Art for Literacy's Sake

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Art for Literacy’s Sake: Using the visual arts as a vehicle for literacy
development in young people.
Introduction
This inquiry seeks to find out if young people in Stirling engaging with Youth Services
community based learning programmes develop their knowledge and skills in
literacies through participation in informal visual arts based learning. The paper will
discuss the accepted meaning of literacy and its value within the Scottish context. I
will review other authors who discuss how art can be utilised as a means to
developing literacy skills. Through collaborative work with a Youth Worker and by
using dialogical and behavioural analysis, this inquiry seeks to establish whether
action research can validate the existing research and theories and expand
knowledge around the topic. I will triangulate practice with relevant policy, theory and
research.
Aims of the Review
 To explore whether young people develop can skills in areas beyond the
art activity, specifically literacy based skills.
 To establish whether young people might favour this approach to
developing literacy skills over traditional methods
Parameters of the Review
 To examine literature pertinent to the 16 – 25 age group.
 To concentrate primarily on learning within a community based context.
 To focus particularly on the relationship between visual art practice and
literacy development.
While I have worked within these parameters as far as possible, the scarcity of
material on youth literacies, particularly in the Scottish context, have made it
sensible to seek beyond them. Material from wider searches is included,
particularly from America and England, and also Scottish reports on adult
education as they are inclusive of the 16+ age group.

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The Context of My Practice
As a Youth Services Worker in Stirling responsible for a 16+ learning programme,
my inquiry is driven by the following factors.
 Low literacy is associated with school leavers aged 16 who become
removed from education.
 Residents of the Central Belt are twice as likely as the rest of Scotland to
face literacy difficulties.
 The impact of low literacy has a ripple effect instigating various other long
term social and health related concerns.
What is Literacy and Why is it Important?
The Curriculum for Excellence states “literacy is a set of skills which allow an
individual to engage fully in society”. (Scottish Government,2010:1). It is the ability to
“identify, understand and interpret, create, communicate, compute and use printed
and written materials associated with varying contexts.” (UNESCO, 2004) It can be
the ability “to read, write, use numbers, handle information, express ideas and
opinions, make decisions and solve problems.” (Scottish Executive, 2001) Literacy is
the understanding of text, which by definition is a medium through which information
can be communicated, examples of which include charts, maps, timetables, films,
signs and instructions (Scottish Government, 2010). As a concept, literacy is multi
faceted, communication through many sign systems (Kendrick and McKay2002).
More specifically these are emotional literacy (Weare, 2004), reading and writing,
computer literacy, mobile phone use, body language, graphical, audio, video and
cultural literacy – channels through which we communicate. (Frey, 2010). Literacy, to
summarise, is not a technique, but a process of constructing meaning and
communicating. It is this more holistic understanding I will refer to when using the
term ‘literacy’ throughout this paper.
Policy Context
Low literacy is associated with several social and economic issues. The impact of the
skills gap results in individuals’ exclusion from the job market, alienation from modern

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culture and increasingly; homelessness (Scottish Government, 2008). These issues
have called for government intervention.
Youth is of particular interest to policy makers because young people are the workers
and decision makers of tomorrow. Almost all adults lacking in literacy skills today left
formal education aged 16 (Scottish Government, 2008) and entered the workforce.
School leavers of today are faced with increased competition for jobs, with literacy
barriers likely to distance them further from the job market. (Youth Link 2005).
There is a high overall percentage of adults in Scotland affected by low literacy,
judged to be around 4 in 10 over 16s. The evidence highlighted in the Scottish
Executive’s report on Adult Literacy and Numeracy in Scotland (2001) which draws
on the International Adult Literacy Survey (1996) identifies particular need for
provision in the immediate post school period (Youth Link 2005) and has been
backed up by the subsequent research by UNESCO (2004).
These findings influenced the National Performance Framework 4 (Scottish
Government, 2007), an outcome that seeks better educated, more skilled and
successful young people. Given that all young people have the right to an education
(Scottish Government, 2009) and that the current skills gap will have far reaching
social impact, there is increasing need to address the issue in Community Learning
and Development based provision.
The Scottish Government views literacy attainment as key to the country’s overall
economic development (Scottish Executive, 2001), achievable through the Economic
Strategy that aims to develop skills of young people. (Scottish Government, 2009).
They insist that a literacy skill base is crucial to the process so that all citizens
understand policies and priorities, and enhance the work force by their increased
employability. Furthermore, it will create a more inclusive society with increased
understanding of all cultures. (Scottish Executive, 2001). This concept is rooted in
Paulo Freire’s philosophy as the educator championed the emancipatory value of
literacy as an enabler of participation in society (Freire, 1990). Although Freire’s
social and cultural context differs radically from that of modern Scotland, the claim
holds resonance as modern daily life requires the application of literacy skills to
handle information, express and communicate and participate within an information
based society. Whilst (UNESCO, 2004) agree the transformative benefits of literacy,
they disagree that it holds the immediate key to economic growth. As an

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emancipatory concept, however, development of literacy is significant to Community
Learning and Development values.
Personalised learning for young people is prioritised within National Outcome 4’s
Curriculum for Excellence (C for E), (Scottish Government, 2009). It champions the
back door approach to literacy education, recommending that practitioners take
advantage of opportunities to integrate literacy through cross learning in other subject
areas. (Learning and Teaching Scotland, 2009). Certainly within the Youth Work
context, literacies should not be singled out as a separate area of learning. (Youth
Link, 2005).
Governments are nowadays increasingly looking to the transformative potential of
visual art in engaging young people, (Harding, 2005) in contrast to the embedded
educational notion by Bloom’s Taxonomy that art is a purely affective subject. (cited
in Atkinson and Dash, 2005 )
In this paper I use the (Hickman, 2010) definition of art, which is to mean making
things, experiencing a creative process. It is this definition I refer to when using the
term.
Previous Research
Empirical Research To The Max by (Youth Link, 2005) studied the implications of low
literacy for young people in Scotland and ways in which provision could be made
attractive. The qualitative study identified those creative, arts based approaches as
having the most success in engagement, providing that the learning was centred
around work skills and focussed on self esteem, noting that the key factor in
engaging young people was relationship based, those non-dichotomised settings
being most conducive to effective learning.
The New York Guggenheim inquiry (Solomon, 2007) into literacy development
through the visual arts is exemplary research. The three-year study is thorough in
both use of quantative and qualitative data gathering, making use of control groups,
test score analysis and drawing on case study findings. The report concludes that
use of art enhanced the literacy curriculum by its interactive nature. There was
statistically marked improvement in learners’ emotional, visual and verbal literacy.

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Writing in The Power of Pictures (Olshansky, 2008) presents extensive quantative
research reinforcing the Guggenheim Inquiry findings. Her studies demonstrate the
over all success of an arts approach to literacy for all young people and highlights the
negative implications of a word based approach on the learner whose strengths are
not language based. These points have association with my own practice where I
regularly encounter anxieties around word use combined with low confidence in the
young people I engage. Are these factors a contribution to, if not the main cause of
their disengagement from school? Encouragingly, Olshansky’s (2008) case studies
reveal that young people write more fluidly following a single art intervention because
they have employed visualisation and can translate the imagery to words more
readily than without use of drawing in between.
The limitations of these international studies to this inquiry are the school settings
and lack of consideration of the role of emotional literacy in learning. Arguably young
people engaged with the work because the approach and environment are refreshing
to them, or because they had a level of positive engagement with formal education.
However, similar practice can still be applied successfully within a community based
setting in Scotland judging by the Youth Link research (2005) which is more relevant
to this inquiry.
Art as a vehicle for literacy development:
(Olshansky, 2008) maintains that art is a visual language that runs parallel to verbal
language. Vygotsky concurs that drawing is a literacy, a type of speech because it
engages language use and is a basis for making a story (cited in Kenrick and McKay,
2002). Visual arts such as the comic strip are a valid medium of communication, its
production requires interpretation, narrative and understanding of the relationship
between words and pictures (Atkinson and Dash, 2002), and is highlighted by C for E
as a prime tool for learning (Learning and Teaching Scotland, 2009).
Use of art within a CLD context is valid. It is a suitable means for young people low in
reading, writing and emotional literacies to communicate and to engage in the
learning environment as demonstrated in the Museum Clearing Project. (Atkinson
and Dash, 2005)
(Elfland, 2002) argues that art learning builds cognitive development, specifically the
ability to relate isolated areas of information to wider contexts, grasp complex tasks
and problem solve. (Matarisso, 1997) agrees that art work develops perception,

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spatial awareness and mark making. Participation in visual arts workshops can
directly develop a young person’s literacy competence because it develops
organisational skills and comprehension of geometric shapes as required in reading
and writing (Elfland, 2002)
(NACCCE, 1996) advocate that creativity is vital in the development of reading and
writing. (Smythe n.d) reinforces this, proposing that art enhances language and
literacy skills. (Atkinson and Dash, 2005) state that drawing in particular is an
effective method for developing writing skills and (Eisner, 2002) supports this by
proposing that art allows for understanding of geometric shape and forms. (Eisner,
2002) argues that the cognitive processes used in making art are the same as
learning to read and write. By engaging young people in arts based learning, they
informally develop their visual language, cognitive schemata and therefore their
literacy in maps, charts, diagrams and instructions and ability to approach reading
and writing. (Elfland, 2002)
In opposition to this, several authors propose that art does not directly develop
literacy, but rather that these skills are a by-product of engagement in the activity, an
in-direct outcome. The arguments are summarised in four themes below: Strategy,
Confidence, Emotional Literacy and Reflection and Dialogue.
(Kendrick and McKay, 2002) advocate processes in art develop strategic
competence. Because art is a playful activity, it supports learner strategies in
attendance and engagement, making it possible to engage in reading and writing
thereafter. Reinforcing this argument in Why We Make Art and Why it is Taught
David Perkins uses the metaphor of art as an anchor, securing a young person’s
attention. (cited in Hickman, 2010). In support of these claims (Eisner, 2002) states
that art teaches the construction of elements in relation to being literal and logical, it
is concerned with understanding the relationship between concepts and parts, and
fosters a type of somatic knowledge. David Perkins agrees, stating that art leads to
creative connections, building thinking skills in general. (cited in Hickman, 2010).
Participation in art fosters organisational skills (Matarasso, 1997) and cognitive
schemata (Eisner, 2002) all conducive to the learning of literacies by default.
The second counter argument involves confidence. (Craig, 2007) advocates that art
activities enhance confidence, which in turn enhances ability to learn. (Grant, 2008)
argues that learners become more confident in engaging with literacy when the task
is made playful and non threatening through art. This theory is evidenced through the

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Bootle Art Project where the work concluded that art was merely a catalyst for other
growth and learning because the young people’s confidence was raised (Harding,
2005). To illustrate this theory, I have constructed the following diagram:
Thirdly, increased ability in literacies when art is involved is attributed to the acts of
reflection and dialogue. (Eisner 2002) advocates that a synthesis occurs with art;
when young people participate creatively, they are stimulated to talk and use words
and that having pictures in their mind pushes them to describe a vision verbally. In
addition, (Atkison and Dash, 2005) reinforce this by proposing that arts based
activities have a transformative quality embodying Freire’s theories of dialogical
approach; reflection in action. Producing artwork; the action, prompts discussion with
peers and workers; the reflection; such as practiced in the Reggio Emilia programme
in Italy where elaboration of word use grows through reflection on drawing. (cited in
Atkinson and Dash, 2005). Furthermore, dialogue, connected with reflection,
cements our understanding of concepts such as demonstrated by Schon’s double
loop learning (cited in Ledwith and Springett 2010) because it reinforces the learning.
(Harding, 2005) supports these claims by proposing that dialogue comes about
through the collaborative and co-operative nature of arts activities. The Creative
Pedagogies research found that young people became engaged in writing through
art, simply because the activity evoked conversation and narrative which acts a
conductor between the two mediums (Grant, 2008).
Controversially, (Kendrick and McKay, 2002) oppose this, claiming that any art –
literacy phenomenon results because art is a vehicle for expression and a tool by
which professionals can keep young people engaged in literacy contexts, that

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drawing lifts the constraints young people face in writing. In support of this, David
Perry states that art breaks down the barriers to thinking. (cited in Hickman,2010).
However, (Kendrick and McKay, 2002) also indicate that language and literacy skills
are developed through an increased sense of narrative by use of visual stimuli, an
argument which connects back into the school of thought that art can directly
enhance literacy in the learner.
The final prominent argument is for emotion. (Milbraith and Lightfoot, 2009)
advocate that a young person engaged in art will develop empathy and emotional
awareness through the task, the foundations they require to be open to any learning.
In agreement (Hickman, 2010) states that art enables a young person to develop
understanding of themselves and the world around them. (Nemec and Roffey n.d.)
advocate that self awareness and emotional intelligence are essential for young
people to be able to engage in any learning. (Harding, 2005) highlights that art
fosters motivation, self-esteem and achievement. (Olshansky, 2008) vehemently
supports this, stating that particularly for those learners drawn by and attune to
creativity, art will engage, build respect from peers and self respect, which opens a
positive emotional gateway through which to embrace literacy.
To summarise and connect all of these arguments, art and word skills are not
isolated but are connected fluidly by emotional awareness. The three areas of
literacy link to one another, the former enhancing the latter via increased confidence
and engagement. I have constructed the following diagram to illustrate
this.
Controversially, in this debate both (Elfland, 2002) and (Eisner, 2002) present points
in support of each argument of art being direct or indirect in literacy development.
This presents an additional argument in compromise that art does support literacy

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learning because it engages the brain, stimulating the type of cognition transferable
to literacy comprehension. (Hickman, 2010) reinforces this, claiming that thoughtful
art opens a wide spectrum of cognition including analytical thinking, visual processing
and conceptual connection. Similar to the arguments around strategy, (Elfland, 2002)
claims that art breeds improvisational intelligence in a learner – the thinking that
Dewey called “Flexible Purposing.” (cited in Eisner, 2002). In support, (Elfland, 2002)
claims that nurturing of this thinking support the learner in literacy development.
Furthermore, (Harding, 2005) proposes that making art combines critical and
generative thinking and by taking a scaffolding approach within arts activities, it
optimises a young person’s ability to learn in any other context because it builds
cognitive culture. From a less scientific paradigm but complementing this premise,
(Ledwith and Springett, 2010) state that art engages the brain through the senses,
exploring the emotional, spiritual, mental and social holistically, the additional benefit
implied here being the transformational change that can occur along with practical
skills. (2010)
There is opposition to the argument of art being the only vehicle by which low literacy
learners can ride. Some authors advocate that it is not the only mode or necessarily
the optimal one. The vehicle is interchangeable as demonstrated in my next model.

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The Kenneth Loach film Kes demonstrates that young people’s minds open and flow
when engaged by anything of stimulation or personal interest (cited in Harding,
2005). The theory of Multiple Intelligence highlights that we learn best when we come
from a position of personal strength, which may be via art, music, dialogue, emotion,
athletics, logic or socialising. (Gardener,1993). I have constructed the following
model to illustrate this concept in relation to visual arts.

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However, (Gardener, 1993) does single art out as the only method that can enhance
a young person’s skills and understanding across all disciplines, arguing that the
same concept cannot be applied readily to other subject areas.
The first question these writers pose is whether art as an informal approach is an
effective method for engaging young people in literacy learning? (Elfland, 2002)
argues that young people require an informal approach to literacy because to them

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the formal curriculum is irrelevant. (Craig, 2007) concurs claiming that creativity
provides those young people not interested in literacy pursuits with an opportunity to
succeed. Art promotes self-esteem, enhances motivation and is effective for
captivating those young people at risk of becoming disengaged from learning.
(Atkinson et al, 2005). In addition, (Grant et al, 2008) argue that as an approach, art
is non-threatening, so encourages learner participation and engagement. Creative
work is a means to identify individual needs and to develop their skills, freeing up
creative thinking in ways that formal learning environments inadvertently stifle
(Harding 2005). (Elfland, 2002) supports this, stating that art in an informal context
engages young people in learning because it takes an open minded approach, unlike
formal education approaches which take more specific routes to set outcomes.
(Harding, 2005) reinforces this advocating how both art and the informal approach to
learning have elasticised boundaries, young people engage more willingly than in
formal education which sets rigid parameters. Use of art in this sense breaks the
boundaries and hierarchies of formal learning allowing for the flow of thought.
In disagreement, Gardener (1993) advocates that a young person is best engaged
specifically through their own personal interests. (Olshanky, 2008) differs in opinion
again, her own exemplary research finding that virtually all young people excel in
literacy learning through art, regardless of their preferred learning style.
The second question is whether it is the vehicle enhancing the learning experience
for young people or the approach? Non-formal art activity provides a level playing
field for professionals and young people collaboratively, pursuing that quest for
“mutual humanisation” favoured by (Freire, 1990). Art is conducive to Carl Roger’s
theories on “congruent learning” (cited in Kirschenbaum, 1990) because visual
outcomes are undetermined and art facilitates a journey for both learning and
development of practitioner and young person. (Seftel, 2006). However, art may not
be the conductor of literacy acquisition; the relationship between learner and
practitioner may be the catalyst.
This query is underlying in the Black Angels literacy project (Atkinson et al, 2005)
where the success of the project is attributed to the relationship between practitioner
and learners, because the person centred approach nurtured creativity, leading to
engagement in reading and writing with less fear. This both argues for and against
art being direct or even indirect in developing literacy skills, as in this case these
come secondary to the relationship element of the practice.

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What are the arguments that art is a vehicle to developing literacy skills by the
nature of its practice? (Ledwith and Springett, 2010) argue that it enhances learning
and development in relating to others; the very participatory process of creating
empowers young people, encouraging communication. From an alternative
paradigm, because making and viewing art is a sensory experience, it is an effective
training tool (Seftel, 2006). (Olshansky, 2008) advocates that creating pictures
supports literacy learning, reading and writing and emotion specifically, for all
learners regardless of ability and by providing learners with multiple modes of
thinking, they enter literacy processes from a position of personal strength, unlike the
formal approach which hinders understanding. This directly supports (Gardener,
1993) Multiple Intelligences theory.
However, (Olshansky, 2008) counters her own arguments by stating that young
people need to be offered a range of entryways to literacy. Art is just one method, a
vehicle interchangeable with others, as I have previously illustrated. Young people
should be engaged in a range of learning styles. Learning through visual means in
isolation is counter -productive. (Nemec and Roffey n.d.) propose that young people
benefit most from a whole-brain approach to enhance verbal and linguistic styles and
develop sound emotional literacy. (Harding,2005) informs that the education sector is
increasingly utilising art as a means to engage young people, yet there is no real
evidence that it has benefits. An argument not raised by any of these writers but a
point which I would be mindful of in my own practice by drawing from the
aforementioned theories is that by developing visual comprehension in learners,
practitioners may be providing young people with a means to conceive negative
strategies to be evasive of reading and writing, potentially further distancing them
from those skills, though undoubtedly the process enhances emotional literacy, well
being and communication, the portal to every learners’ journey, to literacy and
beyond.

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Methodology
In order to gain a true insight into young people’s attitudes and opinions of
literacy learning and use of art as a vehicle, it is appropriate to gather qualitative
data. The topic is subjective, seeking opinion and analysis of discourse not
evident in statistical information. Words and images can help a researcher
interpret a situation and gain a deeper understanding of perception. (Denscombe,
2010).
Action research is the most viable means for gathering the data. (Ledwith and
Springett, 2010). According to (Nelson & Prilleltensky, 2005), participation in an
activity helps a young person understand a concept, to reflect on and evaluate it.
(cited in Whittaker, 2008). This approach actively generates practical knowledge
directly applicable to improvement of people’s everyday lives, offering scope for
more critical praxis (Ledwith and Springett, 2010).This theory, combined with the
inquiry focus group links directly to the Government’s assessment that literacy
development will have wider benefit to society. (Scottish Executive, 2001)
The impact of Action Research on a Learner

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This Inquiry took form of a practical art workshop that required participants to use
visualisation, employ information technology, communicate verbally through
speech and writing, express emotion and harness self-awareness.
By integrating the focus group within the participant’s existing programme
structures, the activity is more conducive to natural conversation and behaviour.
The group session took place as the weekly “Fun Friday” activity in normal
programme hours and environment. One to one interviews were scheduled to
take place in another centre but equally as familiar to the young people who are
accustomed to that venue as a one to one space. This approach was appropriate
for maintaining a natural structure for the participants, to keep them relaxed in
familiar settings and allow for natural responses to action and discussion.
Unfortunately individual interviews did not go ahead. Five scheduled sessions
were each cancelled due to circumstances out with control.
My reasoning behind the small-scale research is for qualitative purposes, to gain
a deeper understanding of the needs and opinions of young people as
individuals. This is conducive to my practice within a youth service, where I

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champion and advocate for the person centred approach (Carl Rogers cited in
Kirschenbaum, 1990). I consciously adapt my practice and approach to working
with each individual with a view to improving their quality of life and chance of
success.
The Youth Worker and Case Holder responsible for managing the programme
identified the participants as suitable for the research. Each of the young people
in attendance had self disclosed needing extra help with literacies in their
Individual Learning Plans. There was no particular interest in art identified. Each
had left school aged 16 and were non-participants within their formal education
settings, key groups identified as at risk within the literature review. Having
identified that literacy is a difficulty for the participants, the methodology and
strategy are more appropriate than formal interview settings or expectation of
written inputs. The practical nature of the workshop allowed the researcher
explicit means to illustrate the inquiry concept to the worker and participants.
To add to the existing knowledge base, I aim to answer the following questions.
 Through participation in practical arts based workshops can young people
develop skills in areas beyond the given activity?
 Do young people prefer this approach to learning skills over traditional
methods?
Participants
Three young people took part in a practical art workshop. I met all of the young
people within their 16+ programme run by the Local Authority. The programme
seeks to progress young people to positive destinations by taking a solution-
focussed approach to the multiple personal barriers they face to employment and
education. These can include low-level literacy, poor communication skills, low
confidence and poor attendance / performance at school. I met with six young
people one to one on a weekly basis for four weeks to get to know them and build
a trusting relationship. Through close working with the responsible Case Holder
on the programme, I arranged a practical arts workshop and interviews within the
routine structure of the programme for the convenience and accessibility of the

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participants. Methods involved participant observation, individual interviews and a
practical workshop with naturalistic group discussion.
The workshop context was informal. I provided the young people with
refreshments, a choice of working spaces and the option of playing favourite
music from a website while we worked. Their discussion was recorded on a
Dictaphone. The workshop required participants to follow written and verbal
instructions, draw on emotional connections, and handle a range of media
including art materials and Information Technology as well as to engage in group
discussion.
In an interview following the session, the practitioner present shared her
observations.
[Young people got] the chance to express themselves, share something of
themselves in a subtle way, show off their musical tastes - talk in a non-eye-contact
close situation. Do something new. [The workshop] strongly addresses the need of
individuals, and combines several varying skills allowing yp to build on their strengths
but develop new skills - recognises that learning can be delivered in several,
fun ways. [The benefits were] hidden literacies and the chance to do a fun activity
that met several [of our] priorities and needs of young people [including] IT, art,
planning and organisation. One [young person] in particular was experiencing chaos
in her home life but she felt safe to remain with the session and was distracted by the
activity.
Each participant developed an individual art piece based on the words and
associated thoughts and feelings of a meaningful song of their choice. The young
people painted a canvas and arranged typed song lyrics on top. From here, I asked
young people to put images on the canvas of the pictures that enter their mind when
they hear or read the words of the song.
During the activity I prompted discussion with the questions
 What does the term Literacy mean to you?
 How have you learned Literacy in the past?
 What makes you attend the sessions in your programme?
 What stops you coming to a session sometimes?

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 Is it better to learn reading, writing and communication on their own, or
through a task / project?
 Is art an enjoyable way to learn reading, writing and knowing yourself?
 What other ways and places have you done Literacy learning and what was it
like?
I analysed all of the recorded material along with my field notes and have
grouped my findings into key themes. These are highlighted by direct quotes from
participants. I include my analysis and interpretation of the data within each
section theorising my observations of the group.
In the following themed excerpts we are discussing meaningful songs, their
associated memories and visual connections in addition to “literacy” and personal
experiences of the term.
Positive engagement
From observation, participants were behaviourally and verbally positive in task
engagement. At the very beginning of the workshop when we sat as a group for
the first time, there was an air of reluctance, participants visibly uncomfortable
with the situation. On introduction of discussion about songs, the group became
animated and interactive having been silent up until then.
Researcher: What music do you like?
Participant C: Reggae! And Rap! Bob Marley and Eminem!
It is clear here that participants were enthused by the topic. Perhaps music is an area
of particular interest. My own theory is that by giving the participants control over the
discussion, engaging them in level dialogue, they were more willing to participate in
the activity. This can be linked to Harding’s theory that art builds self esteem (2005).
Self Consciousness
Worker: You mentioned liking NdubZ last week?
Participant A: O I diny ken (Shrugs)

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Participant C: They’re guid (nodding)
Participant A: Aye I dae like them.. (expression lifts)……
Researcher: Do you have a song that’s special to you, maybe romantic?
Participant C: Nuh nuh I’m no like that…
It is clear here that there was an element of self-consciousness during the
discussion. Potentially participant A felt insecure about her tastes within the company
of her peers. Later on in the discussion Participant C was as reluctant to share info
about his girlfriend during a discussion. Participants, though having built up a trusting
relationship with the worker and myself appear to not have the same level of trust in
one another and therefore maintained an opacity in their conversation. The workshop
was designed to probe taste, feelings and emotion. The soul bearing nature of the
activity, though subtle in its execution, seems to have been slightly threatening to the
group. My interpretation is that it was not the activity itself that hindered discussion
but the group dynamic and absence of trust among peers. I was pleasantly surprised
to observe the participants not put up barriers to the creative activity or assume they
could not do it, their confidence was clearly raised as the Literature Review of this
paper anticipates. The literature, however, does not highlight the potential for self-
consciousness in art workshops. The hesitancy was clearly around intra-personal
tasks.
Self Awareness
“ It chills me oot when I’m crabbit”
“ Bob Marley ..makes me have energy, makes me want to
go to the gym” (gestures running motion and smiles)

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Researcher: I would pick whichever song is most meaningful to you…
Participant A: I diny ken. I feel funny aboot it. (holds paper to her chest,
drawing arms in and pushing back against her chair).
Researcher: Is anyone willing to share why their song is meaningful?
Participant A: No.
We can see clearly here that when linking a song of personal interest to the
associated memories and feelings, the participants are conscious of the impact
music has on them and openly verbalise this. The young people demonstrate self-
awareness and openness emotionally, but are uneasy about sharing specific
thoughts, memories or mental imagery. In the final excerpt the participant
demonstrates reluctance about having her chosen song known to the group, even
without sharing her thoughts about it. She is conscious that the song is deeply
meaningful to her and represents private thoughts, she articulates this in her verbal
and body language and later through the absence of images on the art work. This
dovetails with the arguments centred on emotion in the literature review. Art
processes are emotional gateways to understanding yourself and the world around
you (Hickman, 2010). Though the emotional awareness raised in this session
stimulated a nervousness as much as positivity.

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Emotional Literacy
Researcher: Is anyone willing to share why their song is meaningful?
Participant C: Makes me happy! (smiles)
This participant showed genuine joy at the thought of his chosen song, I observed a
lift in his expression and demeanour. He was able to articulate this verbally and was
clearly conscious of the connection between the music and his own emotions. Earlier
in the discussion he acknowledged the potential negative effects. I asked:
[Is there] a song that can make or break your whole day?
Participant C: Yeah I know what you’re talking about.
The participant engaged positively and made connections between the music and his
feelings. The indirect discussion around feelings was non-threatening making the
topic more accessible for the young person. My own interpretation is that the element
of choice within the creative process stimulated his interest and willingness to
embrace the themes. Furthermore, art as a process was helpful for the individual to
better understand himself because he was in charge of the direction of the work,

22
driven by emotion over reason and encountering opportunities to make connections
in his mind and within the world around him as claimed by (Hickman, 2010).
Extended Narrative
Researcher: I’m interested to know your song?
Participant A: No way. It just reminds me of a night. A bad night.
Worker: Does the song make you feel bad?
Participant A: Nuh. It wisnae bad that way. It makes me laugh. I just done a bad
thing. O my god. I’m no saying what… The song’s about sex but it’s nothing to do
wi’ that. It was just playing the night I took something I shouldnae uv. It was bad
but that song just takes me right back tae it.
Notably the participants were most verbose in the discussion when referring to their
song and / or art work, speaking in longer sentences. In the literature review both
(Kendrick and McKay, 2002) and (Olshansky, 2008) observe that visual stimuli
increase narrative therefore developing literacy ability. The creative process may
have unlocked language abilities, which reflects the theories of (Eisner, 2002) on art
and cognition, or it may be that young people find it easier to talk about music or art
because it is effectively shielding their own thoughts, making them feel less
vulnerable or exposed.
Limited Visualisation
Researcher: Ok so think about your song. Can you hear it in your head?
Hearing the words and reading them, what pictures come into your mind?
Participant A: (laughs) O nuh. Nuh.
Researcher: Ok so you do have pictures in your mind? Can you put into
words what the images in your mind are?

23
Participant A: Naw I diny get any images. Nothin at a’. I can hear the song
but the inside of my heid goes blank. Nah I diny get anything like that at a’… I
like it like this.Can I just leave it like this?
From the dialogue here it is possible that the young person has limited ability in terms
of visualisation, which could support Multiple Intelligences theory (Gardener, 1993)
suggesting she has an alternative strength. In my own opinion as an observer of the
situation, I suspect that given she had shown earlier signs of self consciousness, she
may have felt exposed or vulnerable by discussing any mental imagery associated
with the song and so denied having any. There are two factors likely to have caused
this – the presence of workers and / or the presence of a group of peers may have
felt an unsafe setting to the young person to reveal private thoughts.
Negativity towards literacy learning
At specific points in the discussion around Literacy, the participants were negative in
attitude, behaviours and word use, in contrast to the earlier positivism generated by
discussion around art and music.
Researcher: What does literacy mean to you? What do you think of?
Participant C: Being bored.
Participant A: School. Writing. Reading a book. Boring.
Participant C: Boring stuff.
Researcher: So you know this has been a literacy session?
Participant A: Aye but this is awright like.
We can see here that introduction of the term “literacy” disrupted the flow of the
discussion. You get this sense by the way that two of the participants’ style of
response changed immediately from lengthy, narrative, descriptive sentences to
stinted, one word answers. There is clearly a negative association with the term itself
or with the situations in which literacy was a focus, in this case; school. As non-
attenders at school it is most likely that use of this terminology is a reminder of an
unpleasant experience to these participants. I noted that the words, body language
and communication became overall negative and closed at this point. I have been

24
unable to source any literature on research into the causes of low literacy in Scotland
and will recommend in this paper that knowledge of these could support strategies to
learner solutions both within and following compulsory education. As I have already
queried in the literature review, this issue has chicken and egg connotations – do
learners have aversion to literacy because school was a negative experience, or was
school a negative experience because the literacy learning was unsuitable for the
individuals? The participants did not articulate any further.
Previously, the young people demonstrated self-awareness and emotional literacy
when discussing songs and images. In this part of the discussion they appear
unable, or unwilling to articulate the cause and effect of their negativity. One
explanation is that the process of creating and engaging with art was more conducive
to verbal and emotional literacy ability than when consciously focussing on literacy
itself. It may be that the earlier productivity and articulation was a product of positive
mood, not necessarily because the activity was creative. Interestingly it was at this
point that participant B spoke for the first time during the session. Exercising
independence of thought. She stated :
It’s ok to read and write. I like doing thae things.
She uses her voice for the first time that morning to contradict the opinion of her
peers. Her speech suggests that she doesn’t approve of the back door approach to
literacy, however, she chose to sit through the session, albeit on a periphery, but as
part of the group.
At the close of the workshop we discuss alternative literacy provision.
Researcher: So do you see how you’ve done literacy work today?
Participant A: Aye. Reading and computers and words stuff….
Researcher: Yeah spot on. There’s ways to learn that are enjoyable. And
we’ve used emotional literacy today as well, thinking about our feelings in
relation to music and memories…
Participant A: Aye aye aye.
There is evidently a reluctant acceptance of the learning underneath the activity.
Though nonchalant, Participant A acknowledges the value of the session without

25
prompt. This demonstrates her preference of the approach to literacy above
traditional methods which stifled her communication in earlier discussion.
My interview with the Practitioner reinforces my own observations of the emotions
and behaviours displayed within the group.
[I was surprised by] Participation from individuals who have generally been quite
'closed', began sharing and displaying open behaviour.
Conclusions and Recommendations
1. Did participants develop skills beyond the art activity?
2. Do the participants prefer this approach to traditional methods?
As I have outlined in my observations and those of the practitioner, two of the three
participants demonstrated development of skills in IT literacy, safe use of materials,
visualisation, communication, issue based knowledge and emotional awareness with
some tentative engagement in group discussion / intra-personal involvement.
These participants expressed through dialogue and behaviour that the approach was
preferable to previous experiences of literacy learning. The other participant,
however verbalised the approach was not preferable though. Through dialogue with
the practitioner I learned that this individual’s literacy competence was higher than
her Individual Learning Plan had indicated and her personal circumstances that
particular day were not conducive to her participation.
To summarise, this inquiry has discussed the meaning and value of literacy and its
place within a Scottish social and political context. The other authors have discussed
how art can be a means of developing literacy skills, demonstrating evidence of this,
though it remains unclear as to exactly why this happens. Through collaboration with
a Youth Work practitioner and by using dialogical and behavioural analysis of young
people’s action and conversation, this paper has identified that the participants
observed match the risk factors highlighted in existing research on low literacy and

26
responded behaviourally in kind with the observations of other authors into art as a
literacy provision, with the exception of participant B who felt unwilling to try the
activity at that time. I have been triangulated the practice of this workshop with
relevant theory and existing research on the topic.
I would make several significant recommendations following on from this inquiry.
Given the high level of adults in Scotland who left school with low literacy abilities,
more in-depth analysis is needed to explore the causes of this trend. Knowledge on
the causes would help build strategies to reduce the figures and increase quality of
life for more individuals. Further, as the connection between art and literacy
enhancement is unclear, more studies by a range of professional disciplines would
offer useful insight to fully harness the potential of creative work in relation to literacy
education, as would further investigation into whether the vehicle or the relationship
between young person and practitioner is actually the key to literacy successes.
From a practical perspective there are lessons to be learned from the delivery of this
inquiry’s workshop. Group settings require sensitivity to the dynamic and
consideration of the particular literacy focus. Where a key theme of this inquiry’s
group session was emotional literacy, it is important to approach this with caution
depending on the group dynamic, or to utilise the approach in one to one settings
only.
Omitted from discussions in this paper but a theme that arose repeatedly in the
research is the creative workshops’ potential as a platform for issue based work.
Studies into the potential for art to develop learning in areas beyond literacy and
practical skills would be of value to the CLD profession.
Finally, caution must be applied when considering the replicability of this inquiry’s
particular workshop. Within a CLD context, providers would benefit from considering
their delivery style as they do a young person’s learning style, and that is to come at
their work from their own personal strength in order to fully appreciate the reason
behind the approach, not blindly following a session plan. A mild health warning,
however; to prevent art serving as an additional barrier to learning, its use with
individuals must take a person centred approach, the setting, environment, materials
and activity being appropriate and attractive to each individual learner.

27
Reflexive Discussion
I had both personal and professional motivation for this inquiry. Within my practice I
am constantly seeking new and viable methods for enhancing every individual’s
capacity for learning and have observed first hand the potential art has for developing
the skills and confidence of disengaged young people. Conversely, I have witnessed
the immediate barrier to a trusting relationship that rises when any cold literacy task
is brought to the table. I have sought to evaluate this observation objectively and
professionally in order to enhance my own practice within CLD and Youth Work in
particular.
On a personal level, I recall as a child being captivated by Mr Miage’s teaching
methods in Karate Kid and long wondered what magical potential other task based
approaches have to skill development. Originally, as set out in my proposal, I
intended to name the Inquiry Wax On Wax Off, alluding to the film, but throughout the
process of the research, reasoned that Art for Literacy’s Sake specifies the content
more clearly.
I encountered problems throughout the process of this inquiry. Initially my own
mental roadblocks regularly halted my momentum as I experienced the ‘white noise’
phase of learning the tutor had described. My own insecurities around academia
hindered my progress for months at the start of the process, then frustration as I
discovered that the more I was learning, the more I became aware how little I really
know.
I faced numerous practical problems to the inquiry process. The young people I
targeted are chaotic and transient. Though 6 young people agreed to participate in
the group workshop; just 3 attended. One of those was uncommunicative and
inactive throughout. Further, the one to one interviews were scheduled on five
occasions, the first with no attendance due to individual young people’s life
circumstances, followed by four cancellations because of dangerous weather
warnings in Central Scotland over an extended period. Disappointingly this narrowed
my range of data and I had anticipated making valuable discoveries through more
intimate interviews with participants.

28
As a practicing artist and self-diagnosed visual learner, I am conscious of how
employment of visual approaches to academic studies has enhanced my own
learning and development and am aware that my knowledge of this and passion for
the visual arts in general may have prejudiced my outlook on this inquiry, causing me
to subconsciously seek out particular arguments or to misinterpret participant
responses. I am aware that as a visual interpreter I analysed the situation in action.
By observing choice of colour, use of composition and selection of imagery I felt I
could see beneath the surface of each young person’s character presentation, their
choices being so revealing to me. You could argue this might have prejudiced my
interpretation of the findings though I believe it has enhanced my observations and
analysis of the group’s behaviour.
What have I learned about conducting research having gone through the process is
that it’s like constructing a life painting – having an aim, roughly sketching the bones
then the flesh then applying individual interpretation. Much less tedious than I’d
anticipated. Qualitative research process has inspired me to make a difference all the
more to young people who face barriers to literacy because I have increased
understanding of their situation and the positive ripple effect this skill base makes
and equally the negative ripples if it is lacked.
I felt safe throughout the process. My tutor had advised I would experience stages of
learning, white noise type anxiety through to clarity. And I have! When my anxiety
passed, I experienced genuine flow, a sensation I’ve not encountered recently or
perhaps at all. It’s satisfying and I’ve thrived on the experience.
Naturally, some things went wrong in the process and, on reflection, I see that I
should have considered more counter arguments to my inquiry aims. Though I didn’t
find any in the literature, it is something I could have brain stormed with colleagues
and partners for inclusion in the paper. In hindsight I ought to have run a series of
workshops, for a few groups and individuals so there would be more data to draw on
and analyse.
I realise that I have only tentatively met my second aim To establish whether young
people might favour this approach to developing literacy skills over traditional
methods as my intention was to explore this more fully in the one to one interviews.
The evaluation of the group session includes this feature but the verbal responses of
the participants were inconclusive.

29
Finally, my main source of frustration has been dissatisfaction in my writing style. I’ve
struggled with verbal communication of this level and am concerned that the paper
has a pretentious tone, making it less convincing or accessible to the reader. These
are all areas I have reflected on and view as potential for ongoing development.

30
Bibliography
Atkinson, D and Dash, P (2005) Social and Critical Practices in Art Education
London: Trentham
Cleveland, W. (2008) Art and Upheavel Oakland: New Village Press
Craig, C. (2007) Creating Confidence Glasgow: The Centre for Confidence and
Well Being
Darley, S. and Heath, W. (2008) Expressive Arts Activity Book: A Resource for
Professionals London: JKP
Denscombe, M. (2010) Ground Rules for Social Research Berkshire: Open
University Press
Dewey, J (2005) Art as Experience New York: Penguin
Eisner, E. (2002) The Arts and the Creation of the Mind, Yale University Press
Eisner, E. (2010) http://www.youtube.com/watch?v=h12MGuhQH9E online
lecture, What Do the Arts Teach? last viewed on 4 November 2010
Elfland, A.(2002) Art and Cognition: Integrating the Visual Arts In the Curriculum,
New York: Teachers College Press
Fraser, W. (1996) Learning from Experience Leicester: NIACE
Freire, P. (1996) Pedagogy of the Oppressed London: Penguin
Frey, T. (2009) http://www.futuristspeaker.com/2010/06/next-generation-literacy
viewed on 4 November 2010
Gardener, H. (1993) Frames of Mind: The Theory of Multiple Intelligences, New
York: Basic Books
Grant, A., Hutchison, K., Hornsby, D. and Brooke, S. Creative Pedagogies: Art-
full Reading and Writing Journal of English Teaching: Practice and Critique May
2008, Volume 7, Number 1, pp 57-72
Harding, A (2005) Magic Moments: Collaborations Between Artists and Young
People London: Black Dog

31
Harrison, R and Wise, C. (2009) Working with Young People London: Sage
Hetland, L., Winner, E. Veenema, S. and Sheridan, K. (2007) Studio Thinking:
The Real Benefits of Visual Arts Education New York: Teachers College Press
Hickman, R. (2010) Why We Make Art and Why it is Taught Malta: Gutenberg
Jackson, C., Hill, K. and Lewis, P. (2008) Child and Adolescent Mental Health
Today Brighton: Pavilion
Jeffs, T. and Smith, M. (2005) Informal Education, Nottingham: Educational
Heretics Press
Kendrick, M..and McKay,R. (2002), Uncovering Literacy Narratives Through
Children’s Drawings, Canadian Journal of Education 27,1 (2002) pp45 – 60
Kester, G. (2004) Conversation Pieces: Community and Communication in
Modern Art London: University of California Press
Kirschenbaum, H. (1990) The Carl Rogers Reader, London: Constable
Ledwith, M and Springett, J (2010), Participative Practice, Bristol: The Policy
Press
Lewis, R. and Paine, N. (1985) How to Communicate with the Learner London:
Council for Educational Technology
McConnell, C. (2002) The Making of an Empowering Profession West Lothian:
Scottish Community Education Council
McGrath, H and Noble, T. (2003) Bounce Back: A Class Room Resiliency
Programme, Melbourne: Pearson
Matarasso, F. (1997) Use or Ornament? The Social Impact of Participation in the
Arts Stroud: Comedia
Milbrath, C. and Lightfoot, C. (2010) Arts and Human Development – Jean
Piaget Series, London: Psychology Press
Morgan, W (1997) Critical Literacy in the Classroom: The Art of the Possible
New York: Routledge
Nemec M. and Roffey S. (no date), Paper NEM05355 Emotional Literacy and
the case for a whole school approach to promote sustainable educational
change. Sydney: University of Western Australia
Olshansky, B (2008) The Power of Pictures: Creating Pathways to Literacy
Through Art, SanFrancisco: Jossey-Bass
Roche, J., Tucker,S., Thomson, R. and Flynn, R. (2004) Youth in Society
London: Sage
Rogers,C., (1994) Freedom to Learn, New York: MacMillan

32
Scottish Executive (2001) Adult Literacy and Numeracy in Scotland, Edinburgh:
Scottish Executive
Scottish Government (2008) The UN Convention on the Rights of the Child,
Edinburgh: Scottish Government
Scottish Government (2009), Valuing Young People, Edinburgh: Scottish
Government.
Scottish Government (2010), Curriculum for Excellence Literacy Across
Learning: Principles and Practice, Edinburgh: Scottish Government.
Scottish Government (2007) Framework for Local Authorities & Local Authority
Partnerships: Single Set of National Indicators, London: Department for
Communities and Local Government
Seftel, L (2006), Grief Unseen, London: Jessica Kingsley
Silverstone, L. (2009) Art Therapy Exercises London: JKP
Simmons, L (2006) Interactive Art Therapy, America: Routledge
Solomon, R. (2007) Guggenheim Museum: Teaching Literacy Through Art: New
York: Randi Korn
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Literacy Co-ordinator’s File 15: Online
UNESCO (2004), The Plurality of Literacy and Its Implication for Policies and
Programes, Paris, United Nations Educational, Scientific and Cultural
Organization
Weare, K (2004), Developing the Emotionally Literate School, London: Sage
Whittaker, L. (2008) Scotland’s Shame: A dialogical analysis of the identity of
young people Not in Education, Employment or Training Stirling: University of
Stirling
Wilson, A. (2004) Last Week I Wrote A Letter For An Illiterate Guy in Prison,
Scottish Youth Issues Journal, Issue 8 pp 57 - 70
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Edinburgh: Youth Link

33
Appendixes
1. Approved Proposal
2. Ethics Audit Form
3. Blank Consent Form
4. Action Focus Group Transcriptions
5. E – Interview With Practitioner
6. Focus Group Session Plan

34
University of Dundee
School of Education, Social Work and Community Education
BA/BA (Hons) Community Education
BA3 Work Based Core Module 2010/2011
An Inquiry Approach to Contemporary Issues in Learning & Development
INQUIRY PROPOSAL FORM
Student Name: Katie Carmichael
Matriculation Number: 050009451
1. The purpose of this proposal is to generate ideas, data collection
focus and research boundaries. The proposal should be completed
(paper version only) sent to Tracy Cumming by Thursday 24 June
2010 at the latest. You should retain an electronic copy for possible
further refinement.

35
Wax on Wax off: Using the visual arts as a vehicle for literacy development.
TOPIC OF THE INQUIRY
This inquiry seeks to find out if young people in Stirling engaging with Youth Services
community based learning programmes develop their knowledge and skills in literacies,
numeracy and personal and social development through participation in informal visual arts
based learning activities rather than as standalone areas of formal learning.
The inquiry will gather the views of the young people through dialogue and participation in
practical art based workshops. The aim is to establish whether
a) Young people develop skills in areas beyond the art activity
b) if young people prefer this approach to learning skills
THE KEY CONCEPTS AND IDEAS TO BE UTILISED IN YOUR INQUIRY
(Identify fully the central ideas you wish to explore and break these down into sub-themes.
This section should be about 200 words.)
The central ideas and sub themes I wish to explore are:
Learning Style
I will examine learning and participation types and models, including experiential learning,
congruent learning, informal learning theory and theories on the process of learning. I will
discuss the practice of reflection and the benefit for the learner on reflecting on experience.
Practice
I will examine ideas around participatory practice and the impact on the learner, the value of
transformative practice, person centred learning and the application of this, and I will include
discussion around adult learning theory.
Change through Learning
I will review theories on the instigation of wider social change prompted by learning with focus
on emancipatory action research and liberation theories. I will include a review of policies
focussing on learning and approaches to teaching, including discussion around theories on
art education as a means for developing social and critical understanding.
Context

36
I will examine aforementioned key theories and policies and assess them in the context of
contemporary community learning and development, in particular for young people in present
day Stirling, comparing this with an international perspective
THE METHODOLOGY TO BE APPLIED IN YOUR INQUIRY
(Identify clearly the methods of data collection that you intend using or have used already and
the role of others involved in the research as co-researchers or research participants. This
section should be about 100 words covering the headings below.)
(a) Permission and access to field setting approved
Permission and access to the field setting has been approved by Lynne MacInnes, Youth
Services Operational Leader (Stirling and Bannockburn). Youth Services Workers
responsible for Community based Programmes have agreed sessional access to the
groups, allowing me to facilitate arts based activities and conduct research with the
groups and individuals. Practical workshops as a focus group and individual interviews
are the most appropriate methods for this research in order for participants to understand
the learning process, and have a practical experience to reflect on in interviews. The
nature of the topic is dependent on qualitive research methods as the purpose is to
establish participants preferred learning style and will not have a quantative outcome.
The focus group will have 4 – 6 participants and each will be interviewed on an individual
basis in order to reflect on their learning experience and to raise the same discussion
points allowing participants opportunity to discuss any points they have made further in a
private setting.
I will triangulate data gathered in research meetings with existing research findings and
current policy and theory.
(a) Data gathering on placement/elsewhere
I will gather data by film recording group activities, with film and photography consent of the
participants, and from the parents of those under 16 years of age. I will sound record and / or
film participants interviews and transcribe these and will facilitate free discussion and
reflection in both group and individual settings. Confidentiality will be ensured, the footage
and images will not be shared, participants will be assured in their consent forms that film is
purely for the purpose of this research, copies will not be made.
(b) Literature Research
My literature research will triangulate existing theories, policy and research around my area of
inquiry, namely on informal education, learning and teaching methods and styles and
community learning and development principles and values. I will examine the limitations of
these writings by their context in relation to mine, drawing mainly from sources most relevant
to my topic.
(c) Usage of the Research Journal

37
I intend to take a 360° approach to journaling my experience, reflecting on my learning
process, my conceptualisation of this and the reflective considerations of being a learner
among learners and will use it to challenge my own thinking. I will reflect on my commitment
to this approach to working with young people.
A BRIEF STATEMENT OF YOUR PROFESSIONAL INTERESTS
(Make the link from your previous/current learning to your current/future interests, for example
from the Year 2 participative inquiry. Establish the relevance of the study a) for your own
professional development and b) for the field of community education. This section should be
about 100 words.)
As a Youth Services Worker with a focus on learning programmes, this inquiry is conducive to
developing my practice with young people, in particular around the development of skills in
literacies with young people who have not sustained placements in formal education settings.
As Worker with responsibility for delivery of arts based activities in community centres, this
inquiry has relevance for my planning, delivery, self evaluation and communication of the
value of the visual arts in CLD.
My previous inquiry focused on the Services supporting young people. In this year’s inquiry I
am focussed on the learner and methods of practice, areas of my practice over which I have
greater control and influence. Subsequently, I will have scope to apply my findings within my
own practice and to continue my own learning and development as a practitioner as well as a
student. Furthermore, the concepts of learning and application of visual art, are areas of the
field which I find stimulating and will therefore challenge my own approaches to researching
the areas more thoroughly than in my previous inquiry.
A BRIEF STATEMENT OF YOUR PERSONAL INTERESTS
(Make the link between the personal and professional and establish your interest in
researching this topic and how you will maintain momentum for the next six months on this
interest. This section should be about 100 words.)
As a trained and practicing artist I have a firm grounding in the arts as well as broad
experience of delivery of arts in a community context.
As a visual communicator, I have adapted my learning styles in every context to fit my visual
language. By translating new concepts into visual forms in my mind I am able to understand
and push through “white noise” states of learning. My interest lies in sharing my approaches
to learning with young people who may struggle in formal education settings despite their
abilities to learn successfully in other contexts.
I will maintain my momentum in this inquiry by my thirst to learn around this concept, I will
seek to connect my own theories to those existing concepts. I am eager to pull apart existing
theories and remould them, demonstrating the inter-connectedness of CLD, learning and art. I
am drawing mainly from sources which inspire me and regularly ignite new was of thinking,
thus I will remain stimulated throughout my inquiry.
A STATEMENT THAT YOU HAVE ADDRESSED ETHICAL CONCERNS

38
(This statement needs to show that you are aware of the fieldwork gathering parameters and
that you have sought and gained approval from you agency for any information-gathering)
I am conscious of the ethical considerations around my inquiry. I have sought
permission from my employer and will adhere to University of Dundee’s ethical
policies, completing an ethics pro forma. I will carry out this inquiry with the written
permission of participants, or the consent of their parents if under 16 years of age.
I will take care to ensure I carry out my research with CLD principles and values at the
centre, as this is the context of my inquiry.
I will protect the anonymity of participants should they wish to remain unidentifiable
and will take this into consideration when sharing and / or transporting data, adhering
to data protection requirements.
I will take care to discuss preferences of learning contexts while taking care to respect
the place of formal and alternative learning settings.
MAKING A START
(Here tell us about what you have done so far to get started and the steps you have taken –
or intend to take soon – towards exploring the topic. Attach a list that is properly referenced
of the works you have consulted to date – these should be balanced between
government/local authority reports and academic research.)
To date I have read around my topic, examining a range of sources including existing
research, current areas of policy and academic theories.
My sources are as follows:
Theory
Atkinson, D and Dash, P (2005) Social and Critical Practices in Art Education, Staffordshire,
Trentham Books
Denscombe, M (2010) Ground Rules for Social Research, Berkshire, McGraw - Hill
Ledwith,M and Springett, J (2010) Participatory Practice, Bristol, The Policy Press
Lewis, R and Paine, N (1985) How to Communicate with the Learner, Huddersfield, CET
Policy
Scottish Government (2009), Curriculum for Excellence; Expressive Arts, Edinburgh
Scottish Government (2009) Valuing Young People. Edinburgh: The Scottish Government
Existing Research
Access Art (20090 SKETCH Books in Schools Report, online, Access Art
Jones, Julie and Find Your Talent(2002), How can teachers move away from a didactic model
of teaching and move towards working alongside young people as co-constructors of their
learning? , Telford and Wrekin Council
I intend to read more widely around models of learning, CLD principles and values,
Community Art theories and current policy on art and education in Scotland.

39
My international perspective will be from America, where art programmes are run by the
Guggenheim museum to develop critical thinking skills. I will relate this to my own inquiry.

40
Inquiry Proposal Feedback
Student Name: Kate Carmichael
Matriculation number: 050009541
Approved with conditions
You have addressed, the main, issues raised in the original feedback.
You have stated how you are going to go about ensure the confidentiality and anonymity of
the participants i.e. by using the recordings only for the purposes of your research. You may
have also acknowledged this in your ethics form. I think you could have explained further the
practical actions you are going to take to prevent any of the participant’s identities being
known on film etc.
You have acknowledged the argument of bias in your interpretation of the literature, findings,
etc.
You have clarified the methods you intend to use in your research and methods of data
collection you are using e.g. 1:1 interviews, focus group, etc and acknowledged the
importance of triangulation. You also indicate how many participants you intend to involve in
your research and demonstrate that you understand how to carry out a small scale inquiry. I
still think you could gone into why you chose these methods/ methodology in more depth.
You have included a reference to your international perspective.
Your proposal has been approved with minor conditions which mean you can proceed to
gather your data.
Signed: Gary Roberts Inquiry Tutor Date: 10 August 2010

41
School Research Ethics Approval Form
Title of research project:
Wax on Wax off: Using the visual arts as a vehicle for literacy development.
Example
Item Yes/No? Consideration Given/Action Required
1 Refer potential participants, sponsors, funders and
other stakeholders to this Code.
Yes Make reference to this Code in Participants
Information Sheet
A General
1 Refer potential participants, sponsors, funders and other
stakeholders to this Code.
Yes Will include copy as part of information
provided to participants.
2 Respect cultural, religious, linguistic, nationality, colour,
political, social class, age, disability, gender, sexual and
other differences.
Yes Will consider diversity within session
content.
3 Avoid potential physical or mental harm (greater than in
their ordinary life) to or unfair enhancement of the welfare
of all participants, the system in which they function, or
other stakeholders. This particularly applies to participants
who are young, disadvantaged, vulnerable or oppressed or
have exceptional needs.
Yes Stirling Council Health and Safety and
COSHH requirements will be adhered
to.
Participants will be supported in a safe
environment.
4 Avoid conflicts of interest or relationship, and do not abuse
or exploit any differential in trust, power or status arising
from research activities or findings, for any purpose,
including inducing people to participate.
Yes Will ensure fairness and equity in
approach, respecting participant’s right
to choose to take part or not to take
part.
5 Avoid damaging or unfairly enhancing public confidence in
researchers or related professions.
Yes Will adhere to Stirling Council,
University of Dundee and Cosla ethical
standards equally.
6 Maintain high standards of physical and psychological
safety for participants and researchers in the use of
procedures and equipment.
Yes Stirling Council Health and Safety and
COSHH requirements will be adhered
to.
Participants will be supported in a safe
environment.
7 Comply with legislation on human rights, publication,
copyright, libel and data protection.
Yes Information will be recorded accurately,
and stored and transported safely.
8 Clear a criminal records check before you have contact
with children or young people (see
www.disclosurescotland.co.uk).
Yes I am disclosed by both the University
and my employer for the purpose of my
intended work.
9 Encourage other researchers to re-evaluate their
procedures if you believe they are acting unethically. If this
persists, take allegations of misconduct to the appropriate
authorities.
Yes
B Recruitment and Consents

42
C Confidentiality and Data Protection
1 Preserve the confidentiality of all forms of data (including
photographic data, audio and video recordings) to protect the
privacy of individuals or organisations, unless appropriate
permissions are given. Prevent unauthorised access to
personal data and accidental loss or damage. Remember that
incompetence is not an excuse in law
(www.dundee.ac.uk/recordsmanagement).
Yes I will adhere to data protection
requirements.
2 Ensure that data remain personally identifiable only as long
as is necessary in the interests of those to whom they refer.
Yes
3 Record only data relevant, adequate and not excessive for
the current purpose of the research.
Yes
4 Use no data given for one purpose for a different purpose
without the explicit permission of the participant.
Yes
5 Inform participants of the boundaries of confidentiality
realistically available, including that such data do not enjoy
legal privilege and the extent to which data might be shared
between collaborators (who must also be clear about the
boundaries of confidentiality).
Yes Will agree group rules of
confidentiality and respect.
6 Inform appropriate third parties without the prior consent of
the participant only where there is evidence to raise serious
concern about the safety of participants or others who may be
threatened by the participant's behaviour, and only after
consultation with senior researchers (unless the delay caused
by seeking this advice would involve a significant risk to life or
health).
Yes Where there is a risk to myself or
participants, appropriate third
parties will be notified.
1 Identify yourself and your host institution (e.g.
University of Dundee), and make clear the limits of
your competence and supervision.
Yes This will be made clear to participants.
2 For any activity not usual or normal for the intended
participants obtain informed consent by informing
them clearly about the aims, purposes, methods and
likely dissemination of findings of the research and of
any potential harmful consequences for participants,
and obtain their voluntary informed consent to
participate (via their signing a consent form readily
comprehensible to them, or other valid evidence,
retained by the researcher).
Yes Activity is usual and normal for participants.
Will make clear to participants the additional
element of data gathering.
3 Recognise and uphold the rights of those whose
capacity to give valid consent may be diminished, e.g.
the young, those with learning disabilities, the elderly,
and those in an institution.
Yes
4 Obtain informed consents at all relevant systemic
levels: e.g. local authority, school (head teacher),
class teacher, the individual child participant, and by
parent(s) if relevant according to the child/young
persons wishes (child = < 16 years).
Yes
5 Obtain positively affirmed consent for a specified time
period and activity – it cannot be inferred from a lack
of response.
Yes Will clearly advise permission is for
participation in specific workshops and
interviews, stating dates and times.
6 Withhold information only when it is unequivocally
necessary for objectivity, where no alternative
procedure is available, where it is unlikely that
participants will be displeased once made aware, and
with the agreement of senior researchers.
Yes
7 Make no exaggerated or unjustifiable claims for the
effectiveness of methods or materials.
Yes Will use transcription and refer to video
footage in claims.
8 Make no implication that access to services may be
affected by or dependent on participation in research.
Yes Paricipation is voluntary, non participation
non consequential.
9 Respect the privacy and well-being of persons
observed, obtaining consent except where those
observed would normally expect to be observed by
professionals.
Yes
10 Make clear to participants their right to withdraw from
the research at any time. Regard persistent
avoidance as evidence of such withdrawal and
termination of consent.
Yes

43
7 Advise potential participants with a combination of attributes
which make them readily identifiable that it could be difficult to
disguise their identity completely.
Yes
8 Make clear how participants will be able to see their own data,
dispute it if necessary, alter content, withdraw and destroy
data, provide additional data or add to interpretations, at any
time.
Yes
9 Advise participants of data retention and disposal policies and
practices, with time scales and any firm intentions regarding
later processing.
Yes
10 Validate data (including secondary data) as accurate and
keep it up-to-date.
Yes
11 Transfer no data to countries outside the European Union not
governed by data protection legislation. If the country is not
governed by data protection legislation, please discuss with
your Supervisor/School Research Committee
Yes
D Debriefing
1 Inform participants of procedures and means for
contacting the researcher within a reasonable time
period following participation should stress, potential
harm, or related questions or concern arise.
Yes A follow up date will be scheduled within
planning. Participants will be offered contact
details to get in touch with any queries
following their participation.
2 Discuss with participants their experience of the
research, to monitor any unforeseen misconceptions
or negative effects such as stress or anxiety. This is
particularly important with participants who may be
especially vulnerable. Such debriefing does not justify
any unethical aspects of any research project.
Yes A de- brief both in group and individual
participation will be included in the
evaluation.
3 Provide participants with any additional information
necessary to complete their understanding of the
research after data have been collected
YES
4 Inform a participant if you obtain evidence of
psychological or physical problems of which they
appear unaware, if you believe the participant’s future
wellbeing may be endangered.
Yes
5 Give no advice to participants unless this forms an
intrinsic part of the research and has been agreed in
advance. An appropriate source of professional advice
may be recommended.
Yes
E Dissemination
Item Relevant?
Yes/No
Action?
1 Clarify in advance with sponsors and funders the
limitations, advantages and disadvantages of various
data sources and methods of analysis, and any claim
from them on intellectual property rights or profits.
No
2 Tolerate no influence on research by external agencies
which is clearly in pursuance of ulterior economic,
political or other motives.
Yes Will not be influenced by any agenda of
the local authority host.
3 Make sponsorship publicly explicit, including
disclaimers if required.
No
4 Maximise the dissemination of information to
continuously enhance the accuracy,
comprehensiveness and replicability of findings.
No
5 Accept no restrictions on publication by default, e.g. by
failure to answer requests for permission to publish or
undue delay.
No
6 Report research design, instruments, procedures,
analyses and results accurately and in sufficient detail
to allow other researchers to understand, interpret and
replicate them.
Yes A detailed session plan will be included as
an appendice.
7 Report findings accurately, truthfully and completely,
excluding or acknowledging any bias or conflict of
interest. Do not fabricate, falsify or misrepresent
evidence, data, findings, or conclusions.
No
8 Communicate findings and their practical significance in No

44
clear, straightforward, and appropriate language to
relevant research populations, institutional
representatives and other stakeholders.
9 Point out if your findings are misused by others,
publicly dissociating yourself if necessary.
No
10 Acknowledge the limits of available evidence when
giving advice.
No
11 Claim no credit for the research and intellectual
property of others.
No
12 Determine authorship on the basis that all those
contributing substantially to the research are listed, in
relation to relative contributions in leadership, creativity
and effort expended, with their consent.
No
13 Give due credit to collaborators, acknowledging less
substantial contributions to the research.
No
We, the undersigned, have considered all the requirements of the School’s Research Ethics Code of
Practice and will strive to comply with those relevant to the design, conduct, analysis and reporting of
this research project. (All researchers and supervisors must sign and the original must be held secure.
Each signatory should retain a copy. Participants may be given a copy).
Signed: _____________________________ (Student) Name:
__________________________________ Date: _________
Signed: _____________________________ (Co-researcher) Name:
__________________________________ Date: ________
Signed: _____________________________ (Co-researcher) Name:
__________________________________ Date: ________
Signed: _____________________________ (Tutor) Name:
_________________________________ Date: _________

45
Consent form for Participation in Research Inquiry: Art for Literacy’s Sake
On 19/11/10
I (print name) _____________________________________________
Hereby consent to participation in a focus group practical art workshop and individual
interview. I understand that any data gathered may be published in an academic
research paper. I consent to be the subject of photography and / or sound recording
and understand that I will not be identifiable and my privacy will be protected by the
researcher of the paper.
Signed (Participant) __________________________________________________
Signed (Researcher) _________________________________________________

46
To: lynn hayden <haydenl@stirling.gov.uk
---------- Forwarded message ----------
From: Katie Carmichael <ktcarmichael@yahoo.co.uk>
Date: Sun, Nov 28, 2010 at 6:53 PM
Subject: >, Art for Literacy’s Sake: Interview
Hello
As we chatted about last week, here is the interview re Life Skill's programme
involvement in my research into the use of art as a vehicle for literacy development in
young people. There are questions specifically on our focus group at the YT Club
and general questions about your practice.
Could you type your answers in below each question, be as detailed as you wish,
and return to me? Or alternatively handwrite - whichever "vehicle" you prefer!
Thank you for your participation!
1. What do you think the young people got from the session?
The chance to express themselves, share something of themselves in a subtle
way, show off their musical
tastes - talk in a non-eye-contact close situation. Do something new.
2. What were the benefits of the session in general?

47
Hidden literacies and the chance to do a fun activity that met several of our
priorities and needs of young people
(IT, art, planning and organisation). One yp in particular was experiencing chaos in
her home life but she felt
safe to remain with the session and was distracted by the activity.
2.Why is the approach taken by the researcher helpful / unhelpful in your practice?
It strongly addresses the need of individuals, and combines several varying skills
allowing yp to
build on their strengths but develop new skills - recognises that learning can be
delivered in several, fun
ways
3. What, if anything surprised you about the young people's level of
participation, collectively and individually?
Participation from individuals who have generally been quite 'closed' began sharing
and displayed open behaviour and the conversation between the small group was
relaxed
4. The session was slotted in to the Fun Friday session. What is the usual
purpose of Fun Fridays?
To try something new, experience new challenges and work in a relaxed group
5. What did you, as a practitioner, gain from the session?

48
Reminder that we as professionals need to view all ways of delivery not just
obvious wksps and standard styles.
6. What did you gain as an individual from the experience?
Chance to get to know the yp from a new angle - to understand them more and a
piece of art for my bedroom wall!
7. Any other comments / queries?
Brilliant session, delivered in such a relaxed laid back way - fun, the participants
loved it and fed back so.

49
Art for Literacy’s Sake: Practical Focus Group (Transcript)
November 19 2010
YT Club Cultenhove, Stirling
10.00 – 12.00.
Individuals’ names are substituted by code letters and distinguished in
type by colour coding. Participants referred to by letters (A, B and C) in
blue text, member of staff as ‘W’ (worker) in violet and myself ‘R’
(researcher) in green.
R: Does music make a difference to you? Is there a song that has an
effect on you?Like – a song that can make or break your day? It
happens to me when I hear James Blunt. Ruins my day.
W: Yeah I know what you mean. A song on the radio is enough to make
your day good or bad.
C: Yeah I know what you’re talking about.
R: What are you thinking of, C? What music do you like?
C: Reggae! And Rap! Bob Marley and Eminem and 50 Cent!
R: O cool. I like Eminem.
W: Bob Marley? Really?That’s interesting. You have charges for racism
don’t you? What do you think of Bob Marley?
C: That’s different. Cause. He, like. Has good songs an’ that.
R: (To A) : What about you, A. What are you into?
W: You mentioned liking NdubZ last week.
A: O I dunno…..
C: They’re good.
A: Aye, I do like them.
W: What can music do for you? Do you listen to it as a chill out? Or a
way to motivate you?

50
A: It chills me when I’m crabbit. I just stick in ma heid phones an’ that.
R: So do you guys have songs that bring back a strong memory or
feeling?
(Giggling from A and C)
A: No way, man!
W: You’re smiling. Does that mean there is something?
R: You don’t have to share what the meaning is, but I’d be interested to
know the song?
A: No way. It just reminds me of a night A bad night.
W: Does the song make you feel bad?
A: Nuh. It wisnae bad that way. It makes me laugh. I just done a bad
thing. O my god. I’m not saying what…. The song’s about sex but it’s
nothing to do with that. It was just playing the night I took something I
shouldnae uv. It was bad but that song just takes me right back to it.
W: Intriguing!
R: Isn’t it amazing how a song can bring memories back to you like that,
give you the same feelings as the time you remember?
A: aye
C: (laughs)
R: What about you, C. You said… Bob Marley? Is that special to you?
C: Nah no really.
R: Do you have a song that’s special to you? Maybe something
romantic, a song you and (girlfriend) have?
C: Nuh. Nuh. I’m no like that.I like Bob Marley! It makes me have energy.
Like to go to the gym. Makes me want to go to the gym, makes me feel
… good!
R: Wow. That’s pretty interesting. So that music makes you feel
energetic?
C: Aye!

51
W: Yeah I get that… Reggae makes me want to move.
C: Yeah! You think that too?!
W: Aw yeah – totally.
R: Hmmm – songs do have strange power I suppose…
W: Yeah they can definitely be meaningful. Like when couples pick a
first dance for their wedding.
(laughter)
R: Ok let’s go through to the PCs, we’ll get the lyrics for our chosen
songs.
{Knock at door)
(A and C pick songs each.and play them on You Tube website for R and
W to hear. They Search, download, copy, paste, edit, and print the lyrics
with no assistance required. B has trouble deciding between 2 songs.
A: This one, right, is the one that means something to be but the other
one is just a really guid song and I like it. I like Pixie Lott just coz it chills
me oot.
R: I would go with whatever song means most to you…
A: I diny ken, I feel funny aboot it…Right I’ll pick this one.
R: Great. We’ve got our songs. Come round the table again….
… Participant B joins the group following a one to one intervention from
the worker. THe worker informs me C has had a difficult morning but
wants to join the session….
R: Is anyone up for sharing why their song is meaningful?
C: Makes me happy!
A: No.
W: Yeah mine makes me happy too. Reminds me of dncing in the
kitchen with my mum and dad. We were that kind of family. I picked
Andy William’s Song I Love You, Baby.

52
R: You’ll maybe think this is cheesy. I picked a song called “Woman”,
it’s old but I’m really enjoying listening to it just now…
.. Ok. So when you hear your song, or look at the words. Tell me – what
is the first colour that comes into your mind?
C: Red!
R: Yeah I’d pick that too for Bob Marley. With yellow and green. Do you
know why I’m thinking that?
C: Yeah. Coz it’s Bob Marley. Cannabis and that……
A: I’m saying pink for mine.
R: Is that what you think of with the song?
A: Aye. Naw. Well. Aye! The songs aboot pregnancy an’ that but that’s
no why I picked it. It’s just the song that was playing. I just like it…
R: Ok well pick your colour from the box over there, grab a roller and
canvas and colour it like your song.
A: I love this! (laughs) Love getting all mucky.
W: Do you like art?
A: I just like this.
(period of no conversation)
W: What’s up, C. ?
C: Aaaah. I got it on ma claes!
W: That’s because you’re siting down. Stand up and it’s easier to use
the roller. Want me to help you?
C: Aye. My jeans are painty.
R: It washes out, it’s poster paint. It’ll be ok.
C: I’m done anyway. I need to go. My drugs workers comin’ to pick me
up.
R: Ok, C. Thanks for taking part and coming along this morning.
C: Its’allright.

53
R: Will you give us some comments on the grafitti sheet? Just to know
what you think.
C: Aye. Can I dae it o’er here though?
R: Yeah, great.Thanks. Everyone else will fill it in too if they’re up for it.
A: Look at mine! It’s cool. All scratchy. What do we do now?
R: Well, next we’re going to put the lyrics on the canvas.
A: Whit do I need to cut out every single line?
R: You can do this however you think is best. I’m just picking one or two
favourite lines for mine. What do you want to do?
A: I’m goin’ tae put big bits doon.
R: Nice. While C’s scribbling and you’re being creative there, give me
some feedback. I’m going to ask you some questions. B, I know you’re
not doing the art work here but give us your thoughts too. What does
literacy mean to you? What do you think of?
A and C simultaneously: Boring!
C: Being bored!
R: How have you learned literacy in the past?
A: School. Writing. Reading a book. Boring.
R: C, what about you?
C: Boring stuff.
R: B?
(no response)
R: So, you know this has been a literacy session?
A: Aye but this is all right like.
R: What makes you come to sessions on (Progamme) then?
A: Money!
C: Aye money!

54
W: What else? You can get money on benefits. Why come to the
programme?
B: The support you get here.
W: O that’s good to hear. What does music do for you out of curiousity?
Is it important in your life?
B: I listen to the radio an’ that but I’ve no got favourite music. It’s a’ the
same tae me..
R: Ok. Cool. What sometimes stops you coming to a session? I know
you all sometime struggle to attend?
B: Tired. Can’t be bothered.
A: If I don’t think it’ll benefit me.
R: Ah. So you look at your timetable and think – right I’ll not get
anything out of that so there’s no point ?
A: Aye exactly.
C: That’s X here. See yas.
Everyone: Bye
R: So what did it say on your timetable for today?
A: Fun Friday. We always have fun Fridays. So we know it’ll be
something chilled and a laugh.
R: O ok. So what if it said: Literacy session?
A: I wouldnae come! I’d stay right aff!
R: That would put you off coming?
A: Aye! What do we do now?
R: Ok. So think about your song. Can you hear it in your head? Hearing
the words, and reading them, what pictures come into your mind?
A: Laughs. O nuh. Nuh.
R: Ok so do you have strong pictures in your mind?
A: Naw just thinking aboot that night it reminds me of.

55
R: Can you put into words what the images in your mind are?
A: Naw I diny get any images. Nothin at all. I can hear the song but the
inside of ma heid goes blank. Nah I diny get anything like that at a’.
R: Ok, well by picking out one of the words randomly does it make you
have an image?
A: nah. Nothin at all. Nothin.
R: Can I have a look at the words so I can see what I get?
A: Aye.
R: Right, yeah, it’s a hard one isn’t it. I see a scene but not really any
symbols..
A: It’s aboot pregnancy.
R: Ah! Right. Is that something you think about?
A: Nah it’s no like that tae me. I just like the song..
R: Fair enough. I understand that. The word pregnancy puts images in
my mind of. Well. A pregnant woman. Or a baby. Or you know, like a
scan?
A: Nuh. Nah. I like it like this. Can I just leave it like this?
R: Yeah of course. It’s your piece. It’s actually really interesting to know
that you don’t have any images when you think of your song. But you
hear the music clearly in your mind?
W: A is more audio than visual I would say… What about you, B. What
does music mean to you at all?
(no response)
R: So, we were saying… is it better to learn reading, writing and
communication on their own or through a task or project like we’re
doing here?
A: Project!
B: I like writing.
R: You prefer writing?

56
B: It’s ok to read and write. I like doing thae thing.
R: Do you think art is an enjoyable way to improve reading and writing
and to learn about communication and knowing yourself?
A: Yeah art.
B: Depends what it is…
W: What other places or circumstances have you done literacy learning?
A and B: School.
R: Ok that’s helpful to know. Thanks, guys. See on the table there is an
evaluation sheet that C was putting his comments on. We’re going to
leave the room and let you put down your own thoughts about the
session. Would you do that?
A: Aye bring it e’er here?
R: So do you see how you’ve done literacy work today?
A: Aye. Reading and computers and words stuff….
R: Yeah spot on. There’s ways to learn that are enjoyable. And we’ve
used emotional literacy today as well, thinking about our feelings in
relation to music and memories…
A: Aye aye aye.

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