Академический Документы
Профессиональный Документы
Культура Документы
By
ROBERT CADY
UNIVERSITY OF FLORIDA
August 2017
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Acknowledgements
I would like to thank all of the professors and classmates that shared this journey with
me. A special thanks to Elizabeth Delacruz and Jodi Kushins who served as the committee for
this capstone project. Lastly, I want to thank my wife Trish whose love and support made all of
this possible.
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By
Robert Cady
March 2017
Abstract
The purpose of my capstone project was to explore, through curriculum development and action
research, how implementation of a curriculum based on culture and identity can increase cultural
and self-awareness that will give students the ability to explore other cultures with a more open
mind. This ability is becoming more and more necessary in a global world. Culture itself is
difficult to define and much scholarly effort has gone toward examining culture and the best
practices to include it as part of an art education curriculum. These insights and best practices
inspired me to develop this research project. The curriculum I built and the action research I
conducted took place at the Phoenix Arizona Irish Cultural Center as part of its Academy classes
which teach Irish and Celtic culture. As someone who is a mix of Irish, Scottish, and Welsh
decent this location has a personal connection. Subjects of this study were students enrolled in
the Academy and their work and feedback are part of the data I collected. I analyzed this data to
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examine the effectiveness of the curriculum and how I performed as a teacher implementing the
curriculum.
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Table of Contents
Title Page..i
UF Copyright page..ii
Acknowledgementsiii
UF Formatted Abstract...iv
Table of Contents................vi
Introduction ......................................................................................................................................1
Research Questions .2
Assumptions.........................................................................................................................3
Limitations ...........................................................................................................................3
Definition of Terms..............................................................................................................3
Literature Review.............................................................................................................................4
Introduction..4
Expanding Diversity....8
Summary..9
Research Method...10
Subjects..11
Research Site.11
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Presentation of Research12
Summary13
Findings.13
Conclusion..31
References..32
Appendix A35
Appendix B....36
Appendix C37
Author Biography..39
1
I am a mutt. Like many Americans I am a mix of different ethnic, ancestral, and cultural
heritages. Being a mix of Irish, Scottish, and English made creating an art curriculum for the
Irish Culture Center (ICC) of great interest to me. Celtic culture is literally in my blood and
through this capstone project I dug into my heritage alongside the students I taught at the
Phoenix Irish Cultural Center. Self-discovery is at the heart of this curriculum and the study that
In this global age we are linked together by technological, political, ecological, and
financial interests. In this context, it is critical that our students be given tools to examine their
own cultures and be open minded to the cultures of others if they are going to be thoughtful
citizens (Delacruz, 1995). As art educators we need to be aware of our own biases about
different cultures in order to teach about these cultures effectively (Desai, 2000). Understanding
the intricacies of other cultures is crucial to their inclusion in our curriculum (Adejumo, 2002).
It is not enough to just show art from other cultures, we need to present it in its own cultural
context. We must also learn about our students and the communities in which they live before
attempting to expand the cultural scope of our curriculum (Davenport, 2000; Broome, 2014).
Focusing on our students and the community allows them to fully engage in the lessons and
enhances self-awareness. My capstone project is of interest to the Irish Cultural Center and other
cultural centers hoping to add art classes to their cultural activities. It is of interest to both
novice and experienced art educators for creating lessons and teaching about culture and identity.
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culture and identity, in order to increase self-awareness and cultural identity in the subjects
participating in the study, and to add to the literature about including culture in art education
curricula. On a personal level to gain insight into the effectiveness of the curriculum and how
Research Questions
The following questions guided the planning and implementation of my capstone project:
1. How can art educators create a meaningful art curriculum based on Celtic cultural
exploration?
Multicultural art education has grown in importance in a 21st century globalized world
(Bianchi, 2011). Increasingly our students will come into contact with individuals from other
cultures now and in the future and how they respond to these interactions is dependent in large
part on their cultural understanding. As art educators we have an opportunity to help our
students learn about different cultures and to do so with an open mind. That is why developing
important to the future of our students. As the world continues to get smaller the importance of
Assumptions
Most people do not realize how many things influence who they are. Because our views
on culture may rely more on stereotypes rather than reality, uncovering all of the facets that form
us leads to a deeper understanding of who we are and allows us to view others in a new light.
Because I taught at the Irish Cultural Center the diversity of cultures will be limited to
those primarily of Celtic descent, and those wishing to study it. Also based on the location of the
study, the number of students enrolled and their age remained unknown until the classes began.
Definition of Terms
teachers limited understanding can lead to marginalizing the culture or making superficial
attempts to represent the culture resulting in tokenism (Stuhr, Petrovich-Mwanski, & Wasson,
Hybridity is the blending of different cultures and cultural influences to create a cultural
person or group. This mixing of cultures, races, and evolving family dynamics are changing the
equitable way. The beginnings of multicultural curricula was pluralistic in nature. It was
influenced by the Civil Rights Movement in the 1960s to promote social justice and equity for
Petrovich-Mwanski, & Wasson, 1992; Broome, 2014). Within the context of acculturation it is
Acculturation is taking on the traits of another culture when being exposed to it. There
are different ways that acculturation takes place. Some may assimilate and abandon their own
cultural heritage, while others may separate themselves from the new culture (Lopez, 2009).
Bi-cultural is the integration of two cultures where a person adopts both cultures but
different culture, coupled with observing cultural context, is beneficial to understanding other
Literature Review
In this review I will examine the inclusion of culture in an art education curriculum, the
challenges this inclusion presents, and the need to focus inward and on what is relevant to
students to successfully create and navigate a culturally sensitive curriculum. One of the key
findings that I made through this scholarly research was that culture is fluid and it isnt just skin
color or heritage it includes multiple influences. This hybridity, or blending of different cultures
and cultural influences, is an important concept for art educators to understand. Much of the
early cultural teaching in our field focused on pluralism, which is the desire to include
underrepresented cultures in a school curriculum in an equitable way (Stuhr, 1994). I found that
pluralism raises many questions in how to implement such a curriculum without marginalizing
the cultures being taught. A key concern for my own curriculum plans deals with tokenism,
which is focusing on superficial aspects of a culture without contextual support. While much
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was gleaned from all of my sources, the writings of Gall (2006), Stuhr, Petrovich-Mwaniki, and
Wasson (1992), Stuhr (1994), and Delacruz (2009) were extremely beneficial to my growing
(Bianchi, 2011). America is a land of immigrants and migration is part of all of our cultural
roots. The mixing of cultures, races, and evolving family dynamics continue to change the face
of our classrooms (Delacruz, 2009). Making connections with these diverse students requires
getting to know them and their unique situations. Even art educators not faced with a diverse
classroom should be exploring different cultures with their students to prepare them as the
landscape of America continues to become more diverse, and their exposure to cultures around
Culture is dynamic and needs to be viewed as such (Wasson, Stuhr, & Petrovich-
Mwaniki, 1990). The beginning of multicultural education in the mid-twentieth century was
pluralistic in nature. It was influenced by the Civil Rights Movement in the 1960s to promote
social justice and equity for minorities (Stuhr, 1994). Pluralism attempts to address this issue but
it also comes with questions. Which cultures do you include and exclude? It is impossible to
include every culture in a meaningful way, so pluralistic art educators in the United States tend
or Native-American cultures as part of their curricula. While a pluralistic approach gives some
exposure to different cultures it also raises another set of problems; the impossibility of
representing an entire culture. Teachers introduce are bits and pieces of a culture that may be
made up of multiple heritages, each with customs, beliefs, and art that is unique to each heritage.
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I am white so the general thought process says I am from European decent. That is true, but is
Irish the same as German? What about the fact that I am not full-blooded anything? Over time
my ancestors combined Irish, Scottish, English, and German to create my heritage? What does
that make me? What does that make the students in our classrooms? What about people all
(2002) talks about the intricacies of a culture and how without living within a culture, and fully
experiencing all aspects of that culture, those intricate details may be lost. Desai (2000) also
questions the ability to really know about another culture because our own biases keep us from
fully understanding these different cultures. This limited understanding as a teacher can lead to
marginalizing the culture or making superficial attempts to represent the culture resulting in
tokenism (Stuhr, Petrovich-Mwanski, & Wasson, 1992; Broome, 2014). In addition, Garber
(1995) warns against using Eurocentric examples to illustrate cultural diversity. She uses
Picasso as an example of an artist that, based on his Spanish decent, might be seen as a Hispanic
artist to fill a need for cultural diversity even though his work was deeply a part of mainstream
art. Picasso is perhaps better used as an example of appropriation of culture without context
based on his use of African masks (Gall, 2006). These types of missteps do not represent
different cultures in an authentic way. With questions like what to include, am I qualified to
teach this, and how do I not marginalize what I am teaching, it is a challenge to include cultural
diversity in an art education curriculum. Including it will require work, and the first step is
working on yourself.
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We all have biases. The key is to recognize this fact and attempt to adjust our way of
thinking about those who are different from us (Andrus, 2001). This is the first step toward
teaching about other cultureswe have to enter with an open mind. We also need to know our
students and our community. We must be self-reflective and assess ourselves and our teaching
methods in order to be a culturally sensitive art educator (Broome, 2014). Davenport (2000)
may seem odd to focus inward and nearby when planning to teach about things that may be
thousands of miles away. However this preparation allows for us to teach what will be relevant
to our students, and do so in a way that is respectful to the culture we will be exploring.
In her article Principles of Possibility Gude (2007) includes three things that fit within
the strategies presented here. She includes forming self in which students are empowered to look
inward; investigating community themes in which she suggests a dialogical approach where
relevant issues are discussed and community action can be accomplished; and encountering
difference in which Gude suggests selecting a few topics explored in depth over many covered
When we look inward to what makes us who we are, we see that it is more than the color
of our skin and where our ancestors came from geographically. We see that the world around us
adds to the mix. It isnt just our family but our friends, classmates, teachers, and clergy who help
shape us. The experiences we have had shape how we feel about ourselves and those around us.
All of these things help create our belief system. Our sense of art, music, film, and fashion are
all acquired through the influences in our life (Wasson, Stuhr, & Petrovich-Mwaniki, 1990).
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America is often referred to as a melting pot and this is an apt description, but the idea
carries further than a national level. It goes beyond a regional or local level too. It could just as
easily be used to describe how each and every one of us came to be who we are. As I mentioned
earlier, the cultural landscape of America is constantly evolving. This brings with it the need to
understand the different ways a persons culture may be formed. Art educators need a way to
There are several terms within multicultural literature that can be used to describe this
melting pot of American culture. Hybridity, dual-culture, bi-cultural, and acculturation have all
been used to describe this mixing of cultures and how they evolve. The fact is, we all have
multiple and hybridized cultural identities (Delacruz, 2009). This is why art educators need to
learn about their students. We cannot assume what our students cultures are based on the color
of their skin or their surnames (Martinez, 2012). Many of our students may be dealing with
issues of identity. We all adapt culturally and as we are exposed to different cultures, through
media and social interactions, it is common to take on traits of those other cultures. This is
known as acculturation (Lopez, 2009). There are different ways that acculturation takes place.
Some may assimilate and abandon their cultural heritage. Others may separate themselves from
the new culture. Removing ones self from both cultures is referred to as marginalization
(Lopez, 2009). There may also be an integration of cultures, or becoming bi-cultural, where one
will bounce between cultures as needed (Lopez, 2009). This again is why looking at your
students and the community they live in, is so important to building meaningful content.
Expanding Diversity
Beyond looking inward and learning about our students and the communities in which
they live, we can explore outside of our local culture(s). Wasson, Stuhr, and Petrovich-Mwaniki
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(1990) support a socio-anthropological approach which is based on the art makers and the
sociocultural context in which the art is made. They go even further by saying, We believe that
this is best done through anthropological approaches that involve talking to people, listening,
observing, recording, interacting, checking responses, and constantly referring responses to the
cultural context in which this interaction occurs (p. 237). A dialogical approach is also
encouraged by Bastos (2006) who believes much can be gained in cultural research by simply
talking with people of other cultures. She believes that talking to people of other cultures helps
build understanding. Learning about a culture first hand from the artist is extremely beneficial in
making a meaningful connection to both their work and culture. Having this personal interaction
with the artist is not always possible but there are alternatives that can help fill that void. Essays
and videos of artists discussing their work and its meaning are easy to find on the internet. Such
documents provide context beyond simply showing the work (Andrus, 2001; Gude, 2007).
The goal of multicultural education is to empower our students, and help them become
thoughtful citizens (Delacruz, 1995). This is significant in the age of globalization where we are
tied to other people around the world through technology, political, ecological, and financial
interests. Our students will be encountering other cultures now and in the future. Our
responsibility as art educators is to impart the ability to view these cultures with an open mind
and the desire to learn more and create an understanding that can celebrate differences instead of
Summary
encounter in our lives. It is important to understand its fluid nature in order to meaningfully
explore different cultures. As art educators looking to include diverse cultures in our curricula it
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is critical to understand just what culture means to different people. Without looking at all of
what makes us who we are we will risk stereotyping and allowing our personal bias to remain
unrecognized. We must look inward and understand ourselves before we venture into discussing
culture with our students. We need to learn about others and ask questions that allow them to
help shape what we will then explore together. We need to view the community we all live in to
see what our students deal with daily or perhaps never see at all. Building cultural explorations
around our students and their community allows them to more fully engage. We want them to
better understand themselves, to recognize their own identity, and how they fit into their
community. This will become the foundation for them to explore beyond themselves, beyond
their culture and community and to explore the diverse world before them.
Research Method
For my research, I created and implemented an art curriculum based on Irish and Celtic
culture and that focuses on my students identity. This study began as curriculum development
and then became action research during the implementation of that curriculum (McKernan, 1987;
Small & Uttal, 2005; Dick, 2007). Using research to aid in developing a curriculum requires
thoughtful planning. McKernan (1987) writes, Practitioners need to know how to ask important
and productive questions which will be testable in the setting. A spirit of inquiry needs to be
nurtured (p. 16). These research questions are not set in stone and researchers must be aware
that research questions are likely to change as the study progresses (Small & Uttal, 2005). I
gathered qualitative data during the action research to gauge the impact of the curriculum and to
Subjects
The studys subjects were students enrolled in the Academy at the Phoenix Arizona Irish
Cultural Center. There were four students enrolled in the classes and agreed to participate in this
study. All four students were women over 50 years old. One of the students dropped out of the
classes after the first class. I was also a subject in the research as I documented and reflected on
the curriculum and my performance as a teacher. Because human subjects were used during this
study research permission from the University of Florida Institution Review Board (IRB02) was
requested. All subjects taking part in this research were required to sign consent letter explaining
Research Site
My study was conducted at the Phoenix Arizona Irish Cultural Center (ICC). This
centers purpose is to expose the community to Irish and Celtic culture. They do so through their
through their Academy classes. This research study was conducted during an art class I created
I gathered data through observations with field notes, photo documentation of work in
progress, and a questionnaire given to participants at the end of each lesson (see Appendix A).
Participants were also asked to fill out a Where I am from questionnaire prior to the family
heritage lesson (see Appendix B). Gathering data in this way utilized what Peshkin (1993)
defines as a process of description, interpretation, and verification in action research. His 4th
stage of the process is evaluation which I did at the end of the study. This type of data gathering
is cyclical as Dick (2007) describes it, Action and theory are integrated within each cyclethe
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action informs the theory, which informs the action (para. 8). The curriculum consisted of 4
lessons Irish/Celtic Art and Artists, Symbols, Family Heritage, and Who Am I? I
collected data from these lessons during five two hour classes as part of the Phoenix Arizona
separate, and maintain the data or tidying up as LeCompte (2000) puts it. I made copies of all
data. I have each lesson plan filed separately in both paper files and on a computer.
Observational notes were filed by lesson plan. Documentation photos were filed electronically
by lesson. Comments from each lesson ending questionnaire were filed by lesson. Copies of the
Where I am from questionnaire were filed with the Family Heritage lesson and the original went
to the participant. As new research questions arose during data collection, these questions and
alterations to the lesson were documented on lesson plans. Any changes to the lesson plans were
noted and explained on the lesson plan and in a separate document filed under alterations. The
data I gathered falls under the descriptive style mentioned earlier. Interpretation of this data
began as it was collected to gauge if research questions were being answered or if changes
needed to be made. This formed the verification stage where generalizations of the research were
made. When the study ended I used all of the data gathered to evaluate the study (Peshkin, 1993).
Presentation of Research
At the conclusion of my capstone project I put the project and findings on my personal
Cultural Center so that they can continue the curriculum in the future and share the curriculum
Summary
This proposal began by building a curriculum based on culture and identity for the Irish
Cultural Center. Through scholarly research I explored the best ways to design and implement
this curriculum. I then turned to action research to collect data on the curriculum. By observing,
documenting the process with photos, and gathering feedback in the form of lesson
questionnaires at the end of each lesson I assessed the curriculum. This assessment informed
how well the research questions were answered, where improvements can be made, and how
Findings
I conducted my research while teaching classes at the Phoenix Arizona Irish Cultural
Center (ICC). The classes I created would be the first art classes they have offered so there was
concern over member participation. To allow for more time to promote the classes the start date
was postponed to the last half of their Fall Academy session. The increased promotion time
could not overcome the holiday season, however; with classes running from mid-November to
the week before Christmas time constraints limited the participation of several interested ICC
members. When classes began on November 16th, 2016 only four students had signed up. All
four students were women over 50 who work or volunteer at the ICC. Of the four students one
dropped out after the first class, and another student missed a class with an illness. Two students
The purpose of the research was to put together an art curriculum with a Celtic theme and
an emphasis on both cultural and personal exploration, to examine what factors may hinder or
enhance teaching such a curriculum, and to study how the students participating in the
curriculum responded.
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At the start of this study I knew that having never taught before would affect my research
in some ways, but I discovered it would become a major factor in both how I taught and how I
viewed the results. Being organized and prepared did only so much once I got into the
classroom. Not only was I teaching for the first time but I was doing so in a non-school setting.
This setting not only provided limited time but I also had no idea of the number, age and art
making experience of my students before classes began. Much of the project became about
learning to adapt.
There were five two-hour classes scheduled for the study. Over the course of these five
classes were four lessons. At the end of lessons students were asked to fill out a questionnaire
(see Appendix A). The first class was an introduction with an explanation of my study, getting
consent, a look at Irish art and artists, and ending with a preview of the second class on symbols.
The second class on symbols was designed for the students to explore how symbols affect who
they are and for them to create an art work made up of symbols based on their exploration. The
next lesson was a family heritage accordion book where the students constructed, decorated, and
filled the pages with items and pictures that illustrate their heritage. Also as part of this lesson
students were asked to fill out a Where Im From questionnaire (see appendix B). The final
lesson was a Who am I? collage where the students would incorporate what they had learned
I had not intended on having the first class as part of my study. Having limited my study
to three lessons I felt that there would be more data available from the classes where art was
being made, but I found that what I observed that first night would be the beginning of some new
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research questions. New questions included how does being a novice teacher affect this study?
And how important is adapting teaching plans to address the needs and desires of your students?
That first night I thought I was organized and ready even though this would be my first
time teaching art. What I found was the material I was sure would fill the two hours lasted a
little over an hour. I introduced myself, told them about my study and got their consent. I then
showed them examples of Irish art and artists in a PowerPoint presentation. After examples of
ancient Celtic art and a page from the Book of Kells, a familiar example since the ICC has a
copy of the book in its possession, I presented works by Irish artists Jack Butler Yates, Francis
Bacon, Louis Le Brocquy, Mark Ervine, and Danny Devenny. Yates worked from the late 19th
to early 20th century. His subjects included Celtic myth and everyday Irish life, through which
he contributed to the upsurge of nationalist feeling in the arts that accompanied the movement
for Irish independence (Venues, n.d. para 1). Bacon was a prominent artist in the 20th century
whose work had many influences from master painters to photography. Bacon was a self-taught
painter that produced dark and distorted imagery (Francis Bacon, n.d.). Le Brocquy was a 20th
century Irish painter whose work spanned impressionist inspired scenes, textiles, mosaics, to
Celtic myth inspired portraits (Louis Le Brocquy, n.d.). Ervine and Devenny are modern-day
Irish muralists who came from opposite sides of the conflict in Northern Ireland, who now work
together on murals to support cooperation and peace (Painting for peace, 2016).
One student asked for more information on the artists so I told them what I knew and
promised to send links to the online materials I used to gather the images and biographies for the
artists. I then introduced the symbols lesson. What I had planned on taking two hours was
finished and I had about 50 minutes to fill, so now what? I talked with the participants in my
class. I learned about what experience they had making art and found it was not very much. One
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student had done some painting. Another had done some craft projects, and the last two had no
art-making experience. I confessed to this was the first time I had taught art and I explained that
since this would be new for all of us, wed learn how to do it together. I also learned that one
student was a former high school math teacher who worked in the ICC office, another worked in
the McClelland Library at the ICC, one student was the Music Director at the ICC, and the fourth
was a retired volunteer. This last student dropped out after the first class.
Even though the first class was only introductory, and I had not planned on including it in
this study, some important things happened. The street mural tradition from Northern Ireland
that I showed with artists Mark Ervine and Danny Devenny struck a chord with two of the
participants who had seen them first hand when visiting Ireland. I recommended the
documentary Art of Conflict to them that was available on Netflix. This film described the
Painting for Peace Project where mural artists that were on opposite sides of the conflict in
Northern Ireland were now working together to promote peace. The last thing that happened that
night shaped the remainder of my study. After learning about their art making experience and
then listening to what they wanted to learn in the next class on symbols, the symbols lesson was
about to undergo a major change and so was how I was going to approach the other lessons and
The initial symbols lesson was to view symbols of the past and see how they connect to
things all around us. From a cross on a chain around your neck to the Apple logo on your phone
it tells something about you. These things become symbols of who you are. The students were
supposed to use these things that mean something to them and create their own art work. But
after seeing carvings of Celtic knot designs in the introduction to the symbols lesson, the desire
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to learn how to make Celtic knot designs was requested by all the students. Seeing their interest
I decided to adapt the lesson. I spent the week between classes searching for directions so I
could instruct them on how to create these designs step-by-step using a dot method (see Figure
1).
At the start of the second class I found that one participant bowed out so there were just
three students going forward. After getting the students set up with sketch pads, pencils, erasers,
rulers, and a compass I began a PowerPoint presentation with the step-by-step instructions. The
participants both enjoyed and were frustrated by the experience. Their inexperience drawing
frustrated them, as one student said in her post-lesson questionnaire, The lesson would be so
much easier if I could draw better. Despite some struggles this student was able to overcome it
to make some successful drawings (see Figure 2). One of the participants was a former math
teacher and she excelled using the compass to create the triquetra (see Figure 3). This student
18
helped her classmates use the compass which was a great help to them and me. A suggestion
was also made by my former math teacher to use graph paper next time to make the dot designs
Figure 3: Students sketch pad with step-by-step notes and a very successful triquetra.
Because of the students initial struggles drawing, time became an issue. Despite the
symbols class going past the scheduled two hours it became necessary for it to carry over for
another class session to allow the students more time to complete drawings. One student would
miss the next class with an illness. Of the two students in class, one student began a large Celtic
cross and the other a large triquetra (see Figures 4 and 5).
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At the end of the symbols lesson I handed out the Where Im From questionnaire and
poem (see Appendix B and C) as an introduction to the family heritage accordion book lesson.
This questionnaire was a means to get them to think about their heritage and to discover that
their heritage was not just about the people that went before them. It included sights, sounds,
smells, places, and things as well and I hoped it would help them find ways to incorporate more
than just pictures in their accordion books. One student commented that she was amazed that
she ran out of room filling in her responses to each section of the questionnaire. She said, It
triggered so many memories, that I couldnt stop writing. She wrote, I came from a sloping
The family heritage accordion book lesson consisted of cutting 98 lb. mixed media paper
into 9 x 24 pieces for folded pages, a 10 x 16 piece for the book cover, and 1 x 9 strips to
join page sections. Once constructed with glue sticks students had an accordion book like the
one I made as an example (see Figure 6). The books were to be decorated in ways to be a
remembrance of the students family heritage. Students could use any art media to decorate their
The accordion book making involved some trial and error. The slight texture on the
mixed media paper we used on all the art lessons did not allow the glue sticks to make a strong
enough bond so the pages would separate. One of the students mentioned that the ICC had a
glue gun so we switched to that with more success. When given options for decorating their
books the participants wanted to try using paints. Only one of the students had any experience
with painting so time was spent learning to mix colors and identify the best ways to apply the
paint. One student found that thicker applications with a brush caused the pages to stick together
even after the paint dried. So the student who had done some water color before suggested using
watercolor, but we had no water colors to use so I suggested using the acrylic paint as a wash
23
instead (see Figure 7). Mixing the acrylic paint with some acrylic medium and water allowed
Time remained a major issue. In each class where art was made we exceeded the
scheduled two hours. Even with an extra half hour or so the students were not getting finished
pieces. The symbols lesson and the family heritage accordion book lesson spilled into the next
class. Adding to the issue of a time crunch I had a student miss an entire class to illness while
two others missed part of a class because of a meeting. Factoring in all of these things, I decided
to cut the final collage lesson out to allow them to continue working on their unfinished projects.
24
The final class was one of pure exploration and sharing. The students shared with me
and each other techniques that worked and ones that didnt. After one student shared how much
she liked working with the watercolor markers her classmate used them to adorn her accordion
book cover (see Figures 8 and 9). Another student tried to mix colors to match a building in one
of the photos of Ireland, that were scattered around the conference room where the classes were
held, to give her accordion book more of an, Irish feel. One student continued working on a
Celtic cross that would tie in her family crest with bricks of important names, places, and dates
I found that the key word to describe this study was adapt. Every variable that went into
the study from my lack of teaching experience, location of the study, student make-up, to a new
curriculum affected the outcome of the study. Any expectations I had going into the classes
about staying on schedule, effectively presenting material, and having the students complete
finished art works needed to be altered. There was a positive connection with my students and
they did learn about art making and their culture even if it didnt go completely as planned. As
the classes went on the students became active collaborators in adjusting the curriculum. There
was an active sense of experimentation going on (see Figure 11). The students felt comfortable
making suggestions to improve each lesson and most importantly owned their learning
experience. From asking to do Celtic knots to switching to a glue gun to construct accordion
books, students gave input. They also actively helped one another during lessons. Showing how
to use a compass or applying acrylic paint with a sponge, my students shared their skills and
successful techniques.
Figure 11: Student experimenting with applying acrylic paint with a sponge.
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It is fair to say that my curriculum and project didnt go quite as planned. It could easily
be called a successful failure, if I may use an oxymoron. It was a failure in the sense that
finished art was not completed and that all the lessons were not taught, but it was a success none
the less. My students overcame their early struggles drawing and managed to complete
successful Celtic knot designs. One student even used her new skills to begin making a large
heritage piece. I learned much about both planning and implementing a curriculum. I
discovered that even if things do not go as planned, meaningful learning can still take place. My
students discovered that just because something may be difficult, like drawing, that it can still be
fun. They learned that thinking about their culture and where they are from cannot only bring
back memories, but inspire their creativity and desire to learn even more about themselves. I
found that honest communication and taking a student centered approach can overcome many of
the obstacles that teachers face every day and that adaptability may be one of the most important
characteristics teachers can have as they face the challenges the classroom brings.
The basic structure of my research objectives were met. I developed and implemented a
curriculum based on Irish culture, that was student centered, and my students were enthusiastic
about the subject matter. Looking back now, even though my research questions found a
semblance of an answer, the questions that came up as the research went on really were at the
heart of the study. I know now that being a novice teacher and adapting is really where the value
of my study lies. All teachers face issues with planning and time management, but for a novice
those issues become even larger. There were times where it felt like no amount of planning was
enough. I found that planning without experience is guessing much of the time. Some of that
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was my lack of experience and some of that was setting. Not knowing anything about who I
would be teaching going into the classes compounded the issue of my inexperience. If my
expectations were that the classes would go exactly as planned, time would not be an issue, and
my students would have wonderful art pieces to display at the end of the classes I would surely
deem my curriculum and ability to teach a colossal failure. I knew from being a student that
even experienced teachers have things go awry so I wasnt expecting perfection, but I did need to
temper my expectations. It became necessary to adapt not only the lessons but my mindset as
well. I had to fully embrace something one of my favorite teachers Shirley Haupt once said,
Learning takes place in the journey and not from the destination (S. E. Haupt, personal
communication, January, 1985). This was something I wanted to impart to my students but it
became just as important to how I needed to evaluate every aspect of my research. Once my
expectations for myself and the curriculum changed it became much easier to adapt and focus on
The study was definitely successful from a student-centered approach. It was already
geared toward a cultural connection but it became more and more about what they wanted to get
from each lesson and less about any desired outcome I may have had before classes began. It
became clear that the heritage aspect of the lessons really stuck out as being successful. As one
student wrote in her questionnaire, It was great to be reminded just how big family and my
heritage is to my life. This student tied the genealogy she had previously done into her art (see
Figure 12). Another student mentioned, She could see how learning about art could benefit her
teaching Celtic music because it gave context to the other things going on when the music was
created. The end of lesson questionnaires were positive and that reinforced what I observed that
my students enjoyed the classes. Two students made comments about how much they enjoyed
29
painting. Another mentioned how much she enjoyed how everyone worked together to find
creative solutions to problems that came up while making accordion books. One student was
thankful that she was reminded how important her heritage was to her. I know that I enjoyed
teaching them. I learned what areas I need to improve as a teacher, mainly time management,
Figure 12: A students piece centered on a Celtic cross with bricks symbolizing her heritage.
30
am a novice teacher whose first exposure to a classroom was this study. How can this be
important? Who would my findings help? As I face these questions I realized that there are so
many unusual variables to my study. Here I am a first time teacher in a non-school setting,
my study based on its unusual nature I find that it may be of interest to a wide range of art
educators. Obliviously, novice teachers could benefit, but the other elements of a non-school
setting and facing an unknown group of students may be of interest to experienced teachers who
are moving beyond their classrooms to teach art. The cultural element is important. Whether
faced with students from multiple cultures or having a homogenous classroom, teaching about
culture is an important element in a well-rounded art curriculum. I feel that the main area of the
study that can be of interest to everyone is the ability to adapt. I expected to have to adapt some
things during my research, I did not anticipate that adapting would become a major focus of my
research.
There were so many changes made to the curriculum because of time, student interests,
and my inexperience that it became extremely difficult to gauge the effectiveness of many
aspects of my study. Things became more about what didnt happen than what did. That is okay
because it is a result, but from a personal level it is nonetheless frustrating. To borrow a phrase
from my retail days, I need to do a correction of errors report. Simply put, that report lists
everything that went wrong with the project so that the next time you do it you can avoid making
the same mistakes. If I teach this curriculum again there are a few things I would change so that
there would be less focus on adapting and more focus on the effectiveness of the curriculum.
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The first change is time. I would want the lessons to go from 5 two-hour classes to 10
two-hour classes. By having three full classes to implement a lesson it would allow me to
overcome differences in student art making experience and manage any technical difficulties and
still have time to complete the lesson. The second change would be when the classes are offered.
Having the classes span two major holidays greatly limited participation. Having a few more
subjects would allow for a better understanding of the effectiveness of the curriculum.
Conclusion
This research project was exciting, scary, frustrating, fun, and incredibly valuable to my
masters in art education. I taught vicariously through my professors and classmates. This
project finally allowed me to experience some of the highs and lows that my peers face every
day. It gave me even more respect for the job they do and strengthened my desire to join them in
the classroom.
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References
Adejumo, C. O. (2002). Considering multicultural art education. Art Education, 55(2), 3339.
Andrus, L. (2001). The culturally competent art educator. Art Education, 54(4), 1419.
Bianchi, J. (2011). Intercultural identities: Addressing the global dimension through art
Broome, J. (2014). Unraveling the yarn: Self-reflection, critical incidents, and missteps leading
Davenport, M. (2000). Culture and education: Polishing the lenses. Studies in Art Education,
41(4), 361-376.
Delacruz, E. M. (2009). What Contemporary Asian American Artists Teach Us about the
Hybridized Identities and Art Practices: Implications for an Intercultural and Social
http://www.actionresearchedu.com/introduction-to-action-research-bob-dick/
Garber, E. (1995). Teaching art in the context of culture: A study in the borderlands. Studies in
Gude, O. (2007). Principles of possibility: Considerations for a 21st-century art & culture
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brocquy/biography
https://www.alivepublishing.co.uk/2013/02/painting-for-peace/
Peshkin, A. (1993). The goodness of qualitative research. Educational Researcher, 22(2), 23-
29.
Small, S., & Uttal, L. (2005). Action-oriented research: Strategies for engaged
Stuhr, P. L., Petrovich-Mwaniki, L., & Wasson, R. (1992). Curriculum guidelines for the
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Wasson, R. F., Stuhr, P. L., & Petrovich-Mwaniki, L. (1990). Teaching art in the multicultural
Appendix A
Question Feedback
Appendix B
I am from (family tradition) and (family trait), from (name of family member) and (another
I'm from (place of birth and family ancestry), (two food items representing your family).
From the (specific family story about a specific person and detail), the (another detail, and the
I am from (location of family pictures, mementos, archives and several more lines indicating
their worth).
37
Appendix C
I am from the peaceful banks of a creek with no name; from JFG, toast and blackberry jam and
home-made granola.
I am from "a house with double porches," a room filled with good ghosts and creek laughter in
I am from Dillons and Harrisons, Betty Jean and Granny Bea-- frugal and long-lived, stubborn
I am from a world whose geography my children know better than I, from a quiet valley where I
From barn loft secret passwords and children who can fly if they only try.
I am from oven-baked Saran Wrap and colds caught from jackets worn indoors.
I am from pire in the blood Baptists, from the cathedral made without hands, the church in the
I'm from the Heart of Dixie, son of Scarlett O'hara. From War Eagle, Wiffle, UAB and PT, from
Walnut Knob's blue ridge and the soft shadows of Goose Creek.
From a "fast hideous" dresser and a home body from Woodlawn, from a grandfather I never
knew that I can blame for my love of nature and my stubbornness, they tell me.
I am from fragments, the faint smell of wood smoke, and familiar walks among trees I know by
name, from HeresHome and good stock. A man can hardly ask to be from more.
38
Figure 3: Students sketch pad with step-by-step notes and a very successful triquetra..19
Figure 11: Student experimenting with applying acrylic paint with a sponge...26
Figure 12: A students piece centered on a Celtic cross with bricks symbolizing her heritage
29
39
Author Biography
Robert Cady was born in Northeastern Iowa and received a BFA in Fine Art from the
University of Northern Iowa. His major focus was photography, but he also minored in painting
and art history. After graduation Roberts life direction took a turn and art took a backseat to
marriage and work. After a divorce and many years of retail management his life took another
turn. A new, and understanding wife, caused a reinterest in art and a desire to finish what so
Robert is currently enrolled in the University of Floridas online Master in Art Education
program, where he has recaptured his love of art and found an increasing desire to share that love
through teaching. Even though he has never taught before, Roberts confidence has grown
considerably during his studies at the University of Florida and is about to begin his new life as