The Art of Talking at the Image Conference 19 by Joe Planas

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THE ART OF TALKING Learning a Language through Art using the VTS in Adult Education The Image Conference ‘19 Brussels, 6th October 2019 La Galeria, Feliu Elies…
THE ART OF TALKING Learning a Language through Art using the VTS in Adult Education The Image Conference ‘19 Brussels, 6th October 2019 La Galeria, Feliu Elies (1928) at MNAC La Galeria, Feliu Elies (1928) at MNAC Barcelona Population of Barcelona 1,620,343 inhabitants (INE 2018) Population of Catalonia: 7,600,045 inhabitants (INE 2018) 01 01 archive.html Catalonia OFFICIAL L A N G UAG E S CATALAN and SPANISH EDUCATION Catalonia is responsible for education issues Use of Languages in Catalonia (2013-2018) Source: Directorate General for Language Policy and Idescat. Survey on Language Use of the Population 2018. Population of 15 years and over. Adult Education as part of the educational system Image source: Source: Matthew Henry Adult Education Studies Welcoming and literacy Access to Educational System Transprofessional skills competences CATALAN SECONDARY ENGLISH CASTILIAN Cohesió i (2 levels) FRENCH OCCITAN participació social: CAM course (3 levels) Preparatory Acollida, PRIMARY courses for DIGITAL Medium / COMPETENCE Alfabetització... (3 levels) Advanced level VAT / UNiversity (4 levels) Learners in adult schools are very HETEROGENEOUS Adult schools take in students who: Need social and cultural immersion in order to avoid being Want to follow vocational excluded from the system training Didn’t finish compulsory Want to update their education professional qualifications Adult Schools in Catalonia • Ministry of Education schools (Departament d’Educació) • Other schools (Town Councils, Regional Councils) • Private schools CFA Palau de Mar virtual tour Number of adult schools in Catalonia Public schools under Schools inside Public schools under Private schools Depart. Education rule prisons Municipalities rule Map of adult schools in Catalonia Adult Education On-site Studies in Catalonia Language training*: - Catalan and Spanish: A1, A2, B1 - English and French: A1, A2.1, A2.2 *Common European Framework of Reference for languages: learning, teaching, assessment (CEFR) WHAT IS IT ABOUT? Link to the web of the Museum VTS engages our The consistency in discussion technique brains in a way provides a structural thinking strategy that people can internalize over time so that they that facilitates become able to independently and critically the development guide their visual meaning making. of social identity, visual literacy and critical thinking. “…the ability to find meaning in imagery. It W H AT I S V I S U A L L I T E R ACY ? involves a set of skills ranging from simple identification (naming what one sees) to complex interpretation on contextual, metaphoric and philosophical levels. Many aspects of cognition are called upon, such as personal association, questioning, speculating, analyzing, fact-finding, and categorizing. Objective understanding is the premise of much of this literacy, but subjective Photo by Timon Klauser on Unsplash and affective aspects of knowing are equally important.” Thoughts on Visual Literacy, Philip Yenawine (1997) PHILIP In the early 1990's Philip Yenawine, Director of Y E N AW I N E Education of the Museum of Modern Art (MoMA) in New York, USA, was asked by the Board of Directors to study how effective the MoMa's educational programme was. What they knew, was that there was a great need among visitors for information and guidance and the feedback on the MoMA's guided gallery tours was consistently very positive. What was unknown up till that point however, was what visitors actually took in from the information that was given to them by the talented and engaged MoMA staff. In other words, what did they learn? Did the gallery talks help Image from: visitors to get a better understanding of the art? ABIGAIL To answer this question, Yenawine set up a study in HOUSEN collaboration with Cognitive Psychologist Abigail Housen, who had developed a theory of Aesthetic Development based on doing decades of research on how people perceive visual art. The method behind this research was to record people while they talked about a visual artwork in a stream-of- consciousness way, the so-called Aesthetic Development Interview (ADI), which was then transcribed and analysed. Housen's research revealed that viewers understand works of art in predictable patterns, which she defined as 5 stages of Aesthetic Development. Image from: T H E T H E O RY OF THE AESTHETIC DEVELOPMENT STAGES: 1. 1. ACCOUNTIVE 2. 2. CONSTRUCTIVE 3. 3. CLASSIFYING 4. 4. INTERPRETIVE This Photo by Unknown Author is licensed under CC BY-NC-ND 5. 5. RE-CREATIVE Housen’s Aesthetic Stage Theory VIEWERS AS STORYTELLERS Stage 1 Random observations Accountive from personal experience Short narratives based on personal associations, senses and memories Housen’s Aesthetic Stage Theory VIEWERS AS BUILDERS OF A FRAMEWORK for looking at works of art Personal perception, Stage 2 knowledge of the natural world Constructive and values of their social, moral and conventional world Viewers try to become more objective, thus distancing themselves emotionally the art object Housen’s Aesthetic Stage Theory VIEWERS AS ART HISTORIANS Stage 3 Analytical and critical stance Classifying viewer thinks that, properly categorized, the work of art’s meaning and message can be explained and rationalized. Housen’s Aesthetic Stage Theory VIEWERS AS WORK EXPLORERS critical skills are put in the Stage 4 service of feelings and Interpretive intuitions work of art's identity and value are subject to reinterpretation Housen’s Aesthetic Stage Theory WORK OF ART AS INTIMATE FRIEND combine personal contemplation with views that broadly encompass universal Stage 5 concerns Re-creative time and memory are key Housen’s Aesthetic Stage Theory VIEWERS AS Stage 1 Accountive STORYTELLERS VIEWERS AS BUILDERS Stage 2 Constructive Stage 3 Classifying VIEWERS AS ART HISTORIANS Stage 4 Interpretive VIEWERS AS WORK EXPLORERS Stage 5 Re-creative WORK OF ART AS INTIMATE FRIEND VTS EXPLAINED ( A S E S S I O N) Facilitated VTS discussions about visual works of art or complex imagery ideally take place in a group and are always structured by the same basic 3 questions. The role of the facilitator is not to provide information that satisfies these questions, but to guide people through a process of curious exploration, critical reflection and collective meaning making. THE THREE KEY QUESTIONS What is going on in this picture? What do you see that makes you say that ? What else can we find? Després del ball, F. Masriera, 1886 ,MNAC VTS • ART IMAGES ELEMENTS • PEER GROUP • SILENT LOOKING • THREE QUESTIONS • LISTEN carefully to each comment • POINT • PARAPHRASE • REMAIN NEUTRAL • LINKING Previous experience El VTS a l’escola. Projecte Tàndem Escola Miquel Bleach -Systematic implementation at Miquel Bleach School. (2013-19) -Creation of a specific visual curriculum. -Training of teaching stuff. -Singularization of the educative project of the school. VTS CURRICULUM AT SCHOOL. TANDEM PROJECT VTS Curriculum –Selection by Montserrat Morales 32 IMPACT OF TANDEM PROJECT AT MIQUEL BLEACH SCHOOL  Significant increase in the communicative abilities and self - esteem of students.  Extension of the methodology to work with families.  Empowerment of students and teachers.  Regular visits at the museum as a space for learning and enjoyment. REGUL AR VTS PRACTICE AT SCHOOL AND IN THE MUSEUM Develops verbal and communicative skills Fosters habits: ▪ to observe ▪ looking and searching for meanings ▪ argue from the visual indications of the work Causes debate Helps solving riddles AND AS A CONSEQUENCE: • It favours the development of critical, creative, flexible and rigorous thinking. • strengthens the self-esteem integration and the inclusion of the participants • Promotes respectful dialogue, active listening and peer learning. • It allows to reflect on the educational practices and the educational models that are used. • It allows you to work at the same time with the basic competences. OUR MODEL FOR ADULT LEARNERS: Purpose Improve language competence in second languages through art using visual thinking strategies (VTS). Methodology VTS debate based on the participants' own references in front of a work of art mediated by a facilitator. Integration of contents to the curriculum Appropriate for the three levels of language (A1 to B1) and with a selection of images that favour narrativity, increasing difficulty and multiculturality. Aligning the thematic itineraries with the SDG of the UNESCO Agenda 2030 Creation of three thematic itineraries with sub-themes. DESCRIPTION OF THE PROGRAM THE ART OF TALKING THE ART OF TALKING Description The art of talking program is about reinforcing the oral competence of language students in adult schools implementing the strategies of visual thinking applied to works of art. Let’s get to the Museum Link to the web of the Museum A STANDARD VISIT Topic: Families 2 VTS discussion sessions in front of two works of art. Follow-up activity: Stroll around the rooms of the museum and pick an artwork that resembles you. Take a picture of you in front of the work of art and a picture of the exhibit label. You will have to share your choice with the rest of the class. THE ART OF TALKING Objectives ● Language practice (oral interaction) ● Critical Thinking ● Intrapersonal and interpersonal competences ● Attitudinal dimension (cultural and artistic) Context of application ● Groups of language learners ● Connections with the curriculum ● Thematic itineraries ● Integrated language skills OBJECTIVES TO E N H A N C E T H E CO M P E T E N CE S O F T H E L I N G U I S T I C A R E A Oral communication Mediation 4 Make other people who are not familiar with the target 1. Obtain information, interpret language aware of the content of a very simple oral or written and evaluate oral texts of everyday text, with or without image support. life, including prosodic and non-verbal 5. Facilitate comprehension and establish a satisfactory elements. communication among speakers or learners of different 2. Produce oral texts of diverse languages. typology with adequacy, coherence, cohesion and linguistic correction, Attitudinal and multilingual dimension using the relevant prosodic and non- verbal elements. 6. Participate, engage and cooperate actively and reflectively in oral interactions, with a positive attitude. 3. Use oral interaction strategies in 7. Use the linguistic knowledge and background experience accordance with the communicative to achieve effective communication. situation to initiate, maintain and 8. Appreciate the cultural and linguistic implications of complete the discourse. speakers of other languages. OBJECTIVES TO PROMOTE COMPETENCIES FROM OTHER FIELDS Environmental Social ● Strengthen collective bonds. ● Improve the knowledge of near and distant ● Improve group cohesion. surroundings. ● Build a social fabric integrated by ● Incorporate the diversity of students’ environments heterogeneities. into the collective narrative. ● Awaken and acquire civic ● Promote respect for the urban and natural conscience and coexistence. spaces of the participants. Artistic and cultural ● To value the artistic expression of different cultures throughout history and today. ● Acquire the ethical and cultural dimension of citizens. ● Participate actively in the collective construction of a story based on cultural assets. ● Bring citizens closer to the cultural heritage of the environment and the world. ● Reflect on the evolution of the thinking and interpretation of humanity. ● Promote the inclusion of the diversity of countries and world cultures. ● Promote equality, equity and justice in society. OBJECTIVES TO PROMOTE COMPETENCIES FROM OTHER FIELDS Digital Emotional ● Search, contrast and select digital information, considering ● Encourage self esteem by various sources and digital environments. valuing oneself and valuing ● Build new personal knowledge through information others. processing strategies with the support of digital ● Establish links and consolidate applications. the feeling of belonging. ● Do group activities using virtual collaborative tools. ● Encourage personal and ● Perform virtual interpersonal communications and digital group growth. publications. ● Promote Transmedia Literacy. Educational ● Introduce codes of behaviour by establishing patterns. ● Accompany the acquisition of knowledge by encouraging critical thinking. ● Understand the world and history through the eyes and ideas of others. ● Evaluate the different opinions and incorporate them, if necessary, into our personal background. ● Incorporate transversal competencies into new learning environments (global competence). STRENGTHS 1. Promotes the participation of students in real communicative situations in order to favour meaningful learning. 2. Increases curiosity as a motor to gain access to personal, social and environmental knowledge. 3. Promotes visual literacy from immediate observation and active listening. 4. Encourages critical thinking by countering your own ideas with those of others. 5. Encourages collaborative learning among peers considering the validity of all justified opinions. GONZÁLEZ-SANZ, M., FELIU-TORRUELLA, M., CARDONA-GÓMEZ, G. VISUAL THINKING STRATEGIES FROM THE PERSPECTIVE OF MUSEUM EDUCATORS: A SWOT ANALYSIS OF THE PRACTICAL IMPLEMENTATION OF THE METHOD Revista de Educación, 375. January-March 2017 MORE THAN N OT A L L T H E S P O O N S ARE THE SAME WORDS Then Catalina intervened with a very bright emotion in her eyes and said that those people reminded her of her childhood in the shacks of the neighbourhood of La Salut in Barcelona, because that worker was eating his soup sitting on the pavement with a clay dish and an “alpaca” spoon, and that she had eaten with spoons like this when she was small; and had seen those loose shirts of the workers. And everyone remained wordless for some seconds, silent; suddenly the aesthetic experience of the painting (it is very well painted) became a real and carnal experience: someone had put a spoon in the mouth like the one which the youngest of the group had never seen. It was as if the canvas had come to life and we were about to hear the sips of the worker eager to eat. (read the article here) About the piloting What impact did the experience have on your students? A family experience CFA Sanfeliu About the piloting What language benefits have you observed? Creating a digital book Una noche en el MNAC CFA Maria Rúbies About the piloting How did the experience affect your school? Beyond the class walls CFA Castelldefels About the piloting How was the follow- up experience? Students’ creations CFA Montserrat Roig PILOTING EXPERIENCE UNA NOCHE EN EL MUSEO CFA Maria Rúbies Projecte MNAC CFA Montserrat Roig Experiència VTS CFA Castelldefels 56 THE ART OF TALKING 2019-2020 2020-2021… Advanced VTS training for 8 schools in the innovation VTS Seminar?+ VTS program+ Initial VTS Training for 04 Training+ Application 03 new schools+ Piloting of the of the itineraries of the itineraries of the visual visual curriculum curriculum 2018-2019 02 Initial training in VTS (16 teachers from 2017-2018 8 adult schools)+ Free VTS session at the Museum for any Piloting VTS session at the adult school MNAC (4 Spanish 2 groups from different adult schools) 01 VTS SESSIONS AT THE MNAC VTS DISCUSSIONS (ACTIVITY led by an educator or teacher trained in VTS) 1 hour approx. Create and maintain a debate in front of two works of art on familiar or everyday topics using VTS (visual thinking strategies). COMPLEMENTARY ACTIVITY AT THE MUSEUM (ACTIVITY guided and supervised by the accompanying teachers) 20 minutes approx. Each session of the three itineraries proposes a different complementary activity. Example of complementary activity: Stroll through the rooms of the museum. The student must choose a work with which he or she identifies, takes a photograph of himself/herself beside it and a picture of the exhibit label to have the information and be able to do a later work. An example can be to write a small text that explains why this work speaks of him or her, or to make a presentation to the rest of the class of the chosen work. VISUAL CURRICULUM ITINERARIES HUMAN RELATIONSHIPS SOCIETY AND CULTURE NATURE AND PLACES ITINERARIES Aligned with the SDGs of the UNESCO Education 2030 agenda Visual curriculum HUMAN REL ATIONSHIPS: H U M AN F I G U R E ( L E V E L 1 * ) ITINERARIES FA M I L I E S ( L E V E L 2 * * ) S O C I AL C L A S S E S ( L E V E L 2 * * ) W O R K , G E N D E R E Q U A L I T Y, E C O N O M Y (LEVEL 3***) 2019-2020 SOCIET Y AND CULTURE: at the MNAC P O V E R T Y, I N E Q U A L I T I E S ( L E V E L 2 * * ) S O C I AL J U S T I C E ( L E V E L 3 * * * ) NATURE AND PL ACES: L A N D S C A P E S , I N N E R A N D O U T E R S PA C E S (LEVEL 2**) *Level 1: A1 CEFR **Level 2: A2 CEFR Museu Nacional d’Art de ***Level 3: A2 / B1 CEFR Catalunya website (The Art of Talking Program) This resume has been prepared by Montserrat Morales, VTS trainer and member of the VTS Europe working group, with the collaboration of Esther Fuertes, educational technician of the Department of Education of the National Art Museum of Catalonia, and Josep Maria Planas, educational technician of the Department of Education of Catalonia, N.B. The set of images of this curriculum is under study-piloting; therefore it must be considered experimental. This resume has been prepared by Montserrat Morales, VTS trainer and member of the VTS Europe working group, with the collaboration of Esther Fuertes, educational technician of the Department of Education of the National Art Museum of Catalonia, and Josep Maria Planas, educational technician of the Department of Education of Catalonia, N.B. The set of images of this curriculum is under study-piloting; therefore it must be considered experimental. This resume has been prepared by Montserrat Morales, VTS trainer and member of the VTS Europe working group, with the collaboration of Esther Fuertes, educational technician of the Department of Education of the National Art Museum of Catalonia, and Josep Maria Planas, educational technician of the Department of Education of Catalonia, N.B. The set of images of this curriculum is under study-piloting; therefore it must be considered experimental. PROPOSALS TO DO AT S C H O O L BEFORE THE VISIT Getting to know the Museum and its surroundings STUDENTS’ WORKSHEETS Materials for students (before the visit): (link Catalan) (link Spanish) (link English) Teacher’s guide (with KEY) link EXAMPLES OF FINAL PRODUCTS UNA NOCHE EN EL MUSEO CFA Maria Rúbies Projecte MNAC CFA Montserrat Roig EXPERIÈNCIA VTS C FA C A S T E L L D E F E L S ART AND SDGs TOWARDS A GLOBAL COMPETENCE -forn/joaquim-sunyer/011004-000 anxadora/roberto-fernandez- balbuena/068815-000 Migrant Mother, Dorothea Lange (1936) Tate Britain a Asnieres.jpg/1200px-Baigneurs a Asnieres.jpg FUTURE ACTIONS • Extension of the program to other audiences and museums • Recognition as an educational program of innovation by the Department of Education THANK YOU M AY A R T B E W I T H Y O U C O N TA C T jplanas2@xtec .cat Joe Planas C FA Pe r e C a l d e r s ( B a r c e l o n a ) RESOURCES AND REFERENCE MATERIALS What’s going on in this picture?” Philip Yenawine, former education director of New York’s Museum of Modern Art and cocreator of the VTS curriculum, writes engagingly about his years of experience with elementary school students in the classroom. He reveals how VTS was developed and demonstrates how teachers are using art—as well as poems, primary
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