Annotated Bibliography

1)      Pamperin, Martha. "Tactual Art." V.I. Guide. (2008): n. page. Web. 17 Jun. 2012. <http://www.viguide.com/tactualart.htm

This article is a reprint. Pamperin describes the advantages of art, but the kind of disadvantages that visually impaired students face in art. This source seems valuable for lesson plan ideas. It offers a limited amount of classroom options.

2)      National Federation of the Blind. 2012. <http://www.nfb.org/.

This website, National Federation of the Blind, is a membership organization for the blind in the United States. This site offers links to articles, support groups, other helpful websites. As with most of the articles, they have great generalized information for helping those who are blind, but do not provide a lot of advice for the art room.

3)      Castellano, Carol. "Tips for Classroom Teachers." Future Reflections. (2003): n. page. Web. 17 Jun. 2012.

This article is reprinted from the Blind Children’s Resource Center. It is simply a bulleted list. This list is a great overview of basic ideas to assist blind students in the core classroom. It doesn’t specifically pertain to art, but still offers useful tips.

4)      Art Education for the Blind. <http://www.artbeyondsight.org/

The website offered many useful links. The most useful was the Art History through Touch and Sound, this is a book and audio set that gives the blind audience a chance to view art in way that works for them. It also gives links on how to make the raised tactile diagrams for assisting the blind in feeling the art. Still not finding great resources for young artists, I hope these diagrams can be beneficial.

5)      Cooper, Holly. "Art: A Great Tool for Teaching Students with Visual Impairments." (2002): n. page. Web. 17 Jun. 2012. <http://www.tsbvi.edu/seehear/spring02/art.htm>.

Cooper discusses a few ideas for helping visually impaired students be successful in the art room. I especially liked the idea of using themes to emphasize particular concepts. Since this article is 10 years old, and Cooper worked for the Texas School for Blind and Visually Impaired at the time that she wrote this article; I am interested in how many new ideas and techniques she has used since.

6)      "Art in the Dark" program. The National Federation of the Blind of Connecticut, Film. <http://www.nfbct.org/html/artinthedark.htm>.

This video from The National Federation of the Blind of Connecticut is a great advocacy video for art for the blind. It interviews a Para-Professional, Verna O’Donnell, who followed a blind student from preschool to elementary school. She used ideas and resources to create a program for the visually impaired students.

7)      Kuell, Chris. "Tapping the Creativity of Blind and Visually Impaired Students." Dialogue. 45.2 (2009): n. page. Web. 17 Jun. 2012.

Kuell’s article is reprinted to Reflections in 2009. This article gives links to many of the frequented website for those who are visually impaired. It also talks about a Verna O’Donnell’s journey in discovery great ways to share art with blind students. The lists of tactile art supplies that are suggested are also helpful.

I have many other sources, but they are simply repeats of the informatio stated above.  My hope is that some quality time in the library will result in more hard copy information.

Working Proposal

Making art meaningful to those with visual impairments
By Kelley Schotte

Background (or Position Statement): My elementary school is the vision school for our district. Our program supports and aides the learning  needs of visually impaired (VI) students, Kindergarten to 5th grade. These students range from slight visual impairments to students that are almost completely blind. This research is being done to better serve the needs of all of my students in the art room, but specifically looking at the needs of one student in particular (K).

Research Question and Sub questions: How do I make art meaningful for students with visual impairments? Is my school and its team equipped and trained enough to the best environment for a particular student? What does this child's curriculum in art look like? What tools and techniques are the best choices in the art room?

Related Research:
Martha Pamperin's guide to a VI adjusted curriculum. http://www.viguide.com/tactualart.htm
Dese- services and curriculum accommodations for the blind.
List is still developing.

Permission: My goal is to share the information and situations experienced throughout this study. I will need permission from parents, administrator and colleagues to share this gathered research data.

Data Sources: Other research articles, books, Internet resources, interviews of colleagues as well as students and parents, specialists and schools catering to VI. I also hope that personal journaling, filming and reflection on my teaching techniques with become a great data source.

Methods and Analysis: My goal is to use team work to build a curriculum that fits the needs of K. I will use knowledge gained through research to help K have a more meaningful experience in art. I plan to video tape myself teaching K with his Para, and see where we have room for growth, as well as where the "hang-ups" are in the lessons. The use of other teachers to observe my techniques and their ideas and advice to advance my techniques.

Time Line:
August-September(2012)-Begin journaling all encounters with K, teaching, in passing etc, as well as any ideas, suggestions and meetings that might pertain to K.
Formulate ideal goals for K to propose to team.
Seek permission for an potentially shared research information.
Meet with VI team and set realistic goals for K's art experience for 2012.
Internet researches for VI resources.

October-November- Film lessons with K. Making observations and analysis on that time.
Have meeting with willing art colleagues to get ideas. Reading time.
Interviews with other VI students and adults.
Possibly visit the School for the Blind in St. Joseph

December-January- Have someone else observe my teaching time with K to make recommendations, a fresh mind to the project.
Meet with VI team and assess where we are at in our goals, making adjustments as needed.

February-March- Start plans for 2013-2014 school year curriculum.
Decide on what tools need to be purchased and work on budget for this particular department of research.

April-May- Create a way to show the documented success and growth of K.

June- Reflect on school years work and goals. Decide ways to make it better for year two.

July-Build the best way to share findings with all that would benefit from this particular study

August-September (2013) - Get a game plan for 2nd grade art for K. Implement.

Possible Findings: My hope to find the best ways to assist my teaching of art to make it as meaningful of an experience as possible. I hope to learn from others research, gain new lessons, tools, and techniques to enhance my teaching abilities.

Dissemination: This is still being decided at this point. Possibilities include but are not limited to: Blog, published article, and conference presentation.

Budget: Potentially needing a few hundred dollars to purchase the tools and educational resources needed to assist in meaningful art making for VI students.

Chapter 7 What works?

Create a Time Line (this is made with the realistic knowledge that I am Fantastic at biting off more than I can chew, so I am aiming for do-able goals here)

August-September(2012)-Begin journaling all encounters with K, teaching, in passing etc, as well as any ideas, suggestions and meetings that might pertain to K.
Formulate ideal goals for K to propose to team.
Seek permission for an potentially shared research information.
Meet with VI team and set realistic goals for K's art experience for 2012.
Internet researches for VI resources.

October-November- Film times and lessons with K. Making observations and analysis on that time.
Have meeting with willing art colleagues to get ideas. Reading time.
Interviews with other VI students and adults.
Possibly visit the School for the Blind in St. Joseph

December-January- Have someone else observe my teaching time with K to make recommendations, a fresh mind to the project.
Meet with VI team and assess where we are at in our goals, making adjustments as needed.

February-March- Start plans for 2013-2014 school year curriculum.
Decide on what tools need to be purchased and work on budget for this particular department of research.

April-May- Create a way to show the documented success and growth of K.

June- Reflect on school years work and goals. Decide ways to make it better for year two.

July-Build the best way to share findings with all that would benefit from this particular study

August-September (2013) - Get a game plan for 2nd grade art for K. Implement.

The great part about my situation is that I do not foresee needing outside grant funding for this project. My art budget may need some adjusting, but can easily accommodate our purchasing needs.

Research Translation II

The Landscape, the Built environment, and the work of Art: Three Meaningful Territories for Art Education and Material Culture Studies. Richard Lachapelle. Matter Matters, Art Education and Material Culture Studies. Paul E. Bolin and Doug Blandy. 2011
 Summarize-  This article gives a basic overview of the studies of material cultures, including the benefits of this kind of work. He also gives a great overview of terminology used in these studies with examples of how others have researched this work. Lachapelle uses three different types of landscapes in his research, "To sustain a discussion on the landscape as a material culture territory, I will present the example of the Tablelands located in Newfoundland, Canada. To foster a discussion on the built-environment as a cultural territory, I have chosen an example of 20th century military architecture, the six World War II defense bunkers, called flak towers, which still stand in several neighborhoods in Vienna, Austria. To investigate the work of art as a third territory of material culture, I will present and discuss Anishinabe artist Rebeca Belmore's installation and performance at the Art Gallery of Ontario titled Wild (2001)." (Lachapelle p14)
Research Problem-The problem is stated, but it takes some looking. Lachapelle said it best, he is trying to  "provide an illusion of material culture studies as an investigative approach." (Lachapelle, p14) He is looking for a way to make material cultural studies valuable to art education.
Literature Review- This current article uses reliable sources that are not too old. Sources used support the research ideas well. Lachapelle is well organized in explaining previous research he used, and refers back to those studies often. 
Research Questions or Hypotheses-How do different types of landscapes communicate ideas to the viewer?
Data Sources/Sampling- He uses other researches methods to compare himself to. For example he uses "Schiffer's communication model" (Lachapelle, p15) to explain that the Tablelands' geological features are externs. He uses three locations for his data samples.
Measurement Tools- The measurement tools used are those ideas of Schiffer and Knappett. These tools were a little confusing, I felt like he was doing a lot of inferring based on someone elses work.
Methodology/Procedures- Lachapelle uses their models and scientist research to prove his theory true. A lot of his results are based on how scientist "read" the earth.
Results Lachapelle gives ways in which he feels personally these three material artifacts can communicate a concept or idea. He also used Knappett and Schiffer's terminologies and ideas to help justify his findings.
Discussion
 Interesting topic choice first off. I'm not sure why I chose this article, the titled peaked my interest, but the further I got into the article the less interested I became. These ideas of a landscape communicating an idea are great, but unfortunately it is way too advanced for my particular needs.

What works chap 5&6

Legwork chap 5
I think a source that I could use, and had not considered before, is someone else who is blind. I can't believe I hadn't thought about it, but interviewing an adult that has been blind their whole life would be an awesome resource.
I think the thing for me to remember is that as I interview people and read articles/websites, I need to mention that this is a research study that will be shared with colleagues. I need their permission/site of my source to share. You have to give credit, where credit is due.
Best data source could be myself... like I've said in earlier posts, have someone teach me, so I can kind of get a feeling for K's situation on a daily basis.
Eyework Chap 6
One of the things we have used to chart K's progress is this checklist. Now I can't remember what it is for, the criteria, and it's packed for the summer. But we were trying to make some of these items things to work on in the art room. For example at the end of this year, we were amazed as K's really started to build up the strength in his hands, and could hold a crayon on his own. We were teaching him how (on his own eventually) to simply draw up and down/ side to side, and understand that directional path. I feel like I need a check list of skills that we can hope to help K accomplish next school year, this is what I would chart/measure/count.
Document Oral Language
Oh, I like the idea of recording to see where the hiccup is so to speak. I know that I have tried really hard to use the same type of vocabulary as K's Para and specialists, while still introducing some art vocabulary. This recording might give me a better way to reflect on my teaching practices with K and help me to experiment with teaching techniques.
Ethnographic Observation
This seems almost like a funny topic for me. As far as making a map goes, K and our other VI students have things that help them identify that "this is the art room, this is the cafeteria" they can sometime tell by the amount of space they have traveled through, or specific turns they are making, as well as textured indicators outside our doors. Bu I try very hard to get setup at the beginning of the year, and not make a lot of changes. My VI students memorize the space, they know I always keep my supplies in specific places, and If I get in a weird mood and temporarily move them, they get confused. I must also admit (this ties in with the language component) that I forget when you say, "they are right over there or see this?" they probably do not know what you are talking about. K is not quite ready to go off and find supplies on his own. In fact he get the whole back table to himself with his Para and their work supplies. I hope that someday we will be at the level of "go get the glue" and he will know where to go on his own. My typical student teacher interaction is that I never stop moving. but when it comes to K this year, I was so insanely busy with the rest of his needy kindergarten classmates, that It was hard. But I always tried to make it a point to spend a moment with him as he came in the door, and then at least 5 minutes during class to interact with him and see how he was doing on techniques. I hope that this time can be expanded and become more conducive to K's needs in the future.

What works chap 4

Explore the Emic and the Etic
Emic stance. As an insider I know there are important skills and concept that need to be taught to K, from me. But I also understand that he has a LONG way to go in his learning before I can even get to certain content ideas. Even the idea of K eventually using scissors is the most terrifying thing to me. I know I got on my soap box in chap 2, but I still feel that my subject is valuable and he needs it. I also feel that in spite of his VI he should still have to follow some rules.
Etic stance. As an outside I think I would see a young man who is really struggling to do the simplest tasks. But I would also see that this school is trying really hard to do what they can for him. As an outside (substitute para's) have made the comment, that it seems like no one has ever made him mind before.
Three Questions of Analysis
What surprises you?  Why don't we have the knowledge? Why haven't we had more training?
What intrigues you?  K's situation is a new one for teaching, and I am totally fascinated. I am always going to be enthusiastic about what I teach, no matter who I am teaching it to. I am intrigued by the challenge that K presents me as a teacher.
What disturbs you?  Expectations, why did parents refuse to get him more free help before this experience? Why is it that mom&dad appear not to care that much?
State your ethics
This seems easier than it should be...
I am here to teach no matter the challenge. K will get the education he deserves from me. No research work or findings will be published without the consent of K's parents, the VI director, and administration. Names are changed for privacy reasons.

What works chap 3

Chapter 3
Discover what you know
The journal keeping would be helpful for myself and K's Paraprofessional, but at this point he is not ready for such a big step.
The sources I can consult/have are the VI specialists for my school. I also have talked with another art teacher in the district who works with a 5th grade blind student. These sources had limited suggestions.
I think my next stop is going to be talking to someone in my area that specializes in helping blind children. If memory serves me correct, there is St. Joseph School for the Blind about an hour from my home city. I need to find those who are more experienced, but that are also willing to spend the time to help with my subject and take an interest as well.
I also think it would be beneficial if I had a brainstorming partner. Someone that could plan an entire lesson, and teach it to me while I am blindfolded. I tried blindfolding myself and working just to get a basic understanding, but it is not as helpful to yourself if you already know what is on the table and how it works.
Google-ography
1. NFB- the National Federation of the Blind. Not for profit organization that offers programs for youth and adults. Not a lot of information for kids.
2. AFB- American Foundation for the Blind. Easy link "for parents with children who are visually impaired." has a few article to help parents, probably would need to directly contact someone, but it seems like this would be a great contact and resource. Also offers web-inars on basic life skills, journal articles and books for a price.
3.DESE- Talked about Rehabilitation Services for the Blind, a state agency that provides FREE services to blind or visually impaired children 0-14.Offers training and assistance to parents and TEACHERS! This looks to be a great contact.
4. http://arteducationdaily.blogspot.com/2010/12/teaching-art-to-blind-student.html  YES this could be the ultimate resource! With tons of links for further ideas and help. More investigating on this site is a 5must.
5. http://www.artbeyondsight.org/sidebar/aboutaeb.shtml  looks to be another good resource, but potentially aimed more at those adults who have lost their vision.
6. http://nfb.org/images/nfb/publications/fr/fr10/issue3/f100325.html  great article
7. http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=5&ved=0CKoBEBYwBA&url=http%3A%2F%2Fwww.trinity.edu%2Forg%2Fsensoryimpairments%2FVI%2FTA%2FVI%2520-%2520Final%2520Ch%25205%2520Activities%2520-%2520Art.doc&ei=EyrQT4v6CIrD2QXFs8XJDA&usg=AFQjCNEsQPcq1VEvzR_Zh4ao-7KR-HQrfg&sig2=QG-qSf_gz2BHhrUVu1bDvQ   Great article with a lot of sensory ideas

Well enough of that for now, but it is amazing what you can come up with as you refine your google search by using the right key words. The winning phrase of the night "how to teach a blind child about art."

Shaping your working bibliography
I feel like I still have a ton of research to do before I can refine my sources too much. But in a quick search it became very evident that based on this specific child's needs, I need to be more specific in the questions I'm asking and the research needs to stay focused on young children.

What works chap 2

First off, I love that the book acknowledges "We will shape and reshape and revise our question many times!" Which is encouraging! But also worry some, how many times will I "fix" my question? I don't want to waste research time, but know that it is going to be helpful for me to narrow down my topic.
I want to take a step back to "what's bothering me." New topic/question
This past school year, a new kindergartner arrived that challenged my way of thinking. Let's call him K for now. You see K is extremely visually impaired, it is also important to know that my elementary has now become with visual school for our district with about 10 kiddos that are visually impaired. K arrived about a month into the school year, and we were told that he was totally blind. As the year progressed we learned he can see more than we realized. For example, on track and field day, he looked up in the sky and said "what's that?" referring to the big black cloud in the middle of the blue sky. His communication skills are extremely low, but he can do things like "K can you take the ball from my hand" when it it a several inches from his face. We are not totally aware of how extreme his visual disability is, plain and simple, he cannot communicate what he can and cannot see. He came to art every week with his fellow classmates, about 21 other kindergartners. He had a table to himself and a para-professional. She and the specialist didn't know much for him to do, nor did I. As a team we have struggled through this year to get a grasp on how we can teach K. He is still nowhere near a Kindergarten functioning level, and will move in to first grade next year. His specialist have almost no suggestions for me, and it has become evident that I am on my own for how to teach him.
So this summers up my current problem I would like to look at tonight and possibly research. How can I teach the glories of art when the biggest sensory component is basically "out of order" for lack of a better term?

Explore Trial Questions
Teaching Practices
*How can I better myself to communicate the ideas of art to a child that is blind?
*Do I spend one-on-one time weekly only or do I continue to spend only a short few minutes with K and give instructions for the Para every class? (this question sounds bad, I know, but I will only have segments of 5-15 minutes for my "plan time" next year, and It was almost impossible to keep a large of group of Kindergartners busy and working on their own long enough for me to spend 5 minutes each class with K).
*At what point to do we say, maybe we are not equipped and trained enough to be an effective teacher for K? (Which brings me right back to the first question of how then can I better myself?)
* How do I get student motivated to understand something that is mainly about the visual aspect?



Curriculum
* How do I even come close to meeting my standards with this child, if he can't even answer yes or no to a question without adult prompts?
*How do you adapt your lessons without totally loosing the concepts?

Position yourself in relation to the question
 I feel as though in this area I am going "blind" myself. This seems to be slightly uncharted territory among my colleagues. There is not a lot of support, help, advice, suggestions, training. So my training thus far has not prepared me to feel even remotely successful as a teacher of K.
When you raise the question "are we adequately prepared to handle this hurdle?" people get offended and upset. This study would serve K first and foremost, but also myself and my program. The hidden bias  is that the VI specialists have been working really hard. So they immediately come to the defense of the VI program rather than looking at what is truly best in ALL aspects for K.
I think they assume that information should be easy enough to find, and as always "well it's not like he is going to be great in art anyway"..... (Soap box moment) Ahhh how dare you assume that this child or any for that matter will not be "great" at art due to their visual disabilities. If you really feel this to be true, then why are you wasting my teaching time and this child's learning time if you really don't feel it is going to be valuable to him. I could go on, but there is no point in getting the blood pressure too high. I don't feel that changing my question would do my student the justice of a fight for all areas of his education! I like to grab the bull by the horns... so let's get this problem fixed and ask the difficult questions even if it makes us uncomfortable.

Refine Your Question
 I feel like my question is clear as it pertains to my teaching and K.

That was like a brainstorming/questioning rant session, but I am hopeful that even if this is not my research purpose this summer, someone can shed some light on the areas that are very dark gray for me.

Research Translation

Sculpture: Representational Development in a Three-Dimensional Medium

Research problem:
In this article, Golomb talks about the small amounts of research that are devoted to studying how children’s’ development plays a role in how they are able to make a three-dimensional object. She looks at the various ways in which research has been done to track the development

Literature Review: This article uses cited sources mostly from the 1900’s, but a few more current ones. Based on the topic of choice, the information provided was informative even if out of date.

Research Questions or Hypotheses: These questions were developed throughout the reading of the article. Can you see the development of representations in three-dimensional work, like you can in two-dimensional work? “Whether it follows the dimensional pattern established for drawing, from one- to two- to three-dimensional use of lines most commonly assumed, or whether dimensionality plays a different role in this medium.” (Golomb 334) The author discusses the hypothesis that, “the concept of representation implies an understanding that a mental action such as a thought can lead to the intention to create specific shapes that bear some likeness to the object and thus can stand for it. Above all, representation involves a mental activity that goes beyond the perception of objects and events and transforms them with the means available in the chosen medium.” (Golomb 331)

Data Sources/Sampling: The author discusses the use of sculpture from prehistoric times to the present. She uses studies and finding from research around the country with children of all ages and backgrounds.

Measurement Tools: “To the extent that drawing development has served as a model for the analysis of representation in a three-dimensional medium.” (Golomb 332) An example of one study of representational concepts, studies students 2 to 7 years old. Students were asked to make a doll, a mommy and a daddy out of clay, they were also asked to draw the same things. The results showed that students were able to show expression even using the clay.

Methodology/Procedures: Golomb acknowledges the consideration that students who only create a three-dimensional person using a flattened version from the front, do this because they lack the knowledge and understanding of the person from all the vantage points.

Results: Most of the findings showed that as the students got older and cognitive understandings of a three-dimensional shape broadened they were able to make more representational items from the clay. “Our findings indicate that when children become representational in this medium, approximately during their fourth or fifth year, they exhibit some basic three-dimensional understanding as indicated by their attention to multiple sides, to the volume of a figure and its upright stance.” (Golomb 352).

Discussion: This article gave a great overview of the students’ developmental progression for how they use three-dimensional medium. It makes sense that our abilities progress with clay in the same manner as drawing, using a one- to two- to three-dimensional development of thought.

Resource:
“Sculpture: Representational Development in a Three-Dimensional Medium” By Claire Golomb. P 329 Eisner, E.W. & Day, M. D. (2004) Handbook of Research and Policy in Art Education, NAEA.

What works? Chap 1

What works? Chapter 1 exercises Prep work
I am taking a stab at an idea, and hopefully I'm on the right track here?

Chap 1:What bothers me? Many things, but I tried to narrow myself down. How do I get my students more connected with the community as artists? How do I get students and parents more interested in a program that doesn't give grades or trophies? How do I keep my students engaging in art when there not in school, especially considering the schedule most of my students have of extra activities? So then my bigger question is: How can I build a stronger program that gets my students involved with art in the community, at home, at school, with their families etc?

Chap 2: What is the best way for me to connect lessons and teachings of older art with the latest trends and interests of my students?

Chap 3: I know that the sense of community is very strong in my building, but not so much of a community feel for our large town. I know that our artists league has worked very hard to put sculptures all around town in an effort to expose us to more art! How can I use that resource as a teaching tool in the community?

Chap 4: My heritage vs their heritage.
I was brought up in a small town, not a lot of money. I even remember having art on a cart in K-2, but remember nothing about that program. My biggest influence was in middle school, Mrs. McManis is the reason I even thought about becoming an art teacher. I always loved art, but was fortunate enough to finally get a great teacher who challenged me and my idea. My world as a child was always influenced by the arts in many different ways. Technology was not as big of a part of my life.
My students are from a "well-to-do" neighborhood, most having nicer luxuries than I do. They are used to technology being used in every way possible. I strive to be as impactful of a teacher as Mrs. McManis, and try to influence my students feelings and interests for art. Sticking with Holly's idea, our mascot is a leopard. Which makes me think of a fierce animal, a great predator, yet a peaceful and beautiful creature. We always encourage our students to chase after the things that they want and work hard to get what they need.

Chap 5: Data Collecting- use of surveys, input from students, parents, colleagues and the community.

Chap 6: Problem solving strategies
Short term problem- reslife was charging me double. So I went to the root of the problem. I discussed the problem and we came up with a solution... problem solved.
Long term problem- Can't seem to get grad school finished as fast as I originally planned. To solve this problem, I am trying to up my work load, but still stay focused and successful without getting too overwhelmed. Problem will take time to solve.
This problem of wanting a stronger program is not going to be solved overnight. It's going to take a while and a lot of work.

Chap 7:  Due to other personal commitments like grad school time, I am only going to be able to take baby steps. My goal is to start small and implement 1 idea a semester.

Chap 8: Strengths: support system of family, friends, and coworkers. More experienced mentor and district art team. Community support.
Weaknesses: new administrator (that is not nearly as excited about art as my last administrator). Time- not enough minutes in the day.

Chap 9: I need to be more organized to carry out this adventure. Have a special place in my room and my brain for all things that are needed for building a better program. I need more time, Maybe pick a set day of the week to work on my project after school?

Chap 10: Writing is a big hurdle for me, not my strength by any means. Hopefully some of my previous and current classes will help. Do you have to write? or can it be communicated in different ways?