Task 2: What are the language demands of your content area? (Essential Question B)
Academic language, broadly defined, includes the language students need to meaningfully engage with academic content within the academic context. This should not be interpreted to suggest that separate word lists and/or definitions of content-related language should be developed for each academic subject. Rather, academic language includes the words, grammatical structures, and discourse markers needed in, for example, describing, sequencing, summarizing, and evaluating — these are language demands (skills, knowledge) that facilitate student access to and engagement with grade-level academic content. These academic language demands are different from cognitive demands (e.g., per Bloom’s taxonomy). Although there may not be just one accepted definition of academic language, there are a good number of resources available that address the issue of academic language and may be considered in the development of state ELP standards and assessments. For example: Aguirre-Munoz, Parks, Benner, Amabisca, & Boscardin, 2006; Bailey, 2007; Bailey, Butler, & Sato, 2007; Butler, Bailey, Stevens, Huang, & Lord, 2004; Chamot & O’Malley, 1994; Cummins, 1980; Cummins, 2005; Halliday, 1994; Sato, 2007; Scarcella & Zimmerman, 1998; Schleppegrell, 2001.
Pre-Posting –
Part A - Watch the video/PPT on Content Objectives and Language Objectives (See below). Think about the work we have completed already (What does it mean to read? Who are we as readers? Who are adolescent readers? What does research tell us about learning from texts) how does this build the foundation of rethinking how we plan for instruction in our content areas.
Now. . . Think about what it means to be literate in your specific discipline (e.g., what does it mean to read, write, speak and listen within your discipline).
Pre-Posting-
Part B - Conduct an internet search and see if you can find any sites/information on what it means to be literate in your specific discipline.
Initial Posting – After viewing the ppt. on content objectives versus language objectives I invite each member within your small discussion group to share their specific discipline and what it means to be literate within that discipline (e.g., What does it mean to be mathematically literate?). Think about the types of texts (oral and written) you need to read and comprehend. Think about the tasks that you are asked to do within your discipline and how is language used to support and complete these tasks. Post your interpretation of what it means to be literate within your discipline include any information you located in your web search (don’t forget to cite your sources or provide links for others to view).
Fri. November 15, Initial posting
Response Postings – Everyone should respond at least once to each group member with a question, clarification, or addition to the thoughts on their specific information. You might consider other information, questions you still have as a future teacher, etc.
Response Postings:
By Sunday, November 17: 11:59 PM. Response postings
When speaking about literacy in the visual arts we are usually talking about art criticism. Art criticism can take a number of different forms. Below are a few examples of different art criticism models:
ReplyDelete Analytic Model
The following questions are asked: What is this? What does it mean? What is it worth? What is it for? (ie reaction, description, interpretation, evaluation)
Feminist Conversational
Specific to “a women’s way of knowing”. Sensitive to gender issues both in content and structure. Does not take on a predetermined structure, and instead is personal and subjective in nature, usually conversational and cooperative in format, and narrative rather than definitive inform. With this method teachers and students are partners in art evolution.
Principled Art Criticism
A meta-cognitive approach that explores planning art criticism, implementing art criticism, and evaluating and modifying the critical performance.
Of these models the analytic model is most often used in education. The analytic approach allows for a precise method of art criticism that can be clearly explained in educational environments when broken down into the four categories of description, analysis, interpretation and judgment. These categories step students through the process of “reading” images using the language and understanding of the elements and principles of art. Once students have a clear understanding of these categories they can be intertwined with one another to create a meaningful and engaging art critique. Although the critique process includes all four categories, the individual categories will often be used independent of one another throughout lessons to address different parts of the art production process. The elements and principles of art are being addressed at all times and are broken down in lessons and art production.
Disciplinary Literacy In Arts & Design
https://sites.google.com/a/dpi.wi.gov/disciplinary-literacy-in-fine-arts/
Art Talk: Developing Visual & Verbal Literacy (great for younger children and parents)
http://www.communityplaythings.com/resources/articles/2006/art-talk-developing-visual-and-verbal-literacy
Redefining Literacy: When the Arts and Core Curriculum Collide ( a quick little read to get you thinking)
http://www.edutopia.org/literacy-integrating-arts-core-curriculum
Applying Literacy and Reading Strategies to Visual Art
http://www.greece.k12.ny.us/academics.cfm?subpage=1662
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DeleteLaura,
DeleteI find that anytime I bring up the idea of “Criticism” and the importance of that word in an educational setting, I always get the reply that we should never use criticism, and that it is not an efficient way of assessing students. However, I believe strongly in criticism. And most importantly, I believe that students should learn how to criticize their own work.
I have to ask, because I saw that you used this word multiple times. Where is your stance on Criticism and how it relates to the visual arts world? I really like how you have used that word when it relates to the literacy of visual art. To me, criticism breeds our own personal understanding of art, therefore giving us the our own unique set of vocabulary. What I believe to be important when talking about criticism to a class is that criticism is the definition of ones self opinion.
“I didn’t like this piece of art because…….” or “This piece of art made me feel this way because..….”
These sentences that include criticism lead to a greater understanding of the art, and it includes an opinion. However and opinion without a definition holds no weight “I didn’t like this.” or “Thats cool!” Really, aren’t we as arts teachers always interested in pulling from the students their reasons why? And isn’t that a form of criticism?
I completely agree with you about the importance of criticism - without it student cannot learn how to "read" art (in my case visual art), and that is one of the most important things I teach. In high school students have to take an intro art class, and that means I have plenty of student who quite honestly aren't that "into" art, and I can't hold that against them (after all I was never "into" math). Some of them may never draw again after these classes, but ALL of them should walk away with the ability to look at things in a new ways, and "read" art. In order to read art they must first understand the elements and principles and then they must be able to apply the elements and principles to the artwork they are looking at - this is critiquing. In the four steps of critiquing (description, analysis, interpretation and judgment.) student must include their "judgement" of the work - this is where they apply their knowledge of the elements and principles to put forth an opinion. You can like or dislike something, but you have to be able to explain WHY using academic language and understanding. This process really builds their brains - the higher cognitive thinking juices really begin to flow here.
DeleteI think it's important to teach the "art" of criticism. There is a way to do it so you speak intelligently about art, but there is also a way to do is so you can grow from doing it AND hearing it, especially when you are receiving a critique on your own art. High school is a real good time for students to learn and understand this. There is a way to tell someone something so that they can take that information and grow from it, and there is a way to grab onto the information being handed to you so you too can grow from it.
I wouldn't humor the idea of teaching visual arts without teaching the art of criticism and critiques.
Really interesting, Laura! I never thought of art criticism as being the fundamental cornerstone in arts literacy but it makes sense. Do you use critical response? If so, what is your impression of that process?
DeleteSorry to join this conversation late, but this is really interesting because it is a method that my mentor teachers have been using in their business classes as well. We were struggling with students not understanding a rubric for an activity we do once or twice a week. This activity is worth a large amount of points, but it seemed that the students either didn't care or didn't understand exactly how they were being graded. We decided to start letting them grade themselves on a portion of the activity and explain why they felt they deserved that grade. Interestingly, a lot of them seemed to understand that they could be doing better and gave themselves a grade similar to what we would have given anyway, but it was more meaningful because they had to do a self-reflection rather than just getting comments from their teachers.
DeleteNancy - I think a good "analytic critique" will absolutely include all the components of a "critical response". From my understanding of a critical response it is basically asking and answering the same questions of an analytic critique, with maybe a bit more emphasis on the personal interpretation and judgement. Personally the personal interpretation and judgement is what I am most interested in developing in students - of course in order to do this they need to intelligently defend their points - that's where the understanding of elements and principles come into play. But if I am only teaching students to describe and technically analyse art without their own personal connection what's the point?
DeleteJesse - to your point, there is accountability in having to go through a self critiquing process. It's important for students to understand this and do it - but not only in school - in life. In art we put emphasis on the "constructive" critique - a critique you can walk away from understanding how you can grow and improve - something that can serve to build you up, not tear you down. I like you are taking that approach in business class!
Music Literacy,
ReplyDeleteEhow sites can be hit or miss, but when researching the definition of “Music Literacy” I was stopped in my tracks after reading from this site:
http://www.ehow.com/facts_7168184_mean-music-literate_.html
I know that an ehow site doesn’t necessarily pack as much academic language into the content in order to be credible, however the third paragraph “A Relative Term” hit the nail on the head. The quote is this:
“Expert professional musicians who not only read notes but also understand musical form tend to think that those unable to do so are musically illiterate. Music literacy is a relative term. A person with moderate ability may be held in honor by the less gifted and despised as musically illiterate by experts in music.”
This paragraph could not be more true when it comes to understanding music. Music is not just an understanding of the words, the understanding of form, or the ability to read music. Music calls for a certain type of intelligence that pulls from our emotion. Using phrases like “What do you hear?” can pull answers like the music sound happy, sad, rushed, fast, slow. We also can ask “How does it make you feel?” and you can get answers that are both descriptive with adjectives as well as how it could physically feel since we use motor skills to create the sound. But I think it is fundamental to share at a young age that music literacy is a relative term. That one student may acquire a different feeling from the next, and that there is no one answer.
To define music literacy with the terms given today pushes us back into the corner of an Imperialistic Culture. Music Literacy as it applies to Western European music is defined, analyzed, structured, dissected, and reconstructed into under the brand “Art.” I can identify with this world as most of my training revolved around the Western Musical influence.
Music Literacy MUST extend past the Western culture and vocabulary. We must accept a global understanding of music. For example: Aboriginal drum circles pack just as much importance (or even more) in the continuation of a cultural understanding of music then any Western Symphony written by a dead white guy. East Indian Ragas (that do not identify with the 12 note diatonic system) have a spiritual connection an meaning when performed in the morning, middle or the day or night.
In my own relative terms, Music Literacy is something personal, it is a reflection of the soul, and the ability to open up that world and share it with all things living.
I LOVE LOVE LOVE this! So, last weekend I listened to Cheng-Khee Chee (Chinese Artist - you should check him out) give a short lecture on art along with an amazing demonstration of a water color. He spoke to the exact same thing your bring up - the emotion and soul in the creation process. I realized while listening to him that this is something I am constantly longing for and searching for in not only my own art but in others - it can get drowned out so quickly withing the walls of our imperialistic culture and stale academic institutions (no offense). I think this explains one of the reason I have recently been so attracted to graffiti art - the emotion and soul that goes into it is key - and the more the artist lets this shine through the more fabulous the work. The same it true for calligraphy, which is an eastern art form, and in my opinion has many similarities to graffiti. And you know, if I think about it, the music I love (and I do LOVE music), always fills me with an abundance of emotion - it can put me up high or throw me into a pit almost instantly!
DeleteI could go on and on...but thank you for bringing up this incredibly important point!
Nick, I appreciate your ability to use advanced technical, even academic language in regard to music education, but then bring it back to the essential intelligence that is required - emotional. This is a fascinating study as it relates to the basic human need to connect and express. Thank you!
DeleteI don't have a lot to add that hasn't already been said, but your comments along with the others in the group makes me jealous that you get to work in the arts (sometimes I feel like business is pretty boring). One of the things I appreciate so much about the arts (and did as a student as well) is that it allows you to get in touch with your emotions like you mentioned above. I am a percussionist and a music enthusiast and I know that it impacts the way I learn, not only musically, but in all areas. I often listen to music when I study (I am right now, actually) because I can get easily distracted and for some reason music helps me to stay calm and focused. I'm not sure how this relates to academic language other than to say that I agree that in the arts, literacy is more than just words.
DeleteLiteracy in Business Education
ReplyDeleteHere is the best explanation I could find for literacy in Business Education: "Literacy in business education can no longer be limited to simply reading and writing; rather, it is a broader concept that utilizes the language tools of reading, writing, speaking, listening, and viewing that are particular to the business education curriculum. Further, being literate in the business education curriculum means more than simply being able to read and write using traditional school materials (e.g., a textbook, a workbook, etc.). It is the ability to successfully navigate the literacy practices or language use embedded within particular situations" (www.nbea.org/newsite/publications/business_forum/vol59n04.html).
First, I have to be honest and say that before this year I had no idea how broad the content and language objectives are in Business Education. To me, the explanation above is very general and could be applied to pretty much any content area. Business is special, however, in that it – in many ways – incorporates all of the various disciplines. Communication and writing skills are obviously important in business and require a special set of literary skills/knowledge similar to an English class. Statistics and Accounting incorporate many scientific and mathematical terms. Even the Arts (Visual and Auditory) are used in many ways in Marketing/Advertising classes. Computer Science (and other classes based around information technology) have a very different and unique set of language objectives based on using different programming languages. I like this in a way because I feel it can be used to develop interdisciplinary/liberal arts goals across different content areas in a natural and realistic way. In terms of language, being literate in these different areas can ultimately help you become literate in business as well.
On the other hand, each of the business classes has its own set of unique literary challenges. One example, credits and debits, are typically used in a business setting but mean different things depending on if you are discussing Accounting or Banking. This means that to be literate in Business Education, students must be able to understand words and concepts that reach across different content areas while also understanding the differences within the business content. This is a difficult task and I believe it will require me, as a teacher, to define very clear language objectives and tasks in order to help my students become literate in this area. As mentioned above, this also means that they will be able to read, write, speak, and listen because these objectives will likely help them in any job that they might have in the future.
In my research I found an interesting PowerPoint that listed some different strategies for achieving language objectives (this was meant for business, but I think it could easily be used in any content area). The one I like the most was called “Double-Entry Journal” where the student “highlight[s] phrases or passages that stand out,” then writes them in a notebook with direct quotes in a column to the left and responses to those quotes in a column on the right (along with any thoughts or questions they may have).
www.btanys.org/docs/Literacy_in_Business_Education_final.ppt
Jesse,
DeleteI find it amazing that you are able to connect the dots across the various discipline and how it applied to business education. I too agree that the concept of language literacy is a bit broad and that it applies to all classes in general.
I don’t know about the field of business education, however I do know that we have to maintain some type of business strategy in our artistic field. But in my experience, a traditional performance degree doesn’t do anything business related besides -Showing up on time, save all receipts for taxes, and be prepared to pay in at the end of the year. Just recently, music business models have been adopted, but it is a great treat for any profession.
The power point you provided in the link was extremely detailed. I really liked how they incorporated Bloom’s Taxonomy into the working. This is a really great document for any one who might feel stuck with the creation of their own edTPA. The foot notes on the power point were very clear and organized.
I often catch myself using “professional language” tone instead of “academic language.” Although they can often be one of the same, do you find any difference between the “Professional Language” and the “Academic Language?”
Jesse,
DeleteIt sounds like you have quite a challenging task to connect these different worlds together by differentiating and defining language for your students. Your awareness and understanding of this shows that you are up for the challenge. I appreciate your defining the academic language required in business - it makes sense, but I hadn't realized how intricate, challenging and unique it is.
Nick-
DeleteGood points! I think one way business transcends into art is through marketing and/or graphic design. My mentor teacher at Kennedy actually just changed the name of her Marketing class to Advertising in order to attract some more artistic/creative minds. As far as professional vs. academic language, I feel like the main difference is that the academic language exists more for us as teachers to provide an objective and also assess the students to determine if they have met that objective. On the contrary, the professional language exists more for the students because it is the language they will actually be using in the discipline. I'm torn on whether or not they need to know both for their future career, but understanding academic language should at least help them think more critically which I believe is an asset in most work situations.
Nancy-
Like I said before, I had no idea how broad BusEd really is. In actuality, learning that has helped me gain an appreciation for it because now I try to focus on how I can incorporate other areas of learning into what I am teaching.
I studied business a bit back some time ago. One thing I find fascinating about business is the changes in language and definition as time goes by - it is constantly morphing. I guess you could say something like visual arts is also constantly morphing, but at the end of the day it still goes back to the elements and principles, and although these can alter a bit, they stay pretty consistent. Does this observation make sense (really, tell me if it doesn't), and if so how does an educator keep up with all the changes?
DeleteThis comment has been removed by the author.
ReplyDeleteDance, in my opinion, is a unique field of discipline in this regard for the obvious fact that it, in and of itself as an art form is non-verbal. It seeks to express messaging and meaning through the movements of the body. Yet, in order to be taught and studied, learned and replicated, there must be language to support this endeavor. In studying the article "Forging Mutual Paths: Defining Dance Literacy in the 21st Century--Dance-based Dance Literacies" by Teresa Heiland, I extracted the following categories in which Dance can be separated and more clearly articulated through language:
ReplyDeleteBODY AND PERFORMANCE: physical skill building, anatomy,
kinesiology, somatics
LANGUAGE: concepts
related to theatrical performance, elements of dance
terms, vocabulary related to specific genres of dance
CULTURAL AWARENESS: origins of dance styles and
forms, history, aesthetic valuing
INTER- AND INTRA-PERSONAL RELATING: community building
These four disciplines touch on the vastness of this discipline and the many angles and vantage points one can take in it's pursuit. In working with middle schoolers, I do focus on all four categories, yet because of my time limitation with the groups I work with (quarterly rotations), I am only able to skim the surface in language development of these four areas.
Nancy,
DeleteThese four categories must be extremely helpful when planning out lessons for a unit. Are there any times where the categories are crossed? Like is there every a time where you would go into depth about “Body Language”
I have a small understanding of dance, and I am always amazed at the human connection to the body and mind. A dancer doesn’t use anything to make an extension of the body (like a musician), the dancer is not following a set structure of sound, and the canvas that the dancer paints on is 3 dimensional that includes time, space and sound.
I can imagine the importance of sharing these massive concepts with a middle school class, and the importance of laying the foundation in order to create dance appreciators in the future. Is there a set of words that you refrain from using with a middle school class?
For some reason after reading this it reminds me of the conversation we got in to last class period about whether the language is necessary if the students can show understanding. I think we were talking about art, that a student can be a good artist without necessarily knowing the deeper concepts that go into what they are creating, but that maybe it was also restricting them from being even more. Do you feel that way about dance, too? Do you have students who are good dancers, but perhaps not reaching their full potential because they are not "dance literate"?
DeleteYou mention only being able to skim the surface on literacy development. I am finding this to be the case in the high school art classes at Harding. 47 minutes with 38 students = picking and choosing what important things will be taught and NOT taught. It's sad, because I know there are kids like me that will understand EVERYTHING better if they can grasp the deeper processes of understanding art, but that is hard to accomplish in such and environment. How do you make choices on what the focus is going to be with such time limitations?
Delete