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Art Education

ISSN: 0004-3125 (Print) 2325-5161 (Online) Journal homepage: https://www.tandfonline.com/loi/uare20

Constructing, Modeling, and Engaging in aSuccessful Educational Partnership

Lisa Kay

To cite this article: Lisa Kay (2016) Constructing, Modeling, and Engaging in a SuccessfulEducational Partnership, Art Education, 69:5, 26-30, DOI: 10.1080/00043125.2016.1202025

To link to this article: https://doi.org/10.1080/00043125.2016.1202025

Published online: 15 Aug 2016.

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26 Art Education

My interest in collaboration stems from my work as an art therapist in hospitals and special education settings and as an art education researcher in alternative schools, where I worked collaboratively with special educators, occupational therapists, speech therapists, recreational therapists, social workers, and psychiatrists. I found that research partnerships among art teachers and researchers allowed art educators to refl ect on their practice and students to learn new ways to communicate their ideas and express their concerns and feelings through art (Kay, 2008). Collaborating also off ered a powerful alternative way to understand, engage, and serve the needs of challenging students, as evidenced in the Art and Resilience project.

Art and Resilience Project Carson Valley Children’s Aid (CVCA) is private non-profi t child

welfare agency that serves children, adolescents, and families. Th e agency, founded in 1917 as an orphanage, is situated in a natural and bucolic setting just outside of the Philadelphia city limits.

Quaint stone cottages with red tile roofs, beautiful hand-craft ed tile mosaics, and inspirational quotes on the facades and gables are reminiscent of CVCA’s rich history. In this setting is a school that off ers nontraditional regular and special education and a residential treatment facility that provides therapeutic support to help all students thrive and meet their potential.

Each week an art teacher, an art therapist,1 an art therapist/art educator/researcher, and adolescent girls met for 50-minute art and creative writing lessons with a thematic focus. Th e student artists experimented with mixed media to create artwork on several themes, such as special times/special places, lost and found, beauty and ugliness, windows and doorways. Th e girls refl ected on their experience through dialogue, by writing personal narratives and artist statements about their artwork, and by creating poetry. During this art class, opportunities were off ered for the girls to express concerns, to symbolically depict their emotions visually, and to verbally articulate their thoughts and feelings2 (Figures 1 and 2).

Lisa Kay

rt off ers students alternative ways of communicating thoughts and ideas, understanding their experiences, and developing resilience and defi ning a stronger sense of self (Heise, 2013; Linesch, 1988; Stepney, 2009). Art educators and art therapists engaging in collaboration of their practices can off er students, particularly those who have experienced adversity in their lives, greater potential for learning and psychosocial adjustment. This viewpoint article off ers a rationale of why collaborations between art educators and art therapists are needed and provides an example of an eff ective art education/art therapy collaboration/program designed for adolescent girls who have experienced adverse childhoods. The program was held in a private school within a non-profi t child welfare agency.

Educational Partnership

C ●O ●N ●S ●T ●R ●U ●C ●T ●I ●N ●G ,Modeling, and

in a

Art

EngagingSuccessful

Roles and ResponsibilitiesEach of us (the art teacher, art therapist, and artist/researcher)

had delineated roles. As the artist/researcher, I scheduled meetings with my collaborators as necessary. I provided the curricular framework along with the themes, daily lesson plans, play sheets, and art materials. I tested the curriculum and secured feedback from students, staff , and those attending the culminating

Figure 1. Lost and found mandala.

Figure 2. Special moments collage.

exhibition. I also kept weekly fi eld notes about each session and recorded students’ comments, reactions, and dialogues with the teacher and therapist. Additionally, I created visual fi eld notes (Figure 3) with free prose or poetic refl ections of my experiences. One example, Flamin’ Hot Cheetos and Cold as Ice, represents the students’ extreme emotions and behaviors (Kay, 2015).

Figure 3. Flamin’ Hot Cheetos and Cold as Ice.

Louise, the art therapist, coordinated details with the clinical director, campus director, and director of academics. She interfaced with agency staff , secured the consent forms and questionnaires from the staff , and participated in scheduled meetings. Since she knew about the girls’ backgrounds, she shared suggestions about how to adapt lessons to the mental and cognitive abilities of the students in the class. She also co-taught and evaluated each class and assisted in planning sessions.

Alan, the art teacher, shared his classroom and class time and off ered space to safely store artwork and materials. He took attendance and assigned grades using the rubric he used for other classes. He observed the class, suggested artmaking techniques, and off ered aesthetic judgments to the girls when they asked. He participated in meetings and post-class conferences, when available, and program evaluation at the end of the semester. We all worked together to facilitate the culminating show by mounting

September 2016 27

28 Art Education

artwork, arranging the gallery space, and delivering artwork and writing supplemental materials.

The three of us modeled positive interactions with each other during and after each class and, by extension, with our students. When one of us did not know the answer to a student’s question or about the best materials or technique to use, we asked each other, in front of the girls, for suggestions or assistance. We wondered out loud and brainstormed ideas and possibilities together. To be effective, it was imperative that our communication with each other be open and respectful and that we were consistent, compassionate, and genuine as collaborators and facilitators.

Louise’s background was unique; she was certified in both art and special education and had a master’s degree in art therapy. At the beginning of the project, she was the art teacher and keen to collaborate. When Louise transferred to the clinical department she continued to be an active collaborator. Alan, the new art teacher, was just as willing to be a part of the project. He was a certified art teacher with an MFA in Fiber and Material Studies. Alan’s strong studio art background, calm demeanor, and cooperative spirit complemented the coalition. Since Alan was new to school and to working with students who had complex histories and problems, Louise’s experience of over a decade at the agency and her expertise in special education and therapy was an asset. Her knowledge of the girls’ cognitive and emotional issues offered ways to adjust or adapt to their individual needs and/or ways to metaphorically view their behavior or artmaking process. Alan kept us informed about what was happening in the school and offered tools and techniques to help the girls or the process. Alan enjoyed learning more about both art therapy and art education from the art therapist/art educator/researcher. He was eager to learn about and participate in the research process to better serve his students and to enhance his knowledge base.

We always welcomed the students and acknowledged their presence, supported where they were psychologically, and allowed them space to just be. Louise noted how initially some of the students were oppositional—sitting off to the side (reading or brooding) and refusing to engage. They were passive participants, present but involved in other activities. Alan concurred that many were distrustful, angry, and reticent at first, but by consistently accepting them as they were and motivating without coercion, the students actually moved from passive to active participants in the class. This progression was different for each student; however, for most, this transition only took a class or two. Strategies that helped students engage were the use of humor, colorful and interesting art materials and supplies such as three-dimensional found objects, opportunities to record their ideas in their journals, and class discussions about their thoughts and feelings about their artwork. We provided time, space, and support for students to grow as artists and human beings. As Louise explained: metaphorically we offered them “water, soil and light, and with these nurturing elements, the girls, like tender seedlings, grew” (L. Nevelson, personal communication, March 15, 2014).

Co-CollaboratorsThe girls were collaborators and co-researchers in this project

and process. We involved them as much as possible in class

decision making. We asked for their ideas about materials they wished to use and art techniques or processes they wanted to learn. Periodically, we solicited names of new students who might be good additions to the class. When preparing for the culminating art show, we brainstormed show titles and went on field trips to see the gallery space before their final show was installed. They selected colors of matt board that, according to Artemisia, would make their work “pop.” We treated them as an important part of the coalition by respecting their thoughts and valuing their suggestions and ideas.

Why Collaboration WorkedCollaborating offered synergy; the three of us enjoyed

talking about the process, as well as the girls’ artwork, growth, development, and learning through art. Each of us looked forward to Wednesdays when we would co-facilitate the class. Louise commented it was often the highlight of the week. Alan remarked he liked to discuss new ideas and perspectives about teaching and enjoyed learning about the therapeutic aspects of artmaking. For me, being in the classroom with adolescent girls was refreshing and reminded me of my previous work in similar settings, which I had always enjoyed. Working in a school setting with challenging students can be stressful and at times isolating. However, being able to collaborate with others and working toward a common

Figure 4. Number of Generated Points of Intersection.

September 2016 29

goal offered camaraderie, support, and energy. Witnessing the girls take pride in their artistic achievements was gratifying to all of us. It reinforced the importance of our work and the power of collaboration.

Developing fruitful collaboration can be advantageous to all involved parties especially when each of the individual partners value each other’s skills. While we each had our own roles, meeting the needs of the students was our prime focus that yielded unique insights and teaching strategies useful for all students, which are discussed in the Lessons Learned section below. A collaborative partnership, like this one, in a private school setting with a residential program, took time and patience to develop. We all believed that collaborating was a process with multiple points of connection as illustrated by the art therapist’s visual note (Figure 4).

The director of academics remarked thatRealistic experiences in and out of the classroom allow the student, teacher, and therapists to intersect and collaborate.…Therapists must be included in collaborative teams with teachers so greater dialogue and sharing of strategies can take place… this can be done... [with] emphasis on key concepts of self-esteem, expressing emotions, problem solving, human connections, and goal setting. (M. Ray, personal communication, April 30, 2014)

From the clinical director’s point of view, building connections and collaborative partnerships between the clinical and school staff is beneficial because art education and art therapy are areas in school where children can find support and healing within the structure of an academic program (C. Rizal, personal communication, March 30, 2014).

Recognizing our similarities and differences and creating a portrait of collaboration offered students greater potential for learning and psychosocial adjustment. This collaborative partnership in a private academic school helped the art teacher think more critically about what is of value in the K–12 art classroom: student agency, autonomy, and resilience. He explained:

I am always thinking about what counts as an art experience in my classroom, and to what degree the assessment of that experience matters, especially when a student creates and meets his or her own criteria of success that may or may not align with a predetermined standard meant to please everyone in general but no one in particular. The mechanics and histories can and should be taught as much as possible. However, it is the perseverance and pride young people have in their work, their own discoveries that excite me as an artist and teacher. Meaning comes in so many different ways; in my

classroom, I try my best not to be ideological but instead to present different ways of thinking; to give them the space they need to mature and form their own view of the world. It is not necessarily about art but is ultimately about forming healthy and consistent relationships that might not exist elsewhere. (A. Saret, personal communication, April 15, 2014)

Through creative engagement (artmaking and writing) in a safe learning environment with adults and peers, we offered opportunities for the girls to explore concerns, express hope, support positive coping skills, develop inner strengths, and foster resilience. We shared a similarity; we spoke the same language: art, and by identifying areas of intersection in art education and art therapy, our differences did not seem as disparate.

Concluding ThoughtsAs art educators and art therapists, we value holistic approaches

to art teaching and learning that emphasize social, emotional, and creative development of the whole child (Campbell, 2011; Campbell & Simmons, 2012). As educators and therapists, we understand the value of education through art and art as therapy (Kramer, 1971; Read, 1943). Art and imagery are our foundation; our roots are analogous. We recognized teaching and making art in community is a participatory practice in which all participants have a voice and share in the outcome.

There is strength in collaboration. Together, art educators and art therapists can promote powerful and thoughtful action in educational settings. Art educators are not art therapists; however, they can provide opportunities to create art in a social context that engages the students in a practice that focuses on the exploration of personal and social ideas and/or identities in visual form. Specifically, transformational art education programs with adolescent girls who struggle with issues of self-esteem, mental health, and past traumas, can have healing value.

Lesson LearnedThis collaborative effort in a private school within a non-profit

child welfare agency generated many lessons that can help other art educators who work with students challenged by adverse childhood experiences. Teachers and therapists can discover ways to support each other and their students. The following are some practices that art teachers can practice and could be incorporated in the classroom. These lessons can apply to traditional and public alternative K–12 schools.

● Establish a classroom culture of caring. Be present. Show students you care by being sensitive to their needs. Listen to their concerns. Share food. Eating together creates

Together, art educators and art therapists can promote powerful and thoughtful

action in educational settings.

30 Art Education

community. Build individual and collaborative components into projects, like creating an individual artist book and a collaborative book in which each student contributes a page.

● Help students feel safe and develop trusting relationships. Welcome new students to class. Take time to do “get to know you” activities, like picking a color from a box of crayons or oil pastels that describes something about themselves. Give students opportunities to talk about their work in small groups. Set up a mock talk show in which students take turns being the host and interviewing each other. Model ways to give constructive and supportive feedback using “I” statements like I see, I feel, I think.

● Provide boundaries and structure. Let students know what they can expect in your classroom. Establish classroom rules: The 3Rs: Respect for self, respect for others, and respect for space and materials. Follow through with what you say you will do.

● Offer choices within the lesson plan and/or curriculum. Provide a range of materials and art processes for students to choose. Give students input. Be as flexible as you can.

● Infuse instructional units/lesson plans with contemporary artists. Teach students about artists’ artwork and their lives. Have students select an artist with whom they identify as their alter ego or pseudonym in class.

● Practice empathy. Provide comfort and support. Provide undivided attention, whenever possible. Even if the student does not seem to be responding, your empathic gestures and responses will be remembered and appreciated.

● Use art for self-care. Make art to contain/express thoughts and feelings, channel stress, and keep connected with ourselves as artists. Use art as a method to understand individual students and/or classroom dynamics.

● Continuing education or professional development. Enhance teaching practices with students who have adverse childhood experiences. Enroll in courses or suggest in-service training on the following topics: ◦ Trauma-informed approaches to school behavioral health

(Many school districts offer this sort of training) ◦ Mindfulness training (Some courses offered online or by

counselors/therapists)

◦ Nonviolent crisis intervention (This type of training teaches how to diffuse potentially volatile situations)

◦ Nonviolent communication (Courses on compassionate and nonviolent communication skills)

● Seek out art therapists as collaborators. Inquire if there are art specialists on staff in your district. Often there are art therapists who are terrific resources and potential partners. Contact your local art therapy association through the American Art Therapy Association.3 Each state has an affiliate association, like the National Art Education Association (NAEA). Typically, the local association maintains a referral list and often has a speaker’s bureau. Usually local art therapy associations host regional conferences open to art educators where they can gain more information and network. You may meet art therapists to recommend as speakers at your school’s professional development day. Contact The American Art Therapy Association to locate art therapy graduate programs. Faculty may wish to collaborate on a research study. n

Selected Resources for Art EducatorsFray, J., & Funk, D. (1998). Teaching with love and logic: Taking control of the

classroom. Golden, CO: Love and Logic Press. Hanh, T. H., & Kotler, A. (1992). Peace in every step: The path of mindfulness in

everyday life. New York, NY: Bantam.Levick, M. (1983). They could not talk & so they drew: Children’s styles of coping

& thinking. Springfield, IL: Charles C. Thomas.Malchiodi, C. A. (1998). Understanding children’s drawings. New York, NY:

Guilford Press. Malchiodi, C. A. (2006). Art therapy sourcebook. New York, NY: McGraw-Hill.McCown, D., Reibel, D., & Micozzi, M. S. (2011). Teaching mindfulness: A

practical guide for clinicians and educators. New York, NY: Springer.Rosal, M., & Gussak, D. (Eds.). (2015). The Wiley-Blackwell handbook of art

therapy. London, England: Wiley Blackwell. Rosenberg, M. (2003). Non-violent communication: A language of life. Encinitas,

CA: Puddle Dancer Press. Rubin, J. A. (2005). Child art therapy. Hoboken, NJ: John Wiley.Rubin, J. A. (2009). Introduction to art therapy: Sources and resources. New York,

NY: Rutledge.

Lisa Kay is an Associate Professor at the Tyler School of Art, Temple University, Philadelphia, PA. E-mail: lisakay@temple.edu

References

Campbell, L. H. (2011). Holistic art education: A transformative approach to teaching art. Art Education, 64(2), 18-24.

Campbell, L. H., & Simmons, S. (2012). The heart of art education: Holistic approaches to creativity, integration, and transformation. Reston, VA: National Art Education Association.

Heise, D. (2013). Fostering resiliency through the arts. In K. Tavin & C. B. Morris (Eds.), Stand up for a change: Voices of arts educators (pp. 112-119). Reston, VA: National Art Education Association.

Kay, L. (2008). Art education pedagogy and practice with adolescent students at-risk in alternative high schools (Unpublished doctoral dissertation). Northern Illinois University, DeKalb.

Kay, L. (2015). Research as bricolage: Navigating in/between the creative arts disciplines. Music Therapy Perspectives, 34(1), 26-32.

Kramer, E. (1971). Art as therapy with children. New York, NY: Schocken Books.

Linesch, D. (1988). Adolescent art therapy. New York, NY: Bruner-Mazel.

Read, H. (1943). Education through art. London, England: Faber and Faber.

Stepney, S. A. (2009). Art therapy with students at risk: Fostering resilience and growth through self-expression. Springfield, IL: Charles Thomas.

Endnotes1 The art teacher and art therapist

selected favorite artists Alan Saret and Louise Nevelson as their pseudonyms. The two administrators quoted were given male and female artists as their pseudonyms by the author.

2 Written Parent/Guardian permission was obtained by the agency for students to participate in this project, for art work to be photographed, and the study to be presented at conferences or in a professional journal.

3 www.arttherapy.org