They had difficulty fitting their planned activities into a 50 minute time-frame. One commented:

I became very aware ofhow quickly an instructor needs to get information out Itol allow the students to work, and

how imperative it is to stick to time limits in order to get everything in as well as having time to clean up.

In half the journals, a number of problems were expressed, in respect to which strategies were most appropriate for teaching art content in specific contexts, and to mentor teachers' reactions to including activities other than art making. Two representative reflective entries about these issues were:

I think the students got the idea of symbols and ceremonyfairly well. There were, however, many questions on how to start theirdesigns. There was some lapse between understanding concepts and the physical act of doing of them.

I didn't have difficulty looking and talking about art with them for the entire 30 minutes. Iactually needed another 30 minutes, but Mrs. [mentor teacher] told me "enough talking, let's get on with making something." She did seem surprised that I could hold their interest that long by having them express their ideas verbally about art.

Eleven novice teachers indicated they had difficulty in finding time or remembering to do an evaluation during and/or at the end of their lesson. One wrote:

I needed to work on how I evaluate the kids. Iforgot to get the evaluationform out to them. I can't believe it. I plan to do an extensive evaluation next time.

Other teaching strategy issues that were salient to some of these novice teachers, but not discussed in a majority of their journals, included the need to motivate and interest students by (1) engaging them productively in making art, (2) using visuals to supply imagery for their art projects, (3) telling personal stories and anecdotes, and (4) learning how "to deal with multiple questions from students who need attention, all at the same time."

SEPTEMBER 1994 / ART EDUCATION N



TRANSFORMATIONS About two thirds of these novice art

teachers had what I term transformational experiences. As a result of this pre-service experience, they were able to solve a problem or a set of related problems, over an extended period of time and, as a result, some became changed through this experience. Following are four examples, with different emphases,

that reflect transformational experiences described by these novice art teachers. All these reflections focus on being transformed from the role of student to that of teacher:

I am amazed at how much can be learned in a small amount of time ... I still find my head spinning after thinking about the changes that have occurred in me since I began Art Education classes

last Fall. Situations that would have terrified me then are second nature now (well, more or less).

One of the most important things I learned through this teaching experience is the role of the teacher. When I went to class thefirst day, Ifelt that I was like someone who was there for a presentation or distraction from the normal class routine, rather than someone who was a teacher. The source ofthese feelings was not the classroom setting; it was me. Now, I am able to respect and accept myself as a teacher with specific roles and responsibilities.

I now know I belong in class teaching art ... one of the best thrills in the world is knowingyou made a difference in some kids'lives ... 7his is the drive that keeps me on the path to teaching... Atfirst I was not sure I wanted to teach. Now I realize there are many doors for my students to open and too many paths to the future. I want to be the person who opens the doorfor them and gently closes it as they leave me and go down that path of life.

The mentor art teachers played a vital role in encouraging, supporting, and helping these novice teachers to leave their roles as students and view themselves as teachers. Eighteen of the pre-service art teachers wrote very positive comments about their mentor art teachers. These mentor teachers had been carefully chosen to work with them and for over five years, all of the mentor teachers had been involved in working with pre-service art teachers in my methods classes. Following are a few examples of the novice art teachers' reflections about their mentor teachers:

I appreciated Mrs. [mentor teacher's] feedback. It was always presented in a positive fashion. She always allowedfree run of her classroom and left control up to my own devices. Her input reflects her years of practice and tricks of the trade.

ART EDUCATION / SEPTEMBER 1994



Mrs. Imentor teacher] was a caring professional, helpful, encouraging, and honest, and I couldn't have askedfor a better experience. Ifelt she had a genuine interest in my development as an art educator and she always gave me useful feedback, both positive and negative. I hope I can be in hersituation some day.

Mrs. [mentor teacher] really helped me solve many problems and hopefully helped me avoid a mess. I showed her my plans and she reassured me I would do well and that I was well prepared. I guess I really needed to hear that as I have been really hard on myself.

OUTCOMES All of these novice teachers focused

on results of their teaching and what outcomes and effects it had on their students. Most were enthusiastic about their field experience. As one noted:

I am pleased with the outcome of the class. The kids picked up quite a bit of information. They were hyper- enthusiastic to put to use the information we discussed in class.

Another reflected: I think they liked what they made and

they indicated that it is the type of thing they will show theirfamily members.

An international pre-service teacher was impressed by her students' interest in learning about Chinese art and culture:

They were quiet and attentive when I was discussing Chinese art and culture. They were really interested in what I had to say. When I complimented them they were all quite pleased.

REFLECTING ON THE PRE- SERVICE TEACHERS' REFLECTIVE JOURNALS

After reading these pre-service teachers' reflective journals, and analyzing their entries in respect to

conceptual themes, my own conviction was confirmed that pre-service art teachers are well served by engaging in concrete situations in which art teaching and learning take place. Novice art teachers need to be encouraged to sharpen their reflective skills as well as be provided with opportunities to be flexible and consider alternative ways of teaching art. They need to be empowered to find their own meanings and understandings as they engage in the practice of art teaching and examining the processes by which they become transformed from art student to art teacher. I also reflected on how I could improve my own classroom teaching practices to best meet the needs of all my pre-service artstudents. First, I need to build stronger bridges between theory and practice in art education. More class discussions about classroom practice are needed, as well as encouraging pre-service students to bring realities of their field experiences into theoretical discussions about issues related to art teaching practice. Second, because teaching strategies are of great concern to these pre- service teachers, I should place more emphasis on issues of discipline, flexibility, individualizing the curriculum, communicating information, clean-up, time constraints, and evaluation as they relate directly to classroom practice. Third, I should emphasize positive outcomes of art teaching, particularly the meanings they can inject into the lives of students they are teaching and the importance of teaching art as it relates to influences they can have on their students. Fourth, my emphasis on the importance of choosing mentor teachers, who are positive in their reactions to novice teachers and who help them become professional in their

outlooks, is reinforced. Close communication with, and including ideas from these mentor teachers into the methods class discussions has great value in making the pre-service teachers' field experiences more meaningful.

Promoting reflection, at an in-depth level, among pre-service art teachers is a difficult goal to attain. Many have not had previous experiences at seriously reflecting on their school experiences and relating these to their past experiences. This is evident in about one third of the reflective journals I read, especially in those journals where students did not evidence what I referred to as transformational experiences. Perhaps, more negative attitudes toward mentor teachers and art teaching in general were not articulated because they knew the contents of these reflective journals were part of the final grades for the methods course. I need to encourage students to express negative reflections as well as those that are more positive in respect to their future careers as art teachers. I have had my present pre- service teachers read the results of this study and reflect about how these past students' experiences might relate to their own practice experiences in art classrooms. Mentor teachers also might benefit from reading about these pre-service art teachers' concerns as they relate to teaching in their art classrooms.

CONCLUSION As Greene (1978) stated, we need to

empower "teachers-to-be to reflect upon their life situations, speak out in their own voices about lacks that must be repaired and the possibilities to be acted upon in the name of what they deem decent, humane, and just" (p. 71). These expectations are in direct

SEPTEMBER 1994 / A RT EDUCATION



contrast to viewing prospective teachers as managers and technicians, able to efficiently transmit, orchestrate, and evaluate acquisition of knowledge, skills, understandings, and attitudes through a pre-defined set of objectives and activities handed down by others.

The solution to helping pre-service art teachers become decent, humane, and just becomes one of providing them with an issue and problem oriented, rather than technically oriented, education. Novice art teachers need to be encouraged to be reflective, asking questions such as: What art content should I teach? How should this art content be taught? How should my students' art learnings be assessed? How can I create an art learning environment in which students want to learn? Is what I am teaching of significance and compelling

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enough to make students desire to learn? How can I allocate time and resources so that I can differentiate my art curriculum to serve all students in my art class?

I, as a teacher educator, need to be more aware and have better understanding about the needs of my pre-service art students. I need to reconsider my own values, my novice teachers' values, and values held by their mentor teachers. I should be asking questions such as: How can I guide my students to become competent and caring art teachers? How can cooperating teachers become collaborators who encourage and allow pre-service art teachers to be reflective and critical of their own teaching practices? How can I encourage my pre-service art teachers to be more reflective and critically conscious of

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their impact on their students? How can I provide the best opportunities for reflective thinking and critical inquiry about actual classroom practices so that pre-service art teachers become art teachers who are reflective, engaged in classroom-based inquiry, and emotionally and intellectually sensitive to the variety of students and contexts they will encounter in their teaching careers?

Enid Zimmerman is Professor ofArt Education, Indiana University, Bloomington, IN.

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-t ART EDUCATION / SEPTEMBER 1994



K. M. Zeichner (Eds.), Issues and practices in inquiry oriented teacher education (pp. 211-255). New York: The Falmer Press.

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Tabachnick, B., & Zeichner, K. M. (1991). Reflections on reflective teaching. In B. R. Tabachnick & K. M. Zeichner (Eds.) ,Issues and practices in inquiry-oriented teacher education (pp. 1-21). New York: The Falmer Press.

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Zeichner, K. M., & Lston, D. P. (1987). Teaching student teachers to reflect. Harvard Educational Review, 57(1), 23-48.

Zimmerman, E. (in 1994). Current research and practice about pre-service visual art specialist teacher education. Studies in Art Education (35) (2), 79-89.

Zumwalt, K. K (1986). (Ed). Improving teaching. Alexandria, VA: Association of Supervision and Curriculum Ievelopment.

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