Mary Stokrocki

Qualitative inquiry in education : the continuing debate

Part 1 Subjectivity and objectivity: subjectivity and objectivity - an objective inquiry, D.C. Phillips is naturalism a move away from positivism? materialist and feminist approaches to subjectivity in ethnographic research, Leslie G. Roman, Michael W. Apple commentary on the papers by Phillips and by Roman and Apple - subjectivity and objectivity, Egon G. Guba response to the commentary by Guba, D.C. Phillips. Part 2 Validity: on daffodils that come before the swallow dares, Madeleine R. Grumet on seeking - and rejecting - validity in qualitative research, Harry F. Wolcott commentray on the papers by Grumet and by Wolcott - looking for trouble - on the place of the ordinary in educational studies, Philip Jackson response to the commentary by Jackson, Madeleine R. Grumet. Part 3 Generalizability: generalizability and the single-case study, Robert Donmoyer increasingly the generalizability of qualitative research, Janet Ward Schofield commentary on the papers by Donmoyer and by Schofield - generalizing from case studies, Howard S. Becker. Part 4 Ethics: the ethics of qualitative research, Jonas F. Soltis ethics in qualitative field research - an individual perspective, Louis M. Smith commentary on the papers by Soltis and by Smith - toward a categorical imperative for qualitative research, Yvonna S. Lincoln response to the commentary by Lincoln, Jonas F. Soltis. Part 5 Uses of qualitative inquiry: using the narrative text as an occasion for conspiracy, Thomas E. Barone what can you learn from applesauce - a case of qualitative inquiry in use, Christopher M. Clark commentary on the papers by Barone and by Clark - animadversions and reflections on the uses of qualitative inquiry, Matthew B. Miles, A. Michael Huberman response to the commentary by Miles and Huberman, Thomas E. Barone. Part 6 Closing comments on a continuing debate, Elliot W. Eisner, Alan Peshkin.

Reconsidering Everyday Assessment in the Art Classroom: Ceramics and Science

ducational assessment is more than measurement, rubrics, and grades. Its real focus needs to be on learning. Art educators need to pay attention to the assessment of daily learning as well. Everyday assessment of classroom learning is crucial because it provides feedback directly to students in the process of their learning, more than mere measurement or rubric ranking does. Teachers should provide opportunities for students to learn how to pre-assess and post-assess their own learning, compare the results of their first assignment with a later one, problem-solve and reflect collaboratively, evaluate their own artwork, draw pictures of and measure what they learn, and provide suggestions about their works in the future. This should start at the middleschool level, when students are interested in technical concerns, scientific wonders, and how things work (Brewer 1991). My arguments mostly stem from J. Myron Atkin and Janet Coffey’s book, Everyday Assessment in the Science Classroom (2003). Examples emerged from my teaching experience in a course on ceramics and science for middleschool students that demonstrated how assessment results can guide program development, curriculum design, and classroom instruction. This article explores the quality of everyday assessment, the means of assessment, and what can be accepted as evidence of learning in visual art education. Art educators need practical and accessible examples that translate at the classroom level.

Through Navajo Children's Eyes: Cultural Influences on Representational Abilities

This article describes, analyzes, and interprets various cultural influences on the representational drawings of young Navajo students, in order to understand their changing cultural viewpoint. The data and drawings were gathered from two elementary art classes in one Navajo public school in northeastern Arizona, as part of an ongoing study. This information is compared to anthropological data gathered on adult Navajo drawings nearly 30 years ago, as well as to some dominant theories on child art. Data reveal students are influenced by Navajo traditional images, classroom teachers’ versions of school art, popular art images, pan‐Indian influences, and peer copying. Results reveal the persistence of traditional nature imagery, the incorporation of similar schemas and color use with mainstream children, a keen ability to render realistic images and space, and the incorporation of those American things that the Navajo regard as “good for them.” Keen drawing abilities appear at a young age among the Navajo be...

Teaching Preadolescents During a Nine-Week Sequence: The Negotiator Approach.

This participant observation study reveals how one junior high art teacher instructs and struggles to understand her students within a nine-week program. This study focuses on her framework for understanding the aim and content of teaching, student learning, and her teaching style. The study is limited to one seventh grade class. Content and comparative analyses and time sampling are used to determine types of instruction and their frequency. Art instruction consisted of a few manipulative, in-depth, three-dimensional experiences coupled with art appreciation in small doses; however, managerial instruction dominated the class. The importance of the teacher as negotiator is revealed including the practice of negotiation that is extended into the community. The need for cooperative planning with students is suggested. Such an extreme case is used as a comparison with other situations in generating theory.

ART EDUCATION AVATARS IN CYBERSPACE: RESEARCH IN COMPUTER-BASED TECHNOLOGY AND VISUAL ARTS EDUCATION

Movable avatars that represent people are floating everyday in cyberspace. People select avatars that are pictorial, graphic, or iconic characters, with which they identify or admire. Avatars transform themselves into multiple human, animal, object, and electronic incarnations assuming different roles, forming networks, solving problems, and taking risks in cyberspace. Cyberspace is a world of changing forms. They range from the lowest level avatars, such as “smileys,” heads that wink, blush, or turn and are attached to e-mail messages to the more seductive, whimsical, or mysterious “anime” characters in electronic games.At the turn of the twenty-first century, people find themselves inundated with such images. So what does research tell us about technology’s role for the field of art education? This paper presents an overview of historical precedents, preservice education, social activism, and global examples and concludes with a summary section on “learnings” and yearnings in art education. Initially, publications in art education that referred to technology tended to contain mostly reviews of artists and new discoveries in art/science/technology, media art, position papers, program descriptions, and reports of interactive arts-related Web sites. Later, researchers reported findings about their action research programs in schools, the results of actual learning, outreach with marginal groups, cross-cultural initiatives, and critical and metaphoric theoretical explorations. They incorporated new qualitative paradigms in their research and recognized the impact of configuration and context, the subtleties of practice and unique outcomes, assessment methods allowing for personal expression, and arts-based reporting formats (Eisner, 1993). I limit my review of technological research to recent electronic examples reported in art education sources.

Children's Ethno‐Aesthetic Responses to a Turkish carpet: A Cross‐Cultural Study in Three Cultures

Through exploratory art criticism, children learn to focus their vision, develop new viewpoints, and exchange ideas. I encouraged children in Turkey, Japan, and on the Navajo Reservation in Northeastern Arizona, United States to explore dimensions of my Turkish carpet. I discovered similarities and differences in their ethno-aesthetic responses, a groups beliefs and ideas on art and how and why they respond the way they do. The exercise in art criticism began with description, analysis and interpretation questions that served as a springboard for sharing technical information, symbolism, and cultural stories. The paper ends with generated insights not generalised conclusions about changing ethno-aesthetic meanings and values in traditional cultures.

A Cross-Site Analysis: Problems in Teaching Art to Preadolescents

The purpose of this study is to compare, by means of a cross-site analysis, the findings obtained from several earlier participant observation studies conducted by the author. The problems of teaching art to preadolescents are explored by taking into account the experiences and reflections of teachers and students as well as the observations of the researcher. To provide a framework for discussion and to clarify the nature and extent of these problems, they are categorized as (a) contradictions in student behaviors, (b) instructional demands, and (c) institutional contingencies. In suggesting the potential significance of this study of preadolescent art programs, cautious recommendations are made for improvements at this level.

Preadolescents Reflect on their Drawings of Dance: Students’ Voices in Art Learning

6 Students, during the ages 11 years old to 13 years old (“tweens”), experience a growing desire to think and act independently while caring deeply about being accepted by the group. tweens may feel vulnerable and self-conscious during the many changes that occur during puberty. these feelings can lead tweens to doubt their abilities and disengage when faced with challenges thought beyond their abilities. tweens’ artistic expression can be constrained as they develop a growing interest in the ability to render an image with convincing realism (Graham, 2003). For all these reasons, keeping tweens interested, motivated, and engaged can be quite a challenge for art educators. tweens are more likely to engage with art learning perceived as relevant to them. Curriculum that is relevant to students relates content to their daily lives, interest, experiences, and concerns (Maday, 2008).

Drama as Meaningful Intensification.

(1984). Drama as Meaningful Intensification. Studies in Art Education: Vol. 26, No. 1, pp. 61-62.