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Names ______________________________ Facilitation Title _____________________________ Date _________

Class Discussion Facilitator


Students will rotate to serve as the co-Class Discussion Facilitator. These individuals will be responsible for
facilitating a 60-minute lesson, synthesizing the theories and theorists under investigation by bridging related
concepts in visual art and education. Students should also connect theories and concepts with their complementary
paradigm. The lesson will include a guided discussion about the readings and student Reflections and peer
questions. The lesson may also include applicable activities such as: field trips to campus galleries/museums, handson investigations, scavenger hunts, etc. Before beginning a lesson, the Class Discussion Facilitator may choose to
reorganize and add to the Google Drawing map to aid in discussion facilitation.
WORKING
TOWARD
PROFICIENCY

CRITERIA

ACCOMPLISHED

Students facilitate a 60-minute lesson, synthesizing the primary


theories and theorists under investigation, as outlined in the Syllabus
Calendar.
Students bridge related concepts in visual art and education.
Students connect theories and concepts with related paradigm, as
outlined in the Syllabus Calendar (and below): Traditional,
Modernist, Blurred Genres, Crisis of Representation, The Posts, The
Future, DBAE, or VCAE (please circle one).
Students guide a discussion about the readings and student
Reflections and peer questions. The lesson may also include an
activity or field trip.

Intersections: Visual Art & Education Theories


See Denzins (2010) historical moments in qualitative research, as cited in The Qualitative Manifesto
TRADITIONAL (1900-1950): The artist-teacher views learning or artmaking as a timeliness truth based on
scientific principles. (Keifer-Boyd, 2014, p. 195).
MODERNIST (1950-1970): The artist-teacher views learning or artmaking as a formalization of . . . methods
similar to the formal language of elements and principles of art (Keifer-Boyd, 2014, p. 195).
BLURRED GENRES (1970-1986) (see Geertz, 1980): The artist-teacher is aware of their subjectivity, and becomes
a bricoleur . . . , borrow[ing] from many different disciplines (Denzin, 2010, p. 13).
CRISIS OF REPRESENTATION (1986-1990) (see Marcus & Fischer, 1986): The artist-teacher struggles with
locating themselves and their subjects in reflective texts. The line between a text and context blurred (Denzin,
2010, p. 14).
THE POSTS (1990-2004): The artist-teacher develops a concern for literary and rhetorical tropes and the narrative
turn, a concern for storytelling (Denzin, 2010, p. 13).
THE FUTURE (2005-PRESENT): The artist-teacher engages in critical conversations about democracy, race,
gender, class, nation-states, globalization, freedom, and community (Denzin, 2010, p. 13).
Key Visual Art Education Theories
Modern: exploring discipline-based art education (DBAE): historical context; theoretical foundation (i.e., aesthetics,
art criticism, art history, art production); pros/cons; theory to practice; etc.
Postmodern: exploring visual culture art education (VCAE): historical perspective, theory of communications/social
theory, pros/cons; theory to practice; etc.
Class Discussion Facilitator: _____ (15% of overall grade for ART 130)