Rationale
“The development of the narrative capacities of the mind, of its ready use of metaphor, of its integration of cognitive and affective, of its sense-making and meaning-making, and of its overarching imagination, is of educational importance because these capacities are so central to our general capacity to make meaning of our experience."
Kieran Egan
The Students
I
have been teaching the same course for five years now and am quite familiar
with the diagnostics and need analysis of my students. I have also gathered a
lot of information from my students in consultations and evaluations. Korean
students are used to being in a traditional language class, which uses cliché
generic theme chapters in textbooks, involves a lot of rote learning and is
centered on grades and memory work. The
lesson I have designed is based on the idea that student should be constructing
knowledge and language in a unique and imaginative fashion. Moreover many
students are familiar with modern technological tools but not in the sense of
content creation, yet many have spoken to me about how digital tools can be
used to further their language acquisition. Finally, the class is composed of
students from various majors but always which always include Art History,
Craft, Media and Culture majors, which will help act as a bridge for using art
and technology in a lesson. This approach is experiential and will go to engaging
them in meaningful language learning, enriching their academic years, and helping
them in developing long lasting digital skills.
Tasks
Because
the lesson is about art, I’m going to use works of art to elicit and teach
techniques of descriptive writing and narrative structure, as well. This will
help to engage students in the content of the lesson and allow me to scaffold
learning experiences. Moreover, the starter
task with the Van Gogh painting serves several functions here: first, it will
introduce the theme of art into class and second give them the language to
describe a painting. Third, it also will serve to provoke their imaginations
into seeing in a different way. I created this activity specifically because
the “The Starry Night” painting is so ubiquitous in
their minds from a contemporary commercial and various ads. However, by having
them sketch it themselves and then rediscover it as it comes into view on the
page in front of them is a unique participatory experience for them. This
impression is heightened further when they realize the vantage point from where
“Starry Night” was actually painted from (an asylum)and tie in the connection
with the infamous and equally ubiquitous anecdote about Van Gogh’s severed ear
(It was one of the first paintings completed after the ear supposed incident). I’ve experimented with this activity recently
and it had a very strong impression on the students. So, there is an added
fourth purpose which is to get them thinking about point of view and different
contexts from which to view a painting. Finally, it will have the effect of
turning something familiar into something strange. This to me is one of the
most fundamental aspects of creativity and artistic expression. Art through
various ways (metaphor in writing, editing in film) can make the familiar into
something strange and conversely it can make something strange into something familiar.
But in both situations the mind is forced to see the world in a new way. (It is
interesting to note that research by Bonny Norton shows, technology can have
this same effect on language learners but I will discuss the affordances of the
technology later in this blog).
Similarly,
the Julio Cortazar story “Axolotl” was chosen to compliment and play into this
idea of strangeness and seeing altering one’s perspective from a different
point of view. (It’s worth mentioning
that student will also be familiar with Márquez's 1968 short story "A Very Old Man with
Enormous Wings" from our other classes, which is
a story dealing with similar thematic content as well) In regards to the video
assignment Golden Earring, it will suggest a possible metacogitive postmodern
point of view on a painting which they might consider to view their own painting
from. The Tedtalks videos make this approach very explicit and we will also incorporate
it into class discussions as well. All the tasks have been designed with a
secondary embedded purpose which the students have to discover by themselves in
pairs and to get them asking more questions because I want them to do something
similar in their interpretation of a painting. They will need to look for more
and dig a little deeper with their imaginations to become more creative. I think
the tasks as they have been designed will help them to do so. The creation of
the final project will be a strong reflection of this process.
The
Final Digital Artifact will being using thinglink which allows students to embed
their chosen painting with hot spots which the other students will have to find
by cursing over the picture. This allows them many options for telling their
final story either in disjointed fashion or in a standard narrative it also
gives them the opportunity to add sound and other video so student my chose to
create a link to video or other created content to embellish their story. The
genre of the stories are open for students to choose from as well. This means
they can negotiate to make a murder mystery which the other students have to
solve.
Teaching Methodology
The
teacher role will be largely based a initiating ideas and engaging students
with starters and designing tasks, ensuring collaboration is effective,
providing feedback, and finally and perhaps most importantly scaffolding and
encouraging peer feedback. Collaboration
in the creative process is at the heart of this language lesson and it needs to
be structured in an efficacious and productive fashion. I have tried to incorporate
group work into the class in several places so that it can be transferred
online with various tasks. This will begin with the Reading Circles where
students will nominate their own groups and their subsequent roles to perform.
Specific roles will give them more autonomy and allow them to be able to control
the material as research by Palinscar and Herrenkohl has demonstrated. In
particular, this can be seen in the role of confusion collector. Their 2002
study shows how students were able to find their own answers to most problems
without a teacher, provided an explicit role was designated for immediate visceral
reactions and questions beforehand (2002, p.27). This group structure should
break the task down into smaller chunks for students to identify and then work
with. The main collaborative component will come with the online tasks and it
is online that I want students to learn how to engage in constructive peer feedback.
I
have based this cyclical design on the ideas suggested by Laurillard so that
there are approximately 6 groups of 6 students (2013). Within each group
students will be divided into three pairs A,B,C. This will allow me to get them
providing feedback to each other within their groups but this will extend
outward in concentric circles of feedback to eventually include the whole class.
For the weekly online tasks, in each group Pair A will begin the story and Pair
B will provide feedback and continue the story based on their feedback then
pass it on to Pair C, who will continue the story then receive feedback from
Pair A. This is similar to the Exquisite Corpse activity or “the drawing game” played by
Surrealist painters in the 1920s but in this dynamic the point here is to be
constructing something together, and using language to do so rather than acting
in mutually exclusive groups and surprising each other with the final resulting
product. They are “in a sense trapped” and will find it “difficult to escape” using
the language. (Biggs, 2003) Similarly, in the third week this pattern of
feedback will extend out to the next group where Group 1 will provide feedback
to Group 2 and so on. This feedback will be mainly questions for clarification
and to help each group identify and iron on problem areas in their narratives.
The final assessment will be done by rearranging the groups so that the final
artifact will be seen for the first time by a different group in the following
pattern: G1-G6, G4-G2, G5-G3.
Technology and
Second Language Acquisition
As
mentioned earlier, students have requested to use more digital tools in class
which is a major reason in terms of engagement and practical life skills. Students
will become familiar will quite a few digital tools for solo or collaborative
work including google docs, edublogs, padlet, popplet, and thinglink. It is
hoped students will use these tools within their major and other courses as
well. However, in regards to second language acquisition, using technology will
ensure students are using English to communicate with one another. Further to
this interface on each tool is written in English as are the How to video that
will be used to help them. As quoted above, they will be “trapped” into
learning because they will undoubtedly try and negotiate their narrative in
Korean at some point but because they are writing online, it can be tracked, monitored
and assessed. They will be given a quota for how much they should be participating
but hopefully this will initiate more communication online with each other. Keeping
in mind that this is a writing skills class and not a speaking class, the
chosen technology will enhance their writing ability along with the regular course
work. That being said, I designed it so that a lot of the online written
language can be reused and consolidated in the spoken in class feedback sessions
in weeks two and three. Student will
also be designing their own blogs which means creating their own visual space
to represent themselves which will be empowering and give them a sense of
accomplishment. It also works with the visual aesthetic dimension of the
overall lesson plan. Technology will be used to facilitate second language
acquisition in terms of a negotiation of meaning and content creation but
ultimately the most learning will occur in the feedback process.
Conclusion
References
Egan, K. (1992). Imagination
in Teaching and Learning: The Middle School Years. University of Chicago
Press, p 64
Norton,Bonny.(2013)"Identity, Investment, and Multilingual Literacy
(in a digital world)"Retrieved
from
https://www.youtube.com/watch?v=fapiB6zgZUQ
Palincsar, A. S., &
Herrenkohl, L. R. (2002). Designing collaborative learning contexts. Theory
into practice, 41(1), 26-32.
Laurillard, D. (2013). Teaching as a design science: Building
pedagogical patterns for learning and technology. Routledge. P 207
Biggs, J. (2003). Aligning
teaching for constructing learning. The Higher Education Academy, p1-4.
Beynon, J.,
& Mackay, H. (1992). Technological literacy and the curriculum.
Psychology Press.
p 193
Cousin, G. (2006). An introduction to threshold concepts.
Retrieved from neillthew.typepad.com. p.4
Tomasello,
S. (2014). Effects of Visual Arts on Second Language Acquisition. Retrieved from https://www.academia.edu/9539043/The_Effects_of_Visual_Arts_on_Second_Language_Acquisition,
pg 9
Clark, K., &
Holquist, M. (1984). Mikhail Bakhtin. Harvard University Press., p. 71