This article addresses an arts integrated social studies curriculum for grades three through five entitled Artful Citizenship, designed by The Wolfsonian-FIU.
Funded by the U.S. Dept of Education's Arts in Education Model Development and Dissemination Grant program.
POWERFUL PEDAGOGY FOR AFRICAN AMERICAN STUDENTS. A Case of Four Teachers. TYR...eraser Juan José Calderón
POWERFUL PEDAGOGY FOR AFRICAN AMERICAN STUDENTS. A Case of Four Teachers. TYRONE C. HOWARD
The Ohio State University
The disproportionate underachievement of African American students may suggest that teacher effectiveness with this student population has been limited. However, amidst these widespread academic failures, characterizations of effective
teachers of African American students have emerged in an attempt to reverse these
disturbing trends. This article examines the findings from a qualitative case study
of four elementary school teachers in urban settings. The findings reveal teaching
practices consistent with various norms espoused by African American students in
a manner that could be termed “culturally relevant.” In this article, three of the
major pedagogical themes are discussed: holistic instructional strategies, culturally consistent communicative competencies, and skill-building strategies to promote academic success.
POWERFUL PEDAGOGY FOR AFRICAN AMERICAN STUDENTS. A Case of Four Teachers. TYR...eraser Juan José Calderón
POWERFUL PEDAGOGY FOR AFRICAN AMERICAN STUDENTS. A Case of Four Teachers. TYRONE C. HOWARD
The Ohio State University
The disproportionate underachievement of African American students may suggest that teacher effectiveness with this student population has been limited. However, amidst these widespread academic failures, characterizations of effective
teachers of African American students have emerged in an attempt to reverse these
disturbing trends. This article examines the findings from a qualitative case study
of four elementary school teachers in urban settings. The findings reveal teaching
practices consistent with various norms espoused by African American students in
a manner that could be termed “culturally relevant.” In this article, three of the
major pedagogical themes are discussed: holistic instructional strategies, culturally consistent communicative competencies, and skill-building strategies to promote academic success.
Teacher Motivations for Digital and Media Literacy in TurkeyMedia Education Lab
Hobbs and Tuzel share the results of a large sample of Turkish educators who have varying motivations for implementing digital and media literacy education. Educators have a variety of beliefs and attitudes about the
best ways to support students’ critical thinking, creativity,
communication and collaboration skills by connecting the
classroom to contemporary society, mass media and popular
culture. Teachers who advance digital and media literacy may
have a complex set of attitudes and habits of mind that influence
their motivations to use digital media for learning. We conducted
survey research with a sample of 2,820 Turkish educators to
examine teachers’ motivations for digital learning, using a 48-
item Likert scale instrument that assesses teachers’ perception
of the value and relevance of six conceptual themes including
attitudes towards technology tools, genres and formats; message
content and quality; community connectedness; texts and
audiences; media systems; and learner-centered focus. Digital
learning motivation profiles reveal distinctive identity positions
of social science, language arts, and ICT teachers in Turkey.
The most common profiles include the identity positions of
“Techie,” “Demystifier” and “Tastemaker.” Statistically significant
associations were found between teachers’ subject-area
specialization and their digital learning motivation profiles.
Professional development programs should assess teachers’
digital learning motivation profiles and build learning experiences
that expand upon the strengths of teachers’ beliefs and the
conceptual themes of most importance to them.
Published by NATIONAL FORUM JOURNALS - A group of national refereed, peer-reviewed, scholarly, academic periodicals. William Allan Kritsonis, PhD, Editor-in-Chief, NFJ (Since 1982)
Closing Achievement Gaps in U.S. Public Schools: Exploring Global Models of L...Meghan Lee
Research essay on U.S. public school reformation solutions to close achievement gaps for language minority students taking into account best global models for language instruction and overall education of students.
The Use of Media Literacy Instructional Strategies for Promoting Intercultura...Media Education Lab
Sait Tuzel and Renee Hobbs demonstrates how online social networking was used to promote dialogue between Turkish and American middle-school students. This project was a global collaboration designed to advance knowledge and demystify cultural stereotypes.
Global Learning for Educators webinars are offered free twice monthly, September 2012 - May 2013. Please visit asiasociety.org/webinars for details and registration.
National History Day and The National Council for History Education present their approaches to internationalizing U.S. History. Both organizations are creating resources to be used by teachers to contextualize U.S. History – from the Revolutionary War to the Cold War. We will discuss the approaches, the resources, and the implications for today’s teachers.
Presenters: Noralee Frankel, consultant with National History Day
Craig Perrier, High School Social Studies Specialist, Fairfax County Public Schools
Respondent: Dale Steiner, professor of History, California State University, Chico
AN INVESTIGATION OF THE IMPACT OF ATYPICAL PRINCIPALO PREPARATION PROGRAMS ON...William Kritsonis
AN INVESTIGATION OF THE IMPACT OF ATYPICAL PRINCIPALO PREPARATION PROGRAMS ON SCHOOL ACCOUNTABILITYH AND STUDENT ACHIEVEMENT IN HIGH-POVERTY SCHOOLS by Sheri L. Miller-Williams, PhD
William Allan Kritsonis, PhD, Dissertation Chair, PVAMU-The Texas A&M University System
www.AEP-Arts.org | @AEP_Arts
EDUCATION TRENDS www.ecs.org | @EdCommission
TUNE IN.
Explore emerging
education developments.
SEPT 2017
ESSA creates
flexibility allowing
states and
schools to more
fully explore and
leverage the arts in
K-12 teaching and
learning.
Research
indicates that
deeper learning
skills contribute
significantly
to a student’s
college, career
and citizenship
readiness.
Thirty years ago, in response to a K-12
public education system defined by
mediocrity1, with low student test scores
and widening gaps in achievement, the
accountability movement was born.
Federal and state education policies
focused on raising standards and
regularly assessing students. However,
over the years, many policymakers
and the public observed a connection
between the accountability movement
and an overemphasis on testing in
core subjects, such as English and
math, a narrowing of curricula and the
elimination of many important subjects,
including the arts.
Arts education
fosters critical deeper
learning skills, such
as collaboration and
perseverance, in
students.
Yet, research consistently shows that
arts education and the integration of
the arts into core subjects can have
dramatic effects on student success
— defined not just by student test
scores, but also critical skills, such as
creativity, teamwork and perseverance.
Research indicates that these skills
can be as effective predictors of long-
term success in college, careers and
citizenship as test scores.2,3
The Every Student Succeeds Act
(ESSA), which passed in late 2015, is
the first major federal law in more than
30 years offering states a significant
degree of flexibility to broaden —
rather than narrow — curricula, and
strongly encourages states to ensure all
students have access to a well-rounded
education, which includes the arts
and music.4 Armed with the evidence
presented in this report highlighting
the impressive effects education in and
through the arts can have on student
Beyond the Core: Advancing
student success through the arts
EMILY WORKMAN
EDUCATION
TRENDS
www.AEP-Arts.org | @AEP_Arts
2
EDUCATION TRENDS www.ecs.org | @EdCommission
success, state policymakers have an opportunity and
incentive to take advantage of the flexibility awarded
under ESSA related to the arts.
“Despite [deeper learning] skills’
central roles in our education and,
more broadly, our lives, education
policy has tended to overlook their
importance.”5
Bolstering Deeper
Learning Through Arts in
Education
Deeper Learning
The arts — including dance, music, theatre, media arts
and visual arts — bolster the development of what are
commonly referred to as deeper learning skills. Deeper
learning is an umbrella term defining the skills and
knowledge students need to attain success in college,
career and citizenship. Students that possess deeper
learning skills6:
1. Master core academic content.
2. Think criti.
This edition features a handful of "Best Performing Schools in USA to Study, 2023" To Watch that are at the forefront of leading us into a digital future.
Teacher Motivations for Digital and Media Literacy in TurkeyMedia Education Lab
Hobbs and Tuzel share the results of a large sample of Turkish educators who have varying motivations for implementing digital and media literacy education. Educators have a variety of beliefs and attitudes about the
best ways to support students’ critical thinking, creativity,
communication and collaboration skills by connecting the
classroom to contemporary society, mass media and popular
culture. Teachers who advance digital and media literacy may
have a complex set of attitudes and habits of mind that influence
their motivations to use digital media for learning. We conducted
survey research with a sample of 2,820 Turkish educators to
examine teachers’ motivations for digital learning, using a 48-
item Likert scale instrument that assesses teachers’ perception
of the value and relevance of six conceptual themes including
attitudes towards technology tools, genres and formats; message
content and quality; community connectedness; texts and
audiences; media systems; and learner-centered focus. Digital
learning motivation profiles reveal distinctive identity positions
of social science, language arts, and ICT teachers in Turkey.
The most common profiles include the identity positions of
“Techie,” “Demystifier” and “Tastemaker.” Statistically significant
associations were found between teachers’ subject-area
specialization and their digital learning motivation profiles.
Professional development programs should assess teachers’
digital learning motivation profiles and build learning experiences
that expand upon the strengths of teachers’ beliefs and the
conceptual themes of most importance to them.
Published by NATIONAL FORUM JOURNALS - A group of national refereed, peer-reviewed, scholarly, academic periodicals. William Allan Kritsonis, PhD, Editor-in-Chief, NFJ (Since 1982)
Closing Achievement Gaps in U.S. Public Schools: Exploring Global Models of L...Meghan Lee
Research essay on U.S. public school reformation solutions to close achievement gaps for language minority students taking into account best global models for language instruction and overall education of students.
The Use of Media Literacy Instructional Strategies for Promoting Intercultura...Media Education Lab
Sait Tuzel and Renee Hobbs demonstrates how online social networking was used to promote dialogue between Turkish and American middle-school students. This project was a global collaboration designed to advance knowledge and demystify cultural stereotypes.
Global Learning for Educators webinars are offered free twice monthly, September 2012 - May 2013. Please visit asiasociety.org/webinars for details and registration.
National History Day and The National Council for History Education present their approaches to internationalizing U.S. History. Both organizations are creating resources to be used by teachers to contextualize U.S. History – from the Revolutionary War to the Cold War. We will discuss the approaches, the resources, and the implications for today’s teachers.
Presenters: Noralee Frankel, consultant with National History Day
Craig Perrier, High School Social Studies Specialist, Fairfax County Public Schools
Respondent: Dale Steiner, professor of History, California State University, Chico
AN INVESTIGATION OF THE IMPACT OF ATYPICAL PRINCIPALO PREPARATION PROGRAMS ON...William Kritsonis
AN INVESTIGATION OF THE IMPACT OF ATYPICAL PRINCIPALO PREPARATION PROGRAMS ON SCHOOL ACCOUNTABILITYH AND STUDENT ACHIEVEMENT IN HIGH-POVERTY SCHOOLS by Sheri L. Miller-Williams, PhD
William Allan Kritsonis, PhD, Dissertation Chair, PVAMU-The Texas A&M University System
www.AEP-Arts.org | @AEP_Arts
EDUCATION TRENDS www.ecs.org | @EdCommission
TUNE IN.
Explore emerging
education developments.
SEPT 2017
ESSA creates
flexibility allowing
states and
schools to more
fully explore and
leverage the arts in
K-12 teaching and
learning.
Research
indicates that
deeper learning
skills contribute
significantly
to a student’s
college, career
and citizenship
readiness.
Thirty years ago, in response to a K-12
public education system defined by
mediocrity1, with low student test scores
and widening gaps in achievement, the
accountability movement was born.
Federal and state education policies
focused on raising standards and
regularly assessing students. However,
over the years, many policymakers
and the public observed a connection
between the accountability movement
and an overemphasis on testing in
core subjects, such as English and
math, a narrowing of curricula and the
elimination of many important subjects,
including the arts.
Arts education
fosters critical deeper
learning skills, such
as collaboration and
perseverance, in
students.
Yet, research consistently shows that
arts education and the integration of
the arts into core subjects can have
dramatic effects on student success
— defined not just by student test
scores, but also critical skills, such as
creativity, teamwork and perseverance.
Research indicates that these skills
can be as effective predictors of long-
term success in college, careers and
citizenship as test scores.2,3
The Every Student Succeeds Act
(ESSA), which passed in late 2015, is
the first major federal law in more than
30 years offering states a significant
degree of flexibility to broaden —
rather than narrow — curricula, and
strongly encourages states to ensure all
students have access to a well-rounded
education, which includes the arts
and music.4 Armed with the evidence
presented in this report highlighting
the impressive effects education in and
through the arts can have on student
Beyond the Core: Advancing
student success through the arts
EMILY WORKMAN
EDUCATION
TRENDS
www.AEP-Arts.org | @AEP_Arts
2
EDUCATION TRENDS www.ecs.org | @EdCommission
success, state policymakers have an opportunity and
incentive to take advantage of the flexibility awarded
under ESSA related to the arts.
“Despite [deeper learning] skills’
central roles in our education and,
more broadly, our lives, education
policy has tended to overlook their
importance.”5
Bolstering Deeper
Learning Through Arts in
Education
Deeper Learning
The arts — including dance, music, theatre, media arts
and visual arts — bolster the development of what are
commonly referred to as deeper learning skills. Deeper
learning is an umbrella term defining the skills and
knowledge students need to attain success in college,
career and citizenship. Students that possess deeper
learning skills6:
1. Master core academic content.
2. Think criti.
This edition features a handful of "Best Performing Schools in USA to Study, 2023" To Watch that are at the forefront of leading us into a digital future.
Bienvenidos al sitio virtual UNIVERSIDAD MAGISTER que contiene importantes trabajos de investigación de nuestros profesionales. Con estos Mares Azules esperamos cooperar en el Desarrollo Económico y Social de Costa Rica y otras latitudes. Por tener Propiedad Intelectual, queda prohibida su reproducción parcial o total, a excepción de que los compartan como citas de autor o referencias bibliográficas. Esta información quedará a disposición en el portal www.umagister.com. Disfruten de este magno contenido bibliográfico esperando sus amables comentarios, no sin antes agradecer al Ing. Jerry González quien está administrando el sitio. Rectoría, Universidad Magister. – 2019.
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online
Estimados usuarios.
Bienvenidos a nuestro sitio virtual de la UNIVERSIDAD MAGISTER en Slide Share donde podrá encontrar los resultados de importantes trabajos de investigación prácticos producidos por nuestros profesionales. Esperamos que estos Mares Azules que les ponemos a su disposición sirvan de base para otras investigaciones y juntos cooperemos en el Desarrollo Económico y Social de Costa Rica y otras latitudes.
Queremos ser enfáticos en que estos trabajos tienen Propiedad Intelectual por lo que queda totalmente prohibida su reproducción parcial o total, así como ser utilizados por otro autor, a excepción de que los compartan como citas de autor o referencias bibliográficas. Toda esta información también quedará a su disposición desde nuestro sitio web www.umagister.com,
Disfruten con nosotros de este magno contenido bibliográfico Magister esperando sus amables comentarios, no sin antes agradecer a nuestro Ing. Jerry González quien está administrando este sitio.
Rectoría, Universidad Magister. – 2014.
The Wolfsonian-FIU co-organized a convening hosted by the Woodrow Wilson National Fellowship Foundation to explore the impact of digital and social media on the future of museums, especially young learners—an extension of the Wolfsonian’s interest, following the 2008 and 2009 WebWise conferences co-organized with IMLS.
The Horizon Report series is the product of the New Media Consortium's Horizon Project, an ongoing research project that seeks to identify and describe emerging technologies likely to have a large impact on teaching, learning, research, or creative expression within education around the globe.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
2. 156 kATE rAW lI nS o n E T Al .
Partitioned from its low-income neighborhood by a high chain link fence,
Miami Gardens Elementary, in its original form, was a hopeful product of
education-reform thinking—open classrooms without walls. Uncomfortably
retrofitted most recently around a central cafeteria, the school’s thin walls
slice irregular pie-shaped classrooms from the once open space.
On a visit to the school, our group passed through several classrooms,
each crowded with about thirty students, teachers talking, intent on what
they were teaching. Students, easily distracted, turned eagerly in their seats to
watch our movements. The doorless classrooms promoted a kind of esca-
lating vocal competition among teachers struggling to be heard by students.
If you sat near one of these openings, you might hear the neighboring teacher
more readily than your own. Exposed in quick succession to 30-second sound
bites of elementary reading, math, or science, we were struck by the varied
delivery styles of the teachers and palpably compressed energy of children in
crowded, windowless spaces.
As difficult as the chaotic school setting proved to be for us, we were de-
lighted to observe a class of students in the midst of an Artful Citizenship
discussion facilitated by their teacher. The students leaned forward, waving
hands high, eager to contribute their ideas about the artwork projected on
the white board. In the other nearby classrooms, such enthusiastic hands
were noticeably absent.
The Artful Citizenship project, funded by the U.S. Department of Edu-
cation’s Arts in Education Model Development and Dissemination Grant
program, illustrates one approach to moving collection materials out of
museums and into the hands of teachers. In this article, we detail the nature
of this museum-school partnership; how it facilitated critical thought within
the context of a school-based social studies curriculum; and the many lessons
that we learned about selecting materials, working with schools, and as-
sessing the impact on student learning.
From Home to ScHool:
SituAting A muSeum-ScHool PArtnerSHiP
Artful Citizenship might first be understood as a kind of “civic engagement”
or local outreach, in part because it was conceived by The Wolfsonian’s
museum educators to be conducted beyond the museum’s galleries.1 One
challenge was working with Miami-Dade County Public Schools (MDCPS),
the fourth-largest public schools system in the U.S. According to the 2003
3. T h I n kI n G C rI T I C Al ly A B o U T S o C I Al I S S U E S 157
census, more than a quarter of the district’s 400,000 students were born
outside the U.S., and 68 percent of the school children speak a home language
other than English. Of the one hundred largest counties in the nation,
Miami-Dade’s median household income is among the ten lowest; the large
number of children living below the poverty line face many risk factors and
are likely to have difficulty in school.
These serious circumstances had led Wolfsonian staff members to
develop several visual literacy projects (Artful Truth and Page at a Time) with
students and teachers of the district.2 The Artful Citizenship program
emerged not only from the content of the collection, but also from imple-
mentation experiences and evaluations conducted for these programs.
Artful Citizenship was designed to target critical thinking as well as
visual literacy skills of low-performing third- through fifth-grade students
through the integration of the museum’s visual material into the teaching of
social studies content.3 The general goals of the three-year intervention were
to (1) empower students to become good citizens by understanding citi-
zenship skills; (2) increase the understanding of art as an agent of social
change; and (3) ultimately increase academic achievement as evidenced
through improved standardized test scores. These goals were to be reached
by increasing student visual literacy and critical thinking skills through the
use of images from The Wolfsonian’s collection of art and design objects,
which is rich in images addressing social and historical content. The project
was designed as a process that would increase a student’s ability to identify a
social, personal, or political conflict; analyze the problem in a cultural or his-
torical context; and, ultimately, perhaps even design solutions for the social
issue through artistic response activities that placed the student in the role
of a designer working on socially-focused projects.
The Artful Citizenship curriculum was implemented in three schools
with large numbers of at-risk students struggling academically and receiving
Free and Reduced Price Lunch (FRPL) assistance (see Table 1). The target
schools included: Miami Gardens (91.7 percent of students qualified for
FRPL at the time of the study); Phyllis Ruth Miller (79.2 percent of students
qualified for FRPL); and Fienberg-Fisher (87.2 percent of students qualified
for FRPL). The comparison school, Miami Shores Elementary, had 71.9
percent of students qualifying for FRPL. The program was administered to
select third-, fourth-, and fifth-grade classes in the three treatment schools,
beginning with the third grade in year one (which was the study cohort)
and following those students to fourth grade and then fifth. Although
4. 158 kATE rAW lI nS o n E T Al .
table 1
% Students % Students % Students
% Student receiving perf. below perf. below
membership free/assisted grade level grade level
School by ethnicity lunch math (2005) reading (2005)
Miami Gardens White 2
African American 41 90 63 58
hispanic 56
Fienberg-Fisher White 10
African American 6 86 37 38
hispanic 81
Phyllis r. Miller White 7
African American 68 80 56 44
hispanic 20
approximately 1,200 received the curriculum over the three years, the final
number of students who composed the study sample was 189.
The distance of the three schools from the museum’s front door ranged
from three blocks to twenty-three miles: from South Miami Beach and its
stimulating business and Art Deco-styled residential district, to a somewhat
run-down residential neighborhood ten miles away on the mainland, to an
isolated neighborhood from which one student did not recognize the At-
lantic Ocean when he saw it during the project’s culminating museum visit.
We designed Artful Citizenship to improve the critical thinking and visual
literacy skills of the students inside these schools, since multiple museum visits
were impossible. Our project team—consisting of four Wolfsonian educators,
Philip Yenawine from Visual Understanding in Education, and a core group of
four MDCPS teachers serving as curriculum advisors—dedicated three years to
developing and field-testing the curriculum. Both formative and summative
evaluation, provided by the Tallahassee-based evaluation team of Curva and
Associates, were critical to understanding the longitudinal impact of the arts-
integrated social studies’ curriculum. Vital feedback during the three-year
study was also provided by eighty classroom and art teachers who took on the
responsibility of teaching the curriculum in their classrooms.
tHe DeSign oF tHe SociAl StuDieS’ curriculum:
crAFting A Delivery moDel
Shifting from museum-based to school-based content delivery that would use
the museum’s materials to cultivate critical thinking, as opposed to single-
5. T h I n kI n G C rI T I C Al ly A B o U T S o C I Al I S S U E S 159
answer thinking, required us to address four challenges: (1) addressing state
and national social studies’ standards through a methodology that could be
replicated nationally; (2) identifying a proven strategy that, with practice, could
be reliably implemented by teachers in the chaotic environment of the ele-
mentary classroom and supported through professional development ac-
tivities; (3) creating a curriculum to support teacher-facilitated implementation;
and (4) establishing a classroom environment that modeled good citizenship
skills, such as respectful listening and tolerance of differing opinions.
Addressing standards. Given the mandates of the federal grant guidelines
to integrate art into other core disciplines, and the museum’s goal to increase
appreciation of the role of art in society, the focus of the curriculum was to
impact student learning in three ways: to develop visual literacy skills; to im-
plement arts learning in the academic content areas of social studies and
language arts; and to create opportunities for integrated artistic response.
Although the teaching of social studies in elementary classes is mandated
statewide, it is one subject area not tested in the school’s accountability
formula. As a result, citizenship education is largely neglected and social
studies is most commonly taught when integrated into those subject areas,
like language arts, that are heavily tested. Due to limited time brought about
by the demands of the state’s regimented standardized test preparation for
reading and math in these schools, classroom educators taught the Artful
Citizenship curriculum during the language arts block, which also enables
them to integrate social studies into their classroom practice.
Identifying instructional strategies. Driving our content-delivery process
was the need to prepare students as well as teachers to read complex visual
images. We considered two interpretative strategies: the Visual Thinking
Strategies (VTS) methodology and an artifact analysis approach that is more
commonly used in cultural history museums, though equally effective when
considering art objects and their context.4
The greatest difference in these two inquiry-based approaches is the
questioning strategies they use. VTS utilizes a learner-centered, open-ended
questioning sequence that begins with: “What’s happening in this picture?
What do you see that makes you say that? What more can you find?” An ar-
tifact analysis approach uses the more directed questioning strategy of a re-
searcher, such as: “What material is this object made of? How large is it?
When might it have been made? What might it have been used for?”
6. 160 kATE rAW lI nS o n E T Al .
Although both methods are useful tools for illuminating the social content
of an art object or an artifact, two major issues—developmental appropri-
ateness and teacher implementation—as well as other qualities led us to choose
VTS as a visual literacy strategy for Artful Citizenship. VTS provided the vehicle
for building fundamental visual literacy skills, foundational for additional
student-centered teaching and learning methods implemented in the project.
The methods used in combination promoted student engagement with visual
materials in a variety of modes: viewing, reflecting, and talking about visual
images, as well as reading, writing, and responding artistically.
To support teachers as they learned to facilitate VTS discussions, a series
of professional development training sessions were conducted at the museum
by Philip Yenawine. Additionally, Wolfsonian education staff conducted
weekly in-school coaching and debriefings with teachers as they began to im-
plement VTS with their students. In the three-year period, approximately 200
school visits were made by museum staff. Two week-long teacher institutes
were also held during the summers of 2003 and 2004 for project teachers,
taught by Wolfsonian education staff, Philip Yenawine, and two faculty
members from Florida International University’s College of Education. These
workshops provided in-depth exploration of learning theory, VTS theory and
practice, language arts and social studies curriculum connections, and close
study of the Artful Citizenship curriculum materials and methods.
Creating curriculum materials. The choice to deliver the three-year cur-
riculum through school-based teachers necessitated the modeling and
building of teaching skills of educators unaccustomed to using visual ma-
terial or being attentive to visual literacy as a learning outcome. In addition,
a system was needed to facilitate simultaneous and consistent implemen-
tation at three disconnected school sites.
In year one, four educators worked as advisors with our team to develop
a prototype teacher manual containing sequenced lessons for the third grade
to test. The ten-to-twelve-week curriculum included six weeks of preliminary
VTS visual literacy skill-building followed by the multi-level Artful Citi-
zenship curriculum. Organized as a journey, the manuals were comprised of
four sections, and we suggested the teachers and students create travel logs
in class to record the activities of their Artful Citizenship journey.
These initial teacher- and student-created workbooks became the model
for the student workbooks called “My Travel Log,” which were designed and
tested in each of the three grades in years two and three. Utilizing the
7. T h I n kI n G C rI T I C Al ly A B o U T S o C I Al I S S U E S 161
workbook format with students greatly eased time and material limitations
that teachers had experienced in their classrooms in year one and modeled a
multimodal arts integration curriculum for them.
The student “journey” was tied directly to established social studies
content for third, fourth, and fifth grades, expanding in scope and complexity
as children matured over the three years. In careful sequence, legs of the journey
addressed: (1) concepts of personal identity within the immediate or larger
“communities” (the concept of “community” changed over grade levels from
home to school to cultural group to state to nation); (2) the changing roles of
citizens to make a “community” work, whether it is a home or school or city,
etc.; and (3) building a geographical understanding of a child’s expanding
world. The conceptual focus for each leg was implicit in their respective titles,
posed as three open-ended questions: Who am I? What is a community? Where am
I? The final and fourth section of the workbook focused on artistic response to
the previous three legs and was called Art in Action.
Each of the legs of the journey began with a visual literacy lesson (called
Look & Think), which used the VTS methodology to explore three themat-
ically linked images; this was followed by a drawing activity (Sketch Away) and
then a writing activity (Write On!) related to those images. These in turn were
followed by a vocabulary activity (Local Lingo) connected to the upcoming
social studies’ lesson (Dig Deeper). In order to also build students’ visual vo-
cabulary, these sections culminated in a lesson that engaged them in ex-
ploring symbols (Symbol Quest), which might be completed in the classroom
or art studio as the teachers preferred.
Although the use of a workbook may seem antithetical to the open-ended
philosophy of VTS, it provided a much-needed model for teachers to learn to
integrate visual materials and the VTS methodology into classroom practice.
Teachers began each lesson unit with an open-ended discussion, drawing out
the prior knowledge of the student and engaging them in the discovery of in-
herent social studies content through three specially selected visual images.
They then followed up the VTS “Look & Think” activity on a subsequent day
with the drawing and writing activities, which further addressed the theme of
the previous day’s images and prompted the student to create a personal re-
sponse to the theme. Most important, these responsive activities also provided
a transitional bridge from the open-ended discussion to the more directed vo-
cabulary and social studies content in the following lessons.
The visually stimulating workbooks proved to be user-friendly for both
teachers and students and were designed to not only deliver information, but
8. 162 kATE rAW lI nS o n E T Al .
also to allow for student ownership and a place for them to record their
personal responses. For example, at the end of each leg, “My Pages” provided a
place for students to sketch or write as they wished. As reported in teacher in-
terviews, for many, the Artful Citizenship materials replaced time-intensive
and developmentally inappropriate social studies’ textbooks and became the
only social studies’ lessons students received. Teachers commented that
students were more engaged by the visually-appealing workbook and VTS dis-
cussions than other classroom activities, and these provided them with a
much-needed “learning” break from the intensive, rote test prep they were re-
quired to conduct.
Citizenship skills and classroom environment. Based on prior experience
with this methodology, the museum staff knew that the open-discussion
VTS process, coupled with compelling images, promotes benefits aligned
with a quality teaching environment and good citizenship skills, such as re-
spectful listening and debate about differing views on a particular social
issue, which were significant and integral to the goals of the project.
The VTS process models positive teaching skills for the teacher, such as:
shifting the learning process from the teacher relating expertise to passive
students, to one where the students are actively engaging in an empowering dis-
covery process; stressing active and respectful listening, not just by the teacher,
but also among the students; modeling positive student behavior and a way for
students to voice diverging opinions in a constructive way; challenging the
teacher to remain neutral in response to all student opinions, which encourages
increased participation from all students, not just “right answer” students; and
positioning learning as serious, but still engaging and even “fun” work.
VTS instills self-confidence; motivates students to share thoughts and
take chances through group discussion; builds respect and tolerance for the
opinions and experiences of others; values intellectual and psychological in-
trospection and reflection; and models behavior that reinforces thinking
skills that may transfer to other settings.5 It can be argued that these are basic
skills for being a good citizen in thought and even in action.
FeAtureS oF viSuAl mAteriAl:
ADDreSSing relevAnt SociAl iSSueS
To ensure the success of the social studies curriculum, Wolfsonian staff paid
careful attention to the selection of compelling images and visual material
9. T h I n kI n G C rI T I C Al ly A B o U T S o C I Al I S S U E S 163
Figure 1: Mural Study “Boys Playing Marbles” for Cycle of a Woman’s Life for the Women’s
House of Detention, Manhattan (c. 1936) by lucienne Bloch, WPA Federal Art Project.
Courtesy of The Wolfsonian-Florida International University, The Mitchell Wolfson, Jr. Collection.
suitable to better foster the discussion of social problems. The curriculum
team, led by the museum staff, considered issues of collection fidelity, visual
appeal and image variety, alignment, and especially social themes.
Collection fidelity. The nature of the Wolfsonian collection, with its em-
phasis on design and propaganda of the 1850–1945 period, was the original
source of ideas for the project. Because of the nature of the collection, the
aim of Artful Citizenship was to use inquiry-based strategies that focused on
the critical understanding of objects as agents of social change (as opposed
to understanding their aesthetic or art-historical significance).
Visual appeal and image variety. Many of the basic principles suggested in
VTS image-selection guidelines matched our own selection criteria.6 For example,
it was important that the images be narrative and the subjects interesting to
eight- to eleven-year-olds. Images depicting children involved in family or other
social activities were especially appealing, as were beautifully illustrated maps
that explored the fauna and flora of the Pacific Rim, playful illustrations of local
products, and services with cartoon-like drawings (see Figure 1). Equally, the
10. 164 kATE rAW lI nS o n E T Al .
image needed immediate visual appeal—engaging design, color, and use of ma-
terials, techniques, or compositional elements such as point of view.
Implicit in developmentally appropriate, student-centered images for el-
ementary students is a high degree of readability. Although students may
not understand everything depicted or understand the historical context of
the image, most would be able to identify the elements of the image and be
able to discuss what may be happening. Images that allow students to build
on their prior knowledge challenge them to look further and think more,
and images that make connections to possible social content provide the
best growth opportunities.
Alignment. Matching image selection and content with grade-level state
and national social studies’ content standards was another factor to consider.
For example, the painting Building the Tamiami Trail in the fourth grade “My
Travel Log,” addressed the requirement by the Florida Department of Edu-
cation that fourth-grade students “understand ways geographic features in-
fluenced the exploration, colonization, and expansion of Florida.” In the
fifth-grade curriculum, the painting entitled Woman’s Suffrage (Figure 2) ad-
dressed the need for students to “know ways American life was transformed
socially, economically, and politically after the Civil War.”
Social themes. To target critical thinking as thematically important to the
curriculum content, selected images needed to include human figures, thereby
reflecting some aspect of social, personal, and political concerns. Similarly
critical were issues of diversity, acknowledging race, gender, and culture (see
Figure 3). It should be noted that we purposefully did not select images that
reflected the racism prevalent during the collection time period, unless that
was the subject of the lesson. However, within the safe environment of VTS dis-
cussion, children were able to bring to the image their opinions, concerns, and
ideas about problems like racism. In other words, for the purposes of Artful
Citizenship, the visual material served as an open-ended prompt, engaging the
children in authentic discussion about social issues.
tHe imPAct oF ArtFul citizenSHiP:
DeFining criticAl tHinking
To make visible the transactions between various images and the under-
standings created by third-, fourth-, and fifth-grade students, we developed a
11. T h I n kI n G C rI T I C Al ly A B o U T S o C I Al I S S U E S 165
Figure 2: Study for a poster,
Woman’s Suffrage (1905), by
Evelyn rumsey Cary. Courtesy of
The Wolfsonian–Florida Interna-
tional University, The Mitchell
Wolfson, Jr. Collection.
longitudinal study.7 The design for our assessment evolved over a four-year
period of studying the impact of our programs on visual literacy skills in el-
ementary classrooms.8
The primary question guiding this study was to determine if partici-
pation in the Artful Citizenship program affected the students’ ability to
interpret visual images and think critically about them and the social issues
they convey. Because the visual literacy project was embedded in social
studies standards, however, so too were the standards of assessment. To
define and evaluate visual thinking in the context of social studies, we used
a specialized rubric that had been developed in prior Wolfsonian studies.
The rubric evolved from close analysis of thousands of student responses,
all captured in writing before and after VTS lessons were conducted, al-
12. 166 kATE rAW lI nS o n E T Al .
Figure 3: Page 38 from The Story of Alaska (c. 1940) illustrated by Cornelius hugh De
Witt, text by Clara (Breakey) lambert, and published by harper & Brothers, london.
Courtesy of The Wolfsonian–Florida International University, The Mitchell Wolfson, Jr.
Collection.
lowing us to locate and code instances of thought. By sorting examples of
student thinking, we created six categories of proficiency and four per-
formance domains.
Using a six-point holistic scale, student ability was rated by determining
if the written response was: (1) Limited; (2) Developing; (3) Literal; (4) Pro-
ficient; (5) Accomplished; or (6) Sophisticated. The even number of scoring
13. T h I n kI n G C rI T I C Al ly A B o U T S o C I Al I S S U E S 167
categories ensured that trained readers would not be tempted to use a middle
number as a compromise score and seemed essential for determining growth
over time, from the pre-test to the post-test, as students would ultimately be
compared to their own earlier work. In other words, students who scored low
initially (a “one,” “two,” or even “three” rating) should show improvement
even though they still may not achieve high levels of competency (i.e., a “one”
might become a “two”).
The four performance domains of visual literacy and critical thinking
were defined in the rubric: description, animation (describing the action
taking place), analysis, and interpretation. These performance domains were
informed by Benjamin Bloom’s Taxonomy, and the indicators in these
domains moved from the lowest-level ability to describe literal elements in the
visual image, to higher levels of visual skill encompassing the ability to connect
elements, analyze context and an artist’s intent, and ultimately evaluate the
success of a work.9 Critical thinking was folded into the visual literacy scale
and defined as a process of increasing complexity beginning with the ability
to identify a social, personal, or political conflict, moving to analysis of the
problem in a cultural or historical context, and, ultimately, perhaps including
the ability to even design solutions for the social issue.
Students at the three participating schools, as well as students in the
fourth comparison school, were assessed twice a year, beginning prior to the
program as third graders and ending at the completion of the program as
sixth graders, for a total of six times.
Using the VTS protocol (“What’s going on in this picture? What do you
see that makes you say that? What more can you find?”), students were asked
to respond in writing to a work of art reflecting social issues from The Wolf-
sonian collection. Although the works selected for the pre- and post-as-
sessments were not identical, they were selected to be parallel prompts
differing at each grade level.
For example, at the third-grade level, one image depicted a barn fire and the
other seemed to be farm workers laboring in a hay field. Both featured male
figures hard at work; both represented a family group gathered together for a
common purpose; both suggested potential social, political, or personal issues.
At the fourth-grade level, one image depicted a crowded bus or subway
(see Figure 4) and the other represented a solitary figure and three twisted,
leafless trees on a barren foreground contrasted against a glowing city skyline.
Again, both images suggest social issues, related to urban life, for example, or
race, class, and progress.
14. Artful citizenship visual/critical literacy Scoring rubric
168
6 5 4 3 2 1
Sophisticated Accomplished Proficient literal Developing limited
Description Includes rich Describes visual Describes identified Describes particular Identifies two or more Blank or illegible
description of visual elements in detail visual elements elements elements Lacks detail
elements May identify social, May name a conflict May label visual May randomly list May be off topic
Describes a conflict or personal, or political or a problem traits (such as shape, elements
May be inaccurate
problem conflicts symbols, structural
details)
Animation Connects animation Makes inferences May ascribe complex Attributes actions to May attribute some Provides little or no
to a more complex about features of actions, i.e. emotion characters actions to characters evidence
kATE rAW lI nS o n E T Al .
scenario animation or thought
Analysis Demonstrates Demonstrates Relates some ele- Relates some elements Provides little or no Provides little or no
understanding of understanding of the ments of the image of the image to each evidence evidence
the whole by relating whole by relating to each other other
elements in cultural some elements May discuss context Often answers
or historical context questions on prompt
Interpretation Connects visual Connects some visual May connect visual Provides little or no Provides little or no Provides little or no
elements to artist’s elements to artist’s elements to artist’s evidence evidence evidence
intent intent intent May be incorrect If present, may be
May connect content May evaluate the art/ May be incorrect reading incorrect reading
to cultural values artifact reading (may include May give opinion, but
May design solutions Relates tangential tangential informa- lacks support
or evaluate success of information to task tion or opinions)
work
15. T h I n kI n G C rI T I C Al ly A B o U T S o C I Al I S S U E S 169
Figure 4: Painting, Subway (c. 1935), by Daniel ralph Celentano. Courtesy of The Wolf-
sonian–Florida International University, The Mitchell Wolfson, Jr. Collection.
At the fifth-grade level, one image depicted a crowded courtroom and
the fight for the abolishment of slavery (see Figure 5), and the other repre-
sented two working-class women talking from the windows of a high-rise
building. Although less obvious in their similarities, both images prompted
the readers to consider issue of race, class, poverty, and social change.
In other words, although the works portrayed different experiences, the
visual prompts were very similar, and the content of the writing task was
identical. To ensure reliability, decreasing the likelihood that scores might be
affected by a weak visual prompt, all students responded to both images.
Half the students in each class received one or the other image for the pre-
test, and then the images were reversed for the post-test. All third graders,
consequently, responded to both third-grade prompts, all fourth graders
16. 170 kATE rAW lI nS o n E T Al .
Figure 5: Mural study, John Brown (c. 1930-1939), by Stuyvesant Van Veen, possibly for
the War Department Building, Washington, D.C. Courtesy of The Wolfsonian–Florida In-
ternational University, The Mitchell Wolfson, Jr. Collection.
17. T h I n kI n G C rI T I C Al ly A B o U T S o C I Al I S S U E S 171
responded to both fourth-grade prompts, and all fifth graders responded to
both fifth-grade prompts.
Samples of fourth-grade work collected midway through the project,
using the painting entitled Subway (Figure 4) as the writing prompt, illustrate
the levels of response:
A developing (low-level) response: The student identifies two or more el-
ements, possibly randomly, but provides little or no evidence of interpre-
tation:
Hats. Signs. People reading newspapers. A girl with a hat on.
An accomplished (higher-level) response: The student describes social,
personal, or political conflicts and demonstrates understanding of the whole
by relating elements in cultural or historical contexts:
I see people going on a subway because the adults have to go to their jobs. This
is after Martin Luther King because Blacks are with Whites. I also see a child
and her mother going to church because the child has a book in her hand. I also
see some of the men reading a newspaper about their country or state. And last
I see worried faces on some of the women or men because something bad is
happening that is read in the newspaper. Another thing I see is that out of the
window it looks like it is raining and there is a flood which is why some of the
men and women are worried. But some other people think it will be over soon.
And last I see an old man talking to the woman’s daughter saying that nothing
bad will happen.
As we discovered, visual literacy takes time to develop, and the three-year
period provided sufficient opportunity to determine student growth in the
three treatment schools, as compared to the control group. Ambitious in
scope as well as aim, the curriculum’s impact was tracked with 189 students
who entered the program at the third grade and finished at fifth. (This
number does not count the hundreds more who received full or partial
treatment over the life of the project, but were not included in the study.) Sig-
nificantly, students who received the curriculum treatment and demon-
strated gains in visual literacy from year one to year three also showed
significant gains in Florida’s standardized test—the Florida Comprehensive
Achievement Test. This was not true of students in the control school.
18. 172 kATE rAW lI nS o n E T Al .
Students in Artful Citizenship showed 12 percent growth in their FCAT
reading scores and 16 percent gains in FCAT math. (Annual FCAT testing
begins in third grade for reading and math, and students are scored ac-
cording to a five-point scale.)
leSSonS leArneD From ArtFul citizenSHiP
The close participation of the museum education staff during every phase of
the three-year project Artful Citizenship project and the research conducted
by Curva and Associates, the outside evaluation team, enables us to make the
following recommendations for museums to consider:
• Place less focus on a curatorial or art-education agenda and more focus
on an education agenda, incorporating multiple literacies and mul-
timodal learning.
• Create more museum outreach through teacher preparation programs,
printed curriculum materials, Web-based content, and so on to facilitate
rich learning experiences using museum collection in the schools, as
opposed to costly and time-consuming multi- or single-visit programs
in the museums. Artful Citizenship succeeded by engaging teachers and
students in low-performing schools not often served by museums.
• Develop long-term projects that teach educators how to properly in-
tegrate object-based learning into their class work and allow students to
mature in visual literacy skills. Change takes time.
• Advocate for more investment by museums, communities, and educa-
tional funding institutions in research to better understand how object-
based learning and visual materials can be used to shape student
learning.
• Partner with those who share a desire to think more deeply about educa-
tional issues. Perhaps more than ever, museum educators are needed to
help address shifting definitions of “visual literacy” and “critical
thinking.” Perhaps context variables matter more than we have pre-
viously considered. For example, in the context of Artful Citizenship in-
cluded the classroom (rather than museum galleries), a collection rich in
historical and social content, and the standardized elementary social
studies curriculum, so critical thinking was reflected in the ability of
children to think critically about social problems.
• Accept the importance of this work and truly reach out to take part in
“civic engagement.” If we are not part of the solution, we are part of the
19. T h I n kI n G C rI T I C Al ly A B o U T S o C I Al I S S U E S 173
problem. Museum collections hold many opportunities to engage, en-
lighten, and enrich our lives and make all of us better citizens in our
communities.
concluSion
Museum collections contain artifacts of change, reflecting the aesthetic and
social values of the past and present. They include a vast number of indi-
vidual objects that address larger issues and offer endless opportunities for
exploring social, technological, and political topics. This richness of visual
material, thematically and historically, affords the ideal context for engaging
young learners in authentic conversations. Projects such as Artful Citizenship
provide a model for using this abundant resource. In this case a model arts-
in-social-studies curriculum was designed for use by classroom teachers,
which embraced open-ended collaborative discussion to foster critical and
creative thought about important social issues, much needed as we continue
into the 21st century.
noteS
1. Gail Anderson, “Museums and Relevancy,” Journal of Museum Education 31, no. 1 (Spring
2006): 3.
2. Fely Curva, Sande Milton, and Susan Nelson Wood, “Program Evaluation Report for
Artful Truth: Healthy Propaganda Arts Project” (report, Curva and Associates, Inc., Tal-
lahassee, FL, 2001; Fely Curva and Sande Milton, “Program Evaluation Report, A Page at
a Time Program” (report, Curva and Associates, Inc., Tallahassee, FL, 2004).
3. Florida Department of Education, “Sunshine State Standards,” http://www.firn.edu/
doe/curric/prek12/pdf/socstud3.pdf (accessed January 28, 2007).
4. Abigail Housen and Philip Yenawine, Visual Thinking Strategies (New York: Visual Under-
standing in Education, 2000); Paul E. Bolin, “Art and Artifacts: The Value of Material
Culture Studies for Art Education,” The Pennsylvania Art Educator 2 (1993): 15–18.
5. Curva, Milton, and Wood, “Program Evaluation Report for Artful Truth”; Curva and
Milton, “Program Evaluation Report, A Page at a Time Program.”
6. Philip Yenawine, “Jump Starting Visual Literacy: Thoughts on Image Selection,” Art Edu-
cation, (2003): 6–12.
7. Louise Rosenblatt, Literature as Exploration, 5th ed. (New York: Modern Language Associa-
tion, 1996).
8. Curva, Milton, and Wood, “Program Evaluation Report for Artful Truth”; Curva and
Milton, “Program Evaluation Report, A Page at a Time Program.”
9. Benjamin S. Bloom, Taxonomy of Educational Objectives, Handbook I: Cognitive Domain. (New
York: Addison Wesley Publishing Co., 1956).
Kate Rawlinson has been the assistant director for Education and Public Programs
at The Wolfsonian–Florida International University for the past seven years.
20. 174 kATE rAW lI nS o n E T Al .
Susan Nelson Wood is an associate professor and coordinator of English education
at Florida State University and director of the FSU Writing Project.
Mark Osterman is the education programs manager at The Wolfsonian–Florida
International University.
Claudia Caro Sullivan is the education research manager at The Wolfsonian–
Florida International University.
m