At a meeting recently there was a discussion of the role of the art level descriptions particularly at Key Stage 3. The meeting was attended by experienced art educators (teachers, AST's and advisers) and there was a some very robust criticism of levels in art and design. This entry is an attempt to clarify my thinking about these issues.
Simply dismissing levels as completely useless is like dismissing soup spoons as useless because they are no good for paddling a canoe. Paddling canoes and tasting soup are both proper activities and the tools used (soup spoons and wooden paddles) are fit for purpose. The tools, although they have a superficial resemblance, are simply not interchangeable.
The key issue is to be clear about what levels were designed to do and how they can be used to support teaching and learning on the one hand. And to be equally clear about how they can be misused to fulfill functions for which they were never designed, and for which they are unsuited.
Level descriptions are OK when:
The level descriptions provide the starting point, for that professional debate about what we might expect of children in art at the end of each key stage. The broad general statements do a couple of valuable things. They can be separated into the three key strands and so provide the basis for the three broad assessment objectives. This is important because it reflects the full breadth of learning in the subject and indicates in general terms how the national curriculum translates into distinct, observable types of behaviour/attainment. This is particularly significant in the primary sector where teachers do not have a background in GCSE, GCE assessment. It was very unfortunate that the level descriptions were presented as a single paragraph and not in their separate strands so this point has been, and continues to be, missed by many.
The level statements, once they are separated into the strands, do imply and begin to describe the increasing independance, maturity and sophistication that might be expecteded from pupils at a particular key stage. (I know they are supposed to be age - independent but I think this is not realisable in practice.) They can, and should, encourage and support assessment for learning which will in turn lead to a much richer vocabulary and set of references with which teachers and pupils will discuss, explain and illuminate pupils achievements and how they can improve. I will not bother to rehearse Assessment for Learning here. But it seems to me that it must start with the conceptual framework of the subject as described broadly in the level descriptions.
It does not matter so much that the level descriptions are not precise clearly defined assessment criteria. They were not designed to be. But even if they are imprecise all written assessment criteria only acquire meaning once they are offered up to actual work, by actual children and are discussed, shared and compared, by the community that uses the assessment criteria.
Part of this process is to understand the assessment objectives in terms of their proper context ie to pupils of a particular age and experience. That is how Edexcel assessment criteria can use words like 'basic'. This really only has meaning in the context of pupils taking GCSE. It is informed by the shared professional judgements of teachers who know what might be expected of such pupils, and who can see and discuss the difference between words like 'basic' and 'competent'.
In the same way it is quite possible for secondary teachers in one school, or indeed in a group of schools, to look at portfolio's of work and to discuss and give meaning to the implication of greater intentionality and independance which might distinguish the achievement of one pupil (who might be described as working at level 5) and another (who might be described as working at level 6). The words do not describe explicit observable behaviour any more than the word 'competent' does.
Level 5: "They manipulate materials and processes to communicate ideas and meanings and make images and artefacts, matching visual and tactile qualities to their intentions."
Level 6: "They manipulate materials and processes and analyse outcomes. They interpret visual and tactile qualities to communicate ideas and meanings and realise their intentions."
In the same way a community of teachers in a primary school can look at work, discuss and give meaning (that makes sense to them) to the broad statements describing the difference between level 2 and level 3. This discussion and shared understanding is valuable and is likely to support Assessment for Learning by clarifying where pupils are and where they might get to etc. A paper which explores assessment and the role of level descriptions can be found on the Bucksgfl website.
Levels are wrong when:
Assessment descriptions of foundation subjects are not nationally moderated or adequately exemplified. They cannot be used as if they have the rigour, reliability and validity of level assessment in the core subjects. These have explicit and detailed assessment criteria in the national curriculum tests which are nationally moderated and carefully exemplified over many years. There is a significant programme of professional development to support this assessment.
Level descriptions in art and design were never designed for, and cannot be used as criteria to assess individual pieces of work or performance over a limited period of time. They are not fit for this purpose and this is confirmed by QCA. As they are not nationally moderated or exemplified any attempt to use teacher assessment as quantifiable comparable data, for instance to measure value added, is misguided because it is unreliable.
Conclusions?
Levels are valuable and important in supporting Assessment for Learning. It is important that the level descriptions do reflect the key strands that define the subject.
The preoccupation with the single aggregated level score inhibits the ability of teachers to explore and discuss with pupils the separate strands which are at the heart of their success and which define how they might improve.
It is reasonable to challenge any practice which requires art teachers to record assessments which they feel to be flawed and for those assessments to be used as if they provided reliable and nationally comparable assessment data. This practice is not the fault of, or recommended by, QCA or HMI.
Thursday, November 23, 2006
Monday, October 16, 2006
It's autumn again and that means there are lots of new Year 7 students in art rooms. Last week I was with some colleagues including an HMI for art and we were discussing key Stage 3. We noted that by the time students get to year 7 most have already had two thirds of their total art education, and yet this experience is seldom acknowledged let alone built on. Most secondary teachers will ignore the experiences, skills and expertise that pupils bring with them and will start planning on the basis of no prior experience of purposeful art education. There are a variety of reasons for this - not least the fact that new pupils probably find the new school, their new classmates and the new 'expert' teachers somewhat intimidating. They are consequently not inclined to lay claim to any skills or experience. It is easier to remain silent, thus confirming the expectations of their new secondary teacher, that they have done no art for six years. It may also be true that in year six primary schools do place great emphasis on the 11+ (in Bucks) and SATs and that experience in art is limited for that year as a result.
Another reason why primary experience is ignored may be related to the fact that secondary teachers simply do not ask the right questions in the right way. When the QCA published the (optional) Scheme of Work the primary scheme was never sent to secondary schools. So secondary teachers have remained unaware of what units of work they might expect pupils to have covered. So they may not know what to ask. For instance, most primary pupils will have done the unit 'take this seat' in which they looked at chairs, and then designed and made an imaginative chair. However, unless secondary teachers are aware of this, the question "tell me about the chair you designed and how you went about it?" does not come readily to mind.
The fact that about 80% of primary schools use the QCA scheme in one way or another means that most of the Year 7 students in art rooms will have much more in common than their secondary art teacher expects. Most will have done the same units and almost all will have done work which follows a sequence of developing ideas, experimenting and referring to the work of artists before making their own work. Almost all students will have looked at, talked about, written about and probably worked in the style of, different artists. Although the range of artists studied may sometimes be limited to the nineteenth century French schools with a smattering of work from different cultures (which can unfortunately reinforce unhelpful, often 19th century, stereotypes) there is increasing evidence that the range of artists referred to in primary schools is expanding and often is very wide indeed. On one visit to, a not particularly big, primary school there were 63 different artists represented in various displays about the school (I counted them).
Last year I worked with QCA and Marc Berrett, Curriculum Leader of Waddesdon School (Specialist Art College) to explore issues to do with assessment and transition between KS2 and KS3. Marc spent time with a primary art co-ordinator and also looked at all the art records for year 7 sent by primary schools. He learned a great deal about the primary curriculum by doing this. This included the fact that most primary schools would have followed a very similar art curriculum and that the primary art curriculum does follow a similar creative process to that used in secondary schools. He made a note of the units of work including KS1. He also noted that often the pupil records sent by primary teachers referred to skills, attitudes and experience in art. Sometimes primary teachers had recorded pupil's ability to research in art - or in design technology.
The meeting with the primary art co-ordinator was also useful in interpreting the experience and the units. For instance, he was able to note that often units would be taught by teachers with relatively limited subject knowledge and that this would tend to limit the scope and depth of research and experimentation by children. He also noted that as art was taught by the class teacher children would often research, write and talk about art and artists easily and fluently just as they would in any other subject. This meant that they probably had a repertoire of critical skills and experience already. He also noted that self evaluation and reflection was often a natural part of primary experience in art, as in other subjects.
The next phase of the project involved working out how to ask the right questions so that:
Marc developed a simple strategy which became a single lesson held in late September. In the lesson children were reminded about the sort of work they had done in their primary schools with a slide show. Marc had collected images of work related to primary units of work from the co-ordinator and the QCA website. They then worked in groups sharing their primary experience and creating a short presentation about what they had done and learned. They then completed a written questionnaire individually and shared this in pairs.
Through this lesson Marc was able to talk with them purposefully about their experience in their first six years of art education (and most of them remembered the work they had done in Years 1 and 2 as well as in KS2). He was also able to confirm and celebrate with them the fact that they already knew a great deal - for instance, confirming that at Waddesdon too they will also be developing ideas through research and experimentation in sketchbooks.
As a result of this exercise the art department modified its KS 3 curriculum and art teachers tried to build upon the six years of art education the Year 7 brought with them. I don't know what impact it had on pupil's progress and whether they were able to build more effectively and quickly on their prior learning - but next time I see Marc I will ask him.
The work at Waddesdon School is included in the case study material published by QCA in August 2006. (The packs are called 'Teacher assessment activities Art and design, Key Stage (1, 2 or 3)' They are available from QCA Orderline, PO Box 29, Norwich NR3 1GN. Tel 08700 606015 Ref QCA/06/2427)
Another reason why primary experience is ignored may be related to the fact that secondary teachers simply do not ask the right questions in the right way. When the QCA published the (optional) Scheme of Work the primary scheme was never sent to secondary schools. So secondary teachers have remained unaware of what units of work they might expect pupils to have covered. So they may not know what to ask. For instance, most primary pupils will have done the unit 'take this seat' in which they looked at chairs, and then designed and made an imaginative chair. However, unless secondary teachers are aware of this, the question "tell me about the chair you designed and how you went about it?" does not come readily to mind.
The fact that about 80% of primary schools use the QCA scheme in one way or another means that most of the Year 7 students in art rooms will have much more in common than their secondary art teacher expects. Most will have done the same units and almost all will have done work which follows a sequence of developing ideas, experimenting and referring to the work of artists before making their own work. Almost all students will have looked at, talked about, written about and probably worked in the style of, different artists. Although the range of artists studied may sometimes be limited to the nineteenth century French schools with a smattering of work from different cultures (which can unfortunately reinforce unhelpful, often 19th century, stereotypes) there is increasing evidence that the range of artists referred to in primary schools is expanding and often is very wide indeed. On one visit to, a not particularly big, primary school there were 63 different artists represented in various displays about the school (I counted them).
Last year I worked with QCA and Marc Berrett, Curriculum Leader of Waddesdon School (Specialist Art College) to explore issues to do with assessment and transition between KS2 and KS3. Marc spent time with a primary art co-ordinator and also looked at all the art records for year 7 sent by primary schools. He learned a great deal about the primary curriculum by doing this. This included the fact that most primary schools would have followed a very similar art curriculum and that the primary art curriculum does follow a similar creative process to that used in secondary schools. He made a note of the units of work including KS1. He also noted that often the pupil records sent by primary teachers referred to skills, attitudes and experience in art. Sometimes primary teachers had recorded pupil's ability to research in art - or in design technology.
The meeting with the primary art co-ordinator was also useful in interpreting the experience and the units. For instance, he was able to note that often units would be taught by teachers with relatively limited subject knowledge and that this would tend to limit the scope and depth of research and experimentation by children. He also noted that as art was taught by the class teacher children would often research, write and talk about art and artists easily and fluently just as they would in any other subject. This meant that they probably had a repertoire of critical skills and experience already. He also noted that self evaluation and reflection was often a natural part of primary experience in art, as in other subjects.
The next phase of the project involved working out how to ask the right questions so that:
- The pupils could give better information about the learning and experience they brought with them from their primary schools. This would help the art department to reflect upon the KS3 curriculum and pitch their expectations more appropriately.
- The art teachers could confirm, re-affirm and celebrate the prior learning (six years) of the pupils. This would give them confidence in their abilities and enable them to make quicker progress.
- The art teachers could use this early experience to build and model the practice of self evaluation that would be used throughout the Key Stage.
Marc developed a simple strategy which became a single lesson held in late September. In the lesson children were reminded about the sort of work they had done in their primary schools with a slide show. Marc had collected images of work related to primary units of work from the co-ordinator and the QCA website. They then worked in groups sharing their primary experience and creating a short presentation about what they had done and learned. They then completed a written questionnaire individually and shared this in pairs.
Through this lesson Marc was able to talk with them purposefully about their experience in their first six years of art education (and most of them remembered the work they had done in Years 1 and 2 as well as in KS2). He was also able to confirm and celebrate with them the fact that they already knew a great deal - for instance, confirming that at Waddesdon too they will also be developing ideas through research and experimentation in sketchbooks.
As a result of this exercise the art department modified its KS 3 curriculum and art teachers tried to build upon the six years of art education the Year 7 brought with them. I don't know what impact it had on pupil's progress and whether they were able to build more effectively and quickly on their prior learning - but next time I see Marc I will ask him.
The work at Waddesdon School is included in the case study material published by QCA in August 2006. (The packs are called 'Teacher assessment activities Art and design, Key Stage (1, 2 or 3)' They are available from QCA Orderline, PO Box 29, Norwich NR3 1GN. Tel 08700 606015 Ref QCA/06/2427)
Monday, July 24, 2006
End of Year: informal report
Looking back this has been a good year for art in bucks. I managed to see about 12 exhibitions and am full of admiration for the quality of work students are doing. It was good to see so much strong (and often large) drawing and painting. Some superb figure and portraiture work with references to Jenny Saville and Lucien Freud. Often this work has an intensity and honesty which is very moving as students use their art to genuinely explore ideas about themselves and the world.
It seems that the use of digital camera's and art software has now come of age and most shows contained students' works which showed confidence in the use of digital imaging as a means to explore, record and develop ideas. To a certain extent this has meant that images are very often informed by photographs that students have taken and processed (cropped, coloured, filtered) themselves. Often students will also work over coloured printouts with traditional media.
This year also saw the first cohort through the digital art GCSE course at Chalfonts Community College. This work was intelligent and funny and often drew directly from the cultural references of the students themselves. Animations which originated from video captured by mobile phones, for instance. Another thing that occurs to me is the coming of age of Specialist Arts Colleges. The exhibitions this year showed how the curriculum offer has been successfully extended and widened and how courses in endorsements such as graphics, theatre design, textiles, photography are based on real expertise and experience. These courses are now showing the fruits of the real efforts by teachers to develop these courses and extend their experience and repertoire. We should recognise, value and find ways to share this expertise if we can. The year also provided an opportunity to host a national BECTA course for teachers at Chalfonts Community College and this also broke new ground. We moved beyond Photoshop to work which included animation and digital sculpture. The course provided an opportunity for 14 teachers to exhibit their work in public in the Waddesdon Manor Wine Cellars.
This weekend festival was very successful. It included over 2,000 pupils in performances of art, dance, drama and music. We have convinced Waddesdon Manor that schools can deliver sufficient content to fill the stages, grounds, marquees and buildings of this most impressive venue in Buckinghamshire. As a consequence this is likely to be an annual showcase for the arts and for schools. A brilliant result.
During the event slide shows or work from many schools were shown projected onto the brick walls of the wine cellars - it looked fantastic and people stayed for up to an hour to watch the show of over 200 images. Next term I will be pleased to add this to the other work I have tried to gather and share with schools. (thanks to those schools who were able to send images for this exhibition) Thanks also to Marc Berrett and Greg Hodgson for all their work making this event successful.
In the last week of term some Bucks teachers and I were involved in a QCA working party to review the proposals for a new programme of study for KS3 to be introduced for 2008. Another Bucks teacher worked with art advisers at the British Museum to share how we are begining to explore the opportunities to extend and enrich learning presented by the Bucks VLE. This enables us to share ideas through the internet and web conferencing between schools and artists. Bucks teachers are also presenting at an international conferfence for users of MOODLE (our VLE) during the holiday.
The most exciting thing, however, is the widening circle of colleagues begining to work together across schools and phases of education. This is happening through the network of AST's and Specialist Arts Colleges. This group is increasingly taking responsibility for CPD and for networking. This 'Arts Team' is begining to make a real impact. All in all Bucks teachers and schools are making a name for themselves and I am proud to be able to recommend the work we are doing in Bucks.
It seems that the use of digital camera's and art software has now come of age and most shows contained students' works which showed confidence in the use of digital imaging as a means to explore, record and develop ideas. To a certain extent this has meant that images are very often informed by photographs that students have taken and processed (cropped, coloured, filtered) themselves. Often students will also work over coloured printouts with traditional media.
This year also saw the first cohort through the digital art GCSE course at Chalfonts Community College. This work was intelligent and funny and often drew directly from the cultural references of the students themselves. Animations which originated from video captured by mobile phones, for instance. Another thing that occurs to me is the coming of age of Specialist Arts Colleges. The exhibitions this year showed how the curriculum offer has been successfully extended and widened and how courses in endorsements such as graphics, theatre design, textiles, photography are based on real expertise and experience. These courses are now showing the fruits of the real efforts by teachers to develop these courses and extend their experience and repertoire. We should recognise, value and find ways to share this expertise if we can. The year also provided an opportunity to host a national BECTA course for teachers at Chalfonts Community College and this also broke new ground. We moved beyond Photoshop to work which included animation and digital sculpture. The course provided an opportunity for 14 teachers to exhibit their work in public in the Waddesdon Manor Wine Cellars.
This weekend festival was very successful. It included over 2,000 pupils in performances of art, dance, drama and music. We have convinced Waddesdon Manor that schools can deliver sufficient content to fill the stages, grounds, marquees and buildings of this most impressive venue in Buckinghamshire. As a consequence this is likely to be an annual showcase for the arts and for schools. A brilliant result.
During the event slide shows or work from many schools were shown projected onto the brick walls of the wine cellars - it looked fantastic and people stayed for up to an hour to watch the show of over 200 images. Next term I will be pleased to add this to the other work I have tried to gather and share with schools. (thanks to those schools who were able to send images for this exhibition) Thanks also to Marc Berrett and Greg Hodgson for all their work making this event successful.
In the last week of term some Bucks teachers and I were involved in a QCA working party to review the proposals for a new programme of study for KS3 to be introduced for 2008. Another Bucks teacher worked with art advisers at the British Museum to share how we are begining to explore the opportunities to extend and enrich learning presented by the Bucks VLE. This enables us to share ideas through the internet and web conferencing between schools and artists. Bucks teachers are also presenting at an international conferfence for users of MOODLE (our VLE) during the holiday.
The most exciting thing, however, is the widening circle of colleagues begining to work together across schools and phases of education. This is happening through the network of AST's and Specialist Arts Colleges. This group is increasingly taking responsibility for CPD and for networking. This 'Arts Team' is begining to make a real impact. All in all Bucks teachers and schools are making a name for themselves and I am proud to be able to recommend the work we are doing in Bucks.
Thursday, July 06, 2006
Developing Creativity
Recently I spent an afternoon working with Advanced Skills Teachers talking about creativity. The intention was to establish a common vocabulary and set of reference points. It was also to begin a discussion about how AST's might work strategically with each other and with the authority to develop creativity in schools. In the event there was little time to develop a discussion and evaluations (rightly) noted that those present had not had any time to discuss the issues raised.
This is for them. Blogs are new to me but it seems interesting to see if they provide an opportunity for easily sharing ideas and to continue a debate begun at face to face meetings. If so it will be a useful way to sustain discussion following professional development courses, among other things. I should note that this blog is an attempt to research the use and value of this medium for professional debate. This blog is not openly published and is only available if people have the URL. It is also a personal project.
In my presentation I said that, AST's, it seems to me, are particularly important people. They are the people who are inventing and testing the next generation of pedagogies. They are the champions of innnovation because they have credibility based on their day to day practice in their own classrooms. We explored the role of AST's as 'champions' who are prepared to develop innovative practice as well as the role they have as mentors and supporters of other teachers. We noted that some of the time available to them can be, and has been, legitimately devoted to developing their own skills and innovative practice. If they can not pursue innovation who can?
In our meeting we explored the concept of AST's modelling creativity and working with other AST's to explore new practice. For instance, AST's for art and mathematics developing and testing ideas together. We also noted that the loosening hold of QCA 'units' on the curriculum and the evolution of local distinctiveness is an opportunity for AST's to develop and promote new curriculum units and resources. Again if AST's don't do this who will? However, we did not explore what this might mean in practice and this was a missed opportunity - hence this blog.
For instance some ideas might be:
This is for them. Blogs are new to me but it seems interesting to see if they provide an opportunity for easily sharing ideas and to continue a debate begun at face to face meetings. If so it will be a useful way to sustain discussion following professional development courses, among other things. I should note that this blog is an attempt to research the use and value of this medium for professional debate. This blog is not openly published and is only available if people have the URL. It is also a personal project.
In my presentation I said that, AST's, it seems to me, are particularly important people. They are the people who are inventing and testing the next generation of pedagogies. They are the champions of innnovation because they have credibility based on their day to day practice in their own classrooms. We explored the role of AST's as 'champions' who are prepared to develop innovative practice as well as the role they have as mentors and supporters of other teachers. We noted that some of the time available to them can be, and has been, legitimately devoted to developing their own skills and innovative practice. If they can not pursue innovation who can?
In our meeting we explored the concept of AST's modelling creativity and working with other AST's to explore new practice. For instance, AST's for art and mathematics developing and testing ideas together. We also noted that the loosening hold of QCA 'units' on the curriculum and the evolution of local distinctiveness is an opportunity for AST's to develop and promote new curriculum units and resources. Again if AST's don't do this who will? However, we did not explore what this might mean in practice and this was a missed opportunity - hence this blog.
For instance some ideas might be:
- AST's developing and publishing exemplar material illustrating creativity in teaching and learning. In this case the modells of practice would be undertaken inn their own school. The material could be written up in AST time.
- AST's working together to develop curriculum plans and resources (within subjects and across subjects)
- AST's working with advisers and consultants to develop creative practice.
- AST's promoting creativity in their work with other schools - perhaps developing a repertoire or menu of skills and practice that schools might opt for.
Monday, July 03, 2006
Beyond Photoshop
Usually ICT in art lessons means Photoshop or one of the other image editing packages. The big advance in recent years has been the move from 'bitmaps' to layers, transparency and effects. It has involved the development of ICT as an essentialy collaging medium rather than a medium for directly generating art imagery. The ubiquity of digital camera's, or mobile phones, as they are often called, has dramatically changed the way first hand images are researched and recorded. the advent of Flickr points to ways in which collaborative work can be done between groups who have no social or geographical connections.
Next steps may be to explore the way that images can be used in the environment. It may be that the widespread availability of digital projectors in schools will enable students' digital art to take on new forms embracing sculpture and installations used in contemporary art but seldom in classrooms. For instance, images and animations can be projected onto other surfaces and images - thus doing in the real world what Photoshop has been doing in the virtual environment for some time. However, it is instant and does not require many hours spent wrestling with software.
Work in the last month with both primary and secondary teachers has involved experimenting with ways of using digital projections to create sculptures and installations. The latter involving sound as well as animation. This provides a new and powerful aesthetic vocabulary as the digital projections bring images into the real world which are big (projecting onto walls enables the use of scale in ways impossible previously) and subtle as the quality of the image gently modifies the objects or spaces it is projected onto. Installations by teachers and pupils have been exhibited and transformed the old victorian vaulted brick wine cellars at Waddesdon manor providing an environment of animation, sound, light and colour which was genuinely innovative and powerfully expressive.
Next steps may be to explore the way that images can be used in the environment. It may be that the widespread availability of digital projectors in schools will enable students' digital art to take on new forms embracing sculpture and installations used in contemporary art but seldom in classrooms. For instance, images and animations can be projected onto other surfaces and images - thus doing in the real world what Photoshop has been doing in the virtual environment for some time. However, it is instant and does not require many hours spent wrestling with software.
Work in the last month with both primary and secondary teachers has involved experimenting with ways of using digital projections to create sculptures and installations. The latter involving sound as well as animation. This provides a new and powerful aesthetic vocabulary as the digital projections bring images into the real world which are big (projecting onto walls enables the use of scale in ways impossible previously) and subtle as the quality of the image gently modifies the objects or spaces it is projected onto. Installations by teachers and pupils have been exhibited and transformed the old victorian vaulted brick wine cellars at Waddesdon manor providing an environment of animation, sound, light and colour which was genuinely innovative and powerfully expressive.
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