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This inquiry seeks to find out if young people in Stirling engaging with Youth Services
community based learning programmes develop their knowledge and skills in
literacies through participation in informal visual arts based learning. The paper will
discuss the accepted meaning of literacy and its value within the Scottish context. I
will review other authors who discuss how art can be utilised as a means to
developing literacy skills. Through collaborative work with a Youth Worker and by
using dialogical and behavioural analysis, this inquiry seeks to establish whether
action research can validate the existing research and theories and expand
knowledge around the topic. I will triangulate practice with relevant policy, theory and
research.
Aims of the Review
To explore whether young people develop can skills in areas beyond the
art activity, specifically literacy based skills.
While I have worked within these parameters as far as possible, the scarcity of
material on youth literacies, particularly in the Scottish context, have made it
sensible to seek beyond them. Material from wider searches is included,
particularly from America and England, and also Scottish reports on adult
education as they are inclusive of the 16+ age group.
Residents of the Central Belt are twice as likely as the rest of Scotland to
face literacy difficulties.
The impact of low literacy has a ripple effect instigating various other long
term social and health related concerns.
Previous Research
Empirical Research To The Max by (Youth Link, 2005) studied the implications of low
literacy for young people in Scotland and ways in which provision could be made
attractive. The qualitative study identified those creative, arts based approaches as
having the most success in engagement, providing that the learning was centred
around work skills and focussed on self esteem, noting that the key factor in
engaging young people was relationship based, those non-dichotomised settings
being most conducive to effective learning.
The New York Guggenheim inquiry (Solomon, 2007) into literacy development
through the visual arts is exemplary research. The three-year study is thorough in
both use of quantative and qualitative data gathering, making use of control groups,
test score analysis and drawing on case study findings. The report concludes that
use of art enhanced the literacy curriculum by its interactive nature. There was
statistically marked improvement in learners emotional, visual and verbal literacy.
spatial awareness and mark making. Participation in visual arts workshops can
directly develop a young persons literacy competence because it develops
organisational skills and comprehension of geometric shapes as required in reading
and writing (Elfland, 2002)
(NACCCE, 1996) advocate that creativity is vital in the development of reading and
writing. (Smythe n.d) reinforces this, proposing that art enhances language and
literacy skills. (Atkinson and Dash, 2005) state that drawing in particular is an
effective method for developing writing skills and (Eisner, 2002) supports this by
proposing that art allows for understanding of geometric shape and forms. (Eisner,
2002) argues that the cognitive processes used in making art are the same as
learning to read and write. By engaging young people in arts based learning, they
informally develop their visual language, cognitive schemata and therefore their
literacy in maps, charts, diagrams and instructions and ability to approach reading
and writing. (Elfland, 2002)
In opposition to this, several authors propose that art does not directly develop
literacy, but rather that these skills are a by-product of engagement in the activity, an
in-direct outcome. The arguments are summarised in four themes below: Strategy,
Confidence, Emotional Literacy and Reflection and Dialogue.
(Kendrick and McKay, 2002) advocate processes in art develop strategic
competence. Because art is a playful activity, it supports learner strategies in
attendance and engagement, making it possible to engage in reading and writing
thereafter. Reinforcing this argument in Why We Make Art and Why it is Taught
David Perkins uses the metaphor of art as an anchor, securing a young persons
attention. (cited in Hickman, 2010). In support of these claims (Eisner, 2002) states
that art teaches the construction of elements in relation to being literal and logical, it
is concerned with understanding the relationship between concepts and parts, and
fosters a type of somatic knowledge. David Perkins agrees, stating that art leads to
creative connections, building thinking skills in general. (cited in Hickman, 2010).
Participation in art fosters organisational skills (Matarasso, 1997) and cognitive
schemata (Eisner, 2002) all conducive to the learning of literacies by default.
The second counter argument involves confidence. (Craig, 2007) advocates that art
activities enhance confidence, which in turn enhances ability to learn. (Grant, 2008)
argues that learners become more confident in engaging with literacy when the task
is made playful and non threatening through art. This theory is evidenced through the
Bootle Art Project where the work concluded that art was merely a catalyst for other
growth and learning because the young peoples confidence was raised (Harding,
2005). To illustrate this theory, I have constructed the following diagram:
Thirdly, increased ability in literacies when art is involved is attributed to the acts of
reflection and dialogue. (Eisner 2002) advocates that a synthesis occurs with art;
when young people participate creatively, they are stimulated to talk and use words
and that having pictures in their mind pushes them to describe a vision verbally. In
addition, (Atkison and Dash, 2005) reinforce this by proposing that arts based
activities have a transformative quality embodying Freires theories of dialogical
approach; reflection in action. Producing artwork; the action, prompts discussion with
peers and workers; the reflection; such as practiced in the Reggio Emilia programme
in Italy where elaboration of word use grows through reflection on drawing. (cited in
Atkinson and Dash, 2005). Furthermore, dialogue, connected with reflection,
cements our understanding of concepts such as demonstrated by Schons double
loop learning (cited in Ledwith and Springett 2010) because it reinforces the learning.
(Harding, 2005) supports these claims by proposing that dialogue comes about
through the collaborative and co-operative nature of arts activities. The Creative
Pedagogies research found that young people became engaged in writing through
art, simply because the activity evoked conversation and narrative which acts a
conductor between the two mediums (Grant, 2008).
Controversially, (Kendrick and McKay, 2002) oppose this, claiming that any art
literacy phenomenon results because art is a vehicle for expression and a tool by
which professionals can keep young people engaged in literacy contexts, that
drawing lifts the constraints young people face in writing. In support of this, David
Perry states that art breaks down the barriers to thinking. (cited in Hickman,2010).
However, (Kendrick and McKay, 2002) also indicate that language and literacy skills
are developed through an increased sense of narrative by use of visual stimuli, an
argument which connects back into the school of thought that art can directly
enhance literacy in the learner.
The final prominent argument is for emotion. (Milbraith and Lightfoot, 2009)
advocate that a young person engaged in art will develop empathy and emotional
awareness through the task, the foundations they require to be open to any learning.
In agreement (Hickman, 2010) states that art enables a young person to develop
understanding of themselves and the world around them. (Nemec and Roffey n.d.)
advocate that self awareness and emotional intelligence are essential for young
people to be able to engage in any learning. (Harding, 2005) highlights that art
fosters motivation, self-esteem and achievement. (Olshansky, 2008)
vehemently
supports this, stating that particularly for those learners drawn by and attune to
creativity, art will engage, build respect from peers and self respect, which opens a
positive emotional gateway through which to embrace literacy.
To summarise and connect all of these arguments, art and word skills are not
isolated but are connected fluidly by emotional awareness. The three areas of
literacy link to one another, the former enhancing the latter via increased confidence
and
engagement.
have
constructed
the following
diagram
to
illustrate
this.
Controversially, in this debate both (Elfland, 2002) and (Eisner, 2002) present points
in support of each argument of art being direct or indirect in literacy development.
This presents an additional argument in compromise that art does support literacy
learning because it engages the brain, stimulating the type of cognition transferable
to literacy comprehension. (Hickman, 2010) reinforces this, claiming that thoughtful
art opens a wide spectrum of cognition including analytical thinking, visual processing
and conceptual connection. Similar to the arguments around strategy, (Elfland, 2002)
claims that art breeds improvisational intelligence in a learner the thinking that
Dewey called Flexible Purposing. (cited in Eisner, 2002). In support, (Elfland, 2002)
claims that nurturing of this thinking support the learner in literacy development.
Furthermore, (Harding, 2005) proposes that making art combines critical and
generative thinking and by taking a scaffolding approach within arts activities, it
optimises a young persons ability to learn in any other context because it builds
cognitive culture. From a less scientific paradigm but complementing this premise,
(Ledwith and Springett, 2010) state that art engages the brain through the senses,
exploring the emotional, spiritual, mental and social holistically, the additional benefit
implied here being the transformational change that can occur along with practical
skills. (2010)
There is opposition to the argument of art being the only vehicle by which low literacy
learners can ride. Some authors advocate that it is not the only mode or necessarily
the optimal one. The vehicle is interchangeable as demonstrated in my next model.
The Kenneth Loach film Kes demonstrates that young peoples minds open and flow
when engaged by anything of stimulation or personal interest (cited in Harding,
2005). The theory of Multiple Intelligence highlights that we learn best when we come
from a position of personal strength, which may be via art, music, dialogue, emotion,
athletics, logic or socialising. (Gardener,1993). I have constructed the following
model to illustrate this concept in relation to visual arts.
10
However, (Gardener, 1993) does single art out as the only method that can enhance
a young persons skills and understanding across all disciplines, arguing that the
same concept cannot be applied readily to other subject areas.
The first question these writers pose is whether art as an informal approach is an
effective method for engaging young people in literacy learning? (Elfland, 2002)
argues that young people require an informal approach to literacy because to them
11
the formal curriculum is irrelevant. (Craig, 2007) concurs claiming that creativity
provides those young people not interested in literacy pursuits with an opportunity to
succeed. Art promotes self-esteem, enhances motivation and is effective for
captivating those young people at risk of becoming disengaged from learning.
(Atkinson et al, 2005). In addition, (Grant et al, 2008) argue that as an approach, art
is non-threatening, so encourages learner participation and engagement. Creative
work is a means to identify individual needs and to develop their skills, freeing up
creative thinking in ways that formal learning environments inadvertently stifle
(Harding 2005). (Elfland, 2002) supports this, stating that art in an informal context
engages young people in learning because it takes an open minded approach, unlike
formal education approaches which take more specific routes to set outcomes.
(Harding, 2005) reinforces this advocating how both art and the informal approach to
learning have elasticised boundaries, young people engage more willingly than in
formal education which sets rigid parameters. Use of art in this sense breaks the
boundaries and hierarchies of formal learning allowing for the flow of thought.
In disagreement, Gardener (1993) advocates that a young person is best engaged
specifically through their own personal interests. (Olshanky, 2008) differs in opinion
again, her own exemplary research finding that virtually all young people excel in
literacy learning through art, regardless of their preferred learning style.
The second question is whether it is the vehicle enhancing the learning experience
for young people or the approach? Non-formal art activity provides a level playing
field for professionals and young people collaboratively, pursuing that quest for
mutual humanisation favoured by (Freire, 1990). Art is conducive to Carl Rogers
theories on congruent learning (cited in Kirschenbaum, 1990) because visual
outcomes are undetermined and art facilitates a journey for both learning and
development of practitioner and young person. (Seftel, 2006). However, art may not
be the conductor of literacy acquisition; the relationship between learner and
practitioner may be the catalyst.
This query is underlying in the Black Angels literacy project (Atkinson et al, 2005)
where the success of the project is attributed to the relationship between practitioner
and learners, because the person centred approach nurtured creativity, leading to
engagement in reading and writing with less fear. This both argues for and against
art being direct or even indirect in developing literacy skills, as in this case these
come secondary to the relationship element of the practice.
12
What are the arguments that art is a vehicle to developing literacy skills by the
nature of its practice? (Ledwith and Springett, 2010) argue that it enhances learning
and development in relating to others; the very participatory process of creating
empowers young people, encouraging communication. From an alternative
paradigm, because making and viewing art is a sensory experience, it is an effective
training tool (Seftel, 2006). (Olshansky, 2008) advocates that creating pictures
supports literacy learning, reading and writing and emotion specifically, for all
learners regardless of ability and by providing learners with multiple modes of
thinking, they enter literacy processes from a position of personal strength, unlike the
formal approach which hinders understanding. This directly supports (Gardener,
1993) Multiple Intelligences theory.
However, (Olshansky, 2008) counters her own arguments by stating that young
people need to be offered a range of entryways to literacy. Art is just one method, a
vehicle interchangeable with others, as I have previously illustrated. Young people
should be engaged in a range of learning styles. Learning through visual means in
isolation is counter -productive. (Nemec and Roffey n.d.) propose that young people
benefit most from a whole-brain approach to enhance verbal and linguistic styles and
develop sound emotional literacy. (Harding,2005) informs that the education sector is
increasingly utilising art as a means to engage young people, yet there is no real
evidence that it has benefits. An argument not raised by any of these writers but a
point which I would be mindful of in my own practice by drawing from the
aforementioned theories is that by developing visual comprehension in learners,
practitioners may be providing young people with a means to conceive negative
strategies to be evasive of reading and writing, potentially further distancing them
from those skills, though undoubtedly the process enhances emotional literacy, well
being and communication, the portal to every learners journey, to literacy and
beyond.
13
Methodology
In order to gain a true insight into young peoples attitudes and opinions of
literacy learning and use of art as a vehicle, it is appropriate to gather qualitative
data. The topic is subjective, seeking opinion and analysis of discourse not
evident in statistical information. Words and images can help a researcher
interpret a situation and gain a deeper understanding of perception. (Denscombe,
2010).
Action research is the most viable means for gathering the data. (Ledwith and
Springett, 2010). According to (Nelson & Prilleltensky, 2005), participation in an
activity helps a young person understand a concept, to reflect on and evaluate it.
(cited in Whittaker, 2008). This approach actively generates practical knowledge
directly applicable to improvement of peoples everyday lives, offering scope for
more critical praxis (Ledwith and Springett, 2010).This theory, combined with the
inquiry focus group links directly to the Governments assessment that literacy
development will have wider benefit to society. (Scottish Executive, 2001)
14
This Inquiry took form of a practical art workshop that required participants to use
visualisation, employ information technology, communicate verbally through
speech and writing, express emotion and harness self-awareness.
15
champion and advocate for the person centred approach (Carl Rogers cited in
Kirschenbaum, 1990). I consciously adapt my practice and approach to working
with each individual with a view to improving their quality of life and chance of
success.
The Youth Worker and Case Holder responsible for managing the programme
identified the participants as suitable for the research. Each of the young people
in attendance had self disclosed needing extra help with literacies in their
Individual Learning Plans. There was no particular interest in art identified. Each
had left school aged 16 and were non-participants within their formal education
settings, key groups identified as at risk within the literature review. Having
identified that literacy is a difficulty for the participants, the methodology and
strategy are more appropriate than formal interview settings or expectation of
written inputs. The practical nature of the workshop allowed the researcher
explicit means to illustrate the inquiry concept to the worker and participants.
To add to the existing knowledge base, I aim to answer the following questions.
Participants
Three young people took part in a practical art workshop. I met all of the young
people within their 16+ programme run by the Local Authority. The programme
seeks to progress young people to positive destinations by taking a solutionfocussed approach to the multiple personal barriers they face to employment and
education. These can include low-level literacy, poor communication skills, low
confidence and poor attendance / performance at school. I met with six young
people one to one on a weekly basis for four weeks to get to know them and build
a trusting relationship. Through close working with the responsible Case Holder
on the programme, I arranged a practical arts workshop and interviews within the
routine structure of the programme for the convenience and accessibility of the
16
themselves in a subtle way, show off their musical tastes - talk in a non-eye-contact
close situation. Do something new. [The workshop] strongly addresses the need of
individuals, and combines several varying skills allowing yp to build on their strengths
but develop new skills - recognises that learning can be delivered in several,
fun ways. [The benefits were] hidden literacies and the chance to do a fun activity
that met several [of our] priorities and needs of young people [including] IT, art,
planning and organisation. One [young person] in particular was experiencing chaos
in her home life but she felt safe to remain with the session and was distracted by the
activity.
Each participant developed an individual art piece based on the words and
associated thoughts and feelings of a meaningful song of their choice. The young
people painted a canvas and arranged typed song lyrics on top. From here, I asked
young people to put images on the canvas of the pictures that enter their mind when
they hear or read the words of the song.
During the activity I prompted discussion with the questions
17
What other ways and places have you done Literacy learning and what was it
like?
I analysed all of the recorded material along with my field notes and have
grouped my findings into key themes. These are highlighted by direct quotes from
participants. I include my analysis and interpretation of the data within each
section theorising my observations of the group.
In the following themed excerpts we are discussing meaningful songs, their
associated memories and visual connections in addition to literacy and personal
experiences of the term.
Positive engagement
From observation, participants were behaviourally and verbally positive in task
engagement. At the very beginning of the workshop when we sat as a group for
the first time, there was an air of reluctance, participants visibly uncomfortable
with the situation. On introduction of discussion about songs, the group became
animated and interactive having been silent up until then.
Researcher: What music do you like?
Participant C: Reggae! And Rap! Bob Marley and Eminem!
It is clear here that participants were enthused by the topic. Perhaps music is an area
of particular interest. My own theory is that by giving the participants control over the
discussion, engaging them in level dialogue, they were more willing to participate in
the activity. This can be linked to Hardings theory that art builds self esteem (2005).
Self Consciousness
Worker: You mentioned liking NdubZ last week?
18
Self Awareness
19
We can see clearly here that when linking a song of personal interest to the
associated memories and feelings, the participants are conscious of the impact
music has on them and openly verbalise this. The young people demonstrate selfawareness and openness emotionally, but are uneasy about sharing specific
thoughts, memories or mental imagery. In the final excerpt the participant
demonstrates reluctance about having her chosen song known to the group, even
without sharing her thoughts about it. She is conscious that the song is deeply
meaningful to her and represents private thoughts, she articulates this in her verbal
and body language and later through the absence of images on the art work. This
dovetails with the arguments centred on emotion in the literature review. Art
processes are emotional gateways to understanding yourself and the world around
you (Hickman, 2010). Though the emotional awareness raised in this session
stimulated a nervousness as much as positivity.
20
Emotional Literacy
Researcher: Is anyone willing to share why their song is meaningful?
Participant C: Makes me happy! (smiles)
This participant showed genuine joy at the thought of his chosen song, I observed a
lift in his expression and demeanour. He was able to articulate this verbally and was
clearly conscious of the connection between the music and his own emotions. Earlier
in the discussion he acknowledged the potential negative effects. I asked:
[Is there] a song that can make or break your whole day?
Participant C: Yeah I know what youre talking about.
The participant engaged positively and made connections between the music and his
feelings. The indirect discussion around feelings was non-threatening making the
topic more accessible for the young person. My own interpretation is that the element
of choice within the creative process stimulated his interest and willingness to
embrace the themes. Furthermore, art as a process was helpful for the individual to
better understand himself because he was in charge of the direction of the work,
21
Extended Narrative
Researcher: Im interested to know your song?
Participant A: No way. It just reminds me of a night. A bad night.
Worker: Does the song make you feel bad?
Participant A: Nuh. It wisnae bad that way. It makes me laugh. I just done a bad
thing. O my god. Im no saying what The songs about sex but its nothing to do
wi that. It was just playing the night I took something I shouldnae uv. It was bad
but that song just takes me right back tae it.
Notably the participants were most verbose in the discussion when referring to their
song and / or art work, speaking in longer sentences. In the literature review both
(Kendrick and McKay, 2002) and (Olshansky, 2008) observe that visual stimuli
increase narrative therefore developing literacy ability. The creative process may
have unlocked language abilities, which reflects the theories of (Eisner, 2002) on art
and cognition, or it may be that young people find it easier to talk about music or art
because it is effectively shielding their own thoughts, making them feel less
vulnerable or exposed.
Limited Visualisation
Researcher: Ok so think about your song. Can you hear it in your head?
Hearing the words and reading them, what pictures come into your mind?
Participant A: (laughs) O nuh. Nuh.
Researcher: Ok so you do have pictures in your mind? Can you put into
words what the images in your mind are?
22
Participant A: Naw I diny get any images. Nothin at a. I can hear the song
but the inside of my heid goes blank. Nah I diny get anything like that at a I
like it like this.Can I just leave it like this?
From the dialogue here it is possible that the young person has limited ability in terms
of visualisation, which could support Multiple Intelligences theory (Gardener, 1993)
suggesting she has an alternative strength. In my own opinion as an observer of the
situation, I suspect that given she had shown earlier signs of self consciousness, she
may have felt exposed or vulnerable by discussing any mental imagery associated
with the song and so denied having any. There are two factors likely to have caused
this the presence of workers and / or the presence of a group of peers may have
felt an unsafe setting to the young person to reveal private thoughts.
Negativity towards literacy learning
At specific points in the discussion around Literacy, the participants were negative in
attitude, behaviours and word use, in contrast to the earlier positivism generated by
discussion around art and music.
Researcher: What does literacy mean to you? What do you think of?
Participant C: Being bored.
Participant A: School. Writing. Reading a book. Boring.
Participant C: Boring stuff.
Researcher: So you know this has been a literacy session?
Participant A: Aye but this is awright like.
We can see here that introduction of the term literacy disrupted the flow of the
discussion. You get this sense by the way that two of the participants style of
response changed immediately from lengthy, narrative, descriptive sentences to
stinted, one word answers. There is clearly a negative association with the term itself
or with the situations in which literacy was a focus, in this case; school. As nonattenders at school it is most likely that use of this terminology is a reminder of an
unpleasant experience to these participants. I noted that the words, body language
and communication became overall negative and closed at this point. I have been
23
unable to source any literature on research into the causes of low literacy in Scotland
and will recommend in this paper that knowledge of these could support strategies to
learner solutions both within and following compulsory education. As I have already
queried in the literature review, this issue has chicken and egg connotations do
learners have aversion to literacy because school was a negative experience, or was
school a negative experience because the literacy learning was unsuitable for the
individuals? The participants did not articulate any further.
Previously, the young people demonstrated self-awareness and emotional literacy
when discussing songs and images. In this part of the discussion they appear
unable, or unwilling to articulate the cause and effect of their negativity. One
explanation is that the process of creating and engaging with art was more conducive
to verbal and emotional literacy ability than when consciously focussing on literacy
itself. It may be that the earlier productivity and articulation was a product of positive
mood, not necessarily because the activity was creative. Interestingly it was at this
point that participant B spoke for the first time during the session. Exercising
independence of thought. She stated :
Its ok to read and write. I like doing thae things.
She uses her voice for the first time that morning to contradict the opinion of her
peers. Her speech suggests that she doesnt approve of the back door approach to
literacy, however, she chose to sit through the session, albeit on a periphery, but as
part of the group.
At the close of the workshop we discuss alternative literacy provision.
Researcher: So do you see how youve done literacy work today?
Participant A: Aye. Reading and computers and words stuff.
Researcher: Yeah spot on. Theres ways to learn that are enjoyable. And
weve used emotional literacy today as well, thinking about our feelings in
relation to music and memories
Participant A: Aye aye aye.
There is evidently a reluctant acceptance of the learning underneath the activity.
Though nonchalant, Participant A acknowledges the value of the session without
24
As I have outlined in my observations and those of the practitioner, two of the three
participants demonstrated development of skills in IT literacy, safe use of materials,
visualisation, communication, issue based knowledge and emotional awareness with
some tentative engagement in group discussion / intra-personal involvement.
These participants expressed through dialogue and behaviour that the approach was
preferable to previous experiences of literacy learning. The other participant,
however verbalised the approach was not preferable though. Through dialogue with
the practitioner I learned that this individuals literacy competence was higher than
her Individual Learning Plan had indicated and her personal circumstances that
particular day were not conducive to her participation.
To summarise, this inquiry has discussed the meaning and value of literacy and its
place within a Scottish social and political context. The other authors have discussed
how art can be a means of developing literacy skills, demonstrating evidence of this,
though it remains unclear as to exactly why this happens. Through collaboration with
a Youth Work practitioner and by using dialogical and behavioural analysis of young
peoples action and conversation, this paper has identified that the participants
observed match the risk factors highlighted in existing research on low literacy and
25
responded behaviourally in kind with the observations of other authors into art as a
literacy provision, with the exception of participant B who felt unwilling to try the
activity at that time. I have been triangulated the practice of this workshop with
relevant theory and existing research on the topic.
26
Reflexive Discussion
I had both personal and professional motivation for this inquiry. Within my practice I
am constantly seeking new and viable methods for enhancing every individuals
capacity for learning and have observed first hand the potential art has for developing
the skills and confidence of disengaged young people. Conversely, I have witnessed
the immediate barrier to a trusting relationship that rises when any cold literacy task
is brought to the table. I have sought to evaluate this observation objectively and
professionally in order to enhance my own practice within CLD and Youth Work in
particular.
On a personal level, I recall as a child being captivated by Mr Miages teaching
methods in Karate Kid and long wondered what magical potential other task based
approaches have to skill development. Originally, as set out in my proposal, I
intended to name the Inquiry Wax On Wax Off, alluding to the film, but throughout the
process of the research, reasoned that Art for Literacys Sake specifies the content
more clearly.
I encountered problems throughout the process of this inquiry. Initially my own
mental roadblocks regularly halted my momentum as I experienced the white noise
phase of learning the tutor had described. My own insecurities around academia
hindered my progress for months at the start of the process, then frustration as I
discovered that the more I was learning, the more I became aware how little I really
know.
I faced numerous practical problems to the inquiry process. The young people I
targeted are chaotic and transient. Though 6 young people agreed to participate in
the group workshop; just 3 attended. One of those was uncommunicative and
inactive throughout. Further, the one to one interviews were scheduled on five
occasions, the first with no attendance due to individual young peoples life
circumstances, followed by four cancellations because of dangerous weather
warnings in Central Scotland over an extended period. Disappointingly this narrowed
my range of data and I had anticipated making valuable discoveries through more
intimate interviews with participants.
27
28
Finally, my main source of frustration has been dissatisfaction in my writing style. Ive
struggled with verbal communication of this level and am concerned that the paper
has a pretentious tone, making it less convincing or accessible to the reader. These
are all areas I have reflected on and view as potential for ongoing development.
29
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Heretics Press
Kendrick, M..and McKay,R. (2002), Uncovering Literacy Narratives Through
Childrens Drawings, Canadian Journal of Education 27,1 (2002) pp45 60
Kester, G. (2004) Conversation Pieces: Community and Communication in
Modern Art London: University of California Press
Kirschenbaum, H. (1990) The Carl Rogers Reader, London: Constable
Ledwith, M and Springett, J (2010), Participative Practice, Bristol: The Policy
Press
Lewis, R. and Paine, N. (1985) How to Communicate with the Learner London:
Council for Educational Technology
McConnell, C. (2002) The Making of an Empowering Profession West Lothian:
Scottish Community Education Council
McGrath, H and Noble, T. (2003) Bounce Back: A Class Room Resiliency
Programme, Melbourne: Pearson
Matarasso, F. (1997) Use or Ornament? The Social Impact of Participation in the
Arts Stroud: Comedia
Milbrath, C. and Lightfoot, C. (2010) Arts and Human Development Jean
Piaget Series, London: Psychology Press
Morgan, W (1997) Critical Literacy in the Classroom: The Art of the Possible
New York: Routledge
Nemec M. and Roffey S. (no date), Paper NEM05355 Emotional Literacy and
the case for a whole school approach to promote sustainable educational
change. Sydney: University of Western Australia
Olshansky, B (2008) The Power of Pictures: Creating Pathways to Literacy
Through Art, SanFrancisco: Jossey-Bass
Roche, J., Tucker,S., Thomson, R. and Flynn, R. (2004) Youth in Society
London: Sage
Rogers,C., (1994) Freedom to Learn, New York: MacMillan
31
32
Appendixes
1. Approved Proposal
2. Ethics Audit Form
3. Blank Consent Form
4. Action Focus Group Transcriptions
5. E Interview With Practitioner
6. Focus Group Session Plan
33
University of Dundee
School of Education, Social Work and Community Education
BA/BA (Hons) Community Education
Matriculation Number:
050009451
34
Wax on Wax off: Using the visual arts as a vehicle for literacy development.
This inquiry seeks to find out if young people in Stirling engaging with Youth Services
community based learning programmes develop their knowledge and skills in literacies,
numeracy and personal and social development through participation in informal visual arts
based learning activities rather than as standalone areas of formal learning.
The inquiry will gather the views of the young people through dialogue and participation in
practical art based workshops. The aim is to establish whether
a) Young people develop skills in areas beyond the art activity
b) if young people prefer this approach to learning skills
(Identify fully the central ideas you wish to explore and break these down into sub-themes.
This section should be about 200 words.)
Context
35
I will examine aforementioned key theories and policies and assess them in the context of
contemporary community learning and development, in particular for young people in present
day Stirling, comparing this with an international perspective
36
(Make the link from your previous/current learning to your current/future interests, for example
from the Year 2 participative inquiry. Establish the relevance of the study a) for your own
professional development and b) for the field of community education. This section should be
about 100 words.)
As a Youth Services Worker with a focus on learning programmes, this inquiry is conducive to
developing my practice with young people, in particular around the development of skills in
literacies with young people who have not sustained placements in formal education settings.
As Worker with responsibility for delivery of arts based activities in community centres, this
inquiry has relevance for my planning, delivery, self evaluation and communication of the
value of the visual arts in CLD.
My previous inquiry focused on the Services supporting young people. In this years inquiry I
am focussed on the learner and methods of practice, areas of my practice over which I have
greater control and influence. Subsequently, I will have scope to apply my findings within my
own practice and to continue my own learning and development as a practitioner as well as a
student. Furthermore, the concepts of learning and application of visual art, are areas of the
field which I find stimulating and will therefore challenge my own approaches to researching
the areas more thoroughly than in my previous inquiry.
(Make the link between the personal and professional and establish your interest in
researching this topic and how you will maintain momentum for the next six months on this
interest. This section should be about 100 words.)
As a trained and practicing artist I have a firm grounding in the arts as well as broad
experience of delivery of arts in a community context.
As a visual communicator, I have adapted my learning styles in every context to fit my visual
language. By translating new concepts into visual forms in my mind I am able to understand
and push through white noise states of learning. My interest lies in sharing my approaches
to learning with young people who may struggle in formal education settings despite their
abilities to learn successfully in other contexts.
I will maintain my momentum in this inquiry by my thirst to learn around this concept, I will
seek to connect my own theories to those existing concepts. I am eager to pull apart existing
theories and remould them, demonstrating the inter-connectedness of CLD, learning and art. I
am drawing mainly from sources which inspire me and regularly ignite new was of thinking,
thus I will remain stimulated throughout my inquiry.
37
(This statement needs to show that you are aware of the fieldwork gathering parameters and
that you have sought and gained approval from you agency for any information-gathering)
MAKING A START
(Here tell us about what you have done so far to get started and the steps you have taken
or intend to take soon towards exploring the topic. Attach a list that is properly referenced
of the works you have consulted to date these should be balanced between
government/local authority reports and academic research.)
To date I have read around my topic, examining a range of sources including existing
research, current areas of policy and academic theories.
My sources are as follows:
Theory
Atkinson, D and Dash, P (2005) Social and Critical Practices in Art Education, Staffordshire,
Trentham Books
Denscombe, M (2010) Ground Rules for Social Research, Berkshire, McGraw - Hill
Ledwith,M and Springett, J (2010) Participatory Practice, Bristol, The Policy Press
Lewis, R and Paine, N (1985) How to Communicate with the Learner, Huddersfield, CET
Policy
Scottish Government (2009), Curriculum for Excellence; Expressive Arts, Edinburgh
Scottish Government (2009) Valuing Young People. Edinburgh: The Scottish Government
Existing Research
Access Art (20090 SKETCH Books in Schools Report, online, Access Art
Jones, Julie and Find Your Talent(2002), How can teachers move away from a didactic model
of teaching and move towards working alongside young people as co-constructors of their
learning? , Telford and Wrekin Council
I intend to read more widely around models of learning, CLD principles and values,
Community Art theories and current policy on art and education in Scotland.
38
My international perspective will be from America, where art programmes are run by the
Guggenheim museum to develop critical thinking skills. I will relate this to my own inquiry.
39
40
Wax on Wax off: Using the visual arts as a vehicle for literacy development.
Example
Item
Yes/No?
Yes
General
Item
Yes/No?
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
Yes
41
Item
1
7
8
9
10
Yes/No?
Yes
Yes
Yes
Yes
2
3
4
5
Yes
Yes
Yes
Yes
Yes
Item
1
Yes
Yes/No?
Yes
Yes
Yes
Yes
Yes
Yes
42
10
11
Yes
Yes
Yes
Yes/No?
Yes
Yes
YES
Yes
Yes
Dissemination
Relevant?
Yes/No
Item
1
Yes
Debriefing
Item
1
Yes
No
No
Yes
Action?
No
No
Yes
No
No
43
No
10
No
11
No
12
No
13
No
We, the undersigned, have considered all the requirements of the Schools Research Ethics Code of
Practice and will strive to comply with those relevant to the design, conduct, analysis and reporting of
this research project. (All researchers and supervisors must sign and the original must be held secure.
Each signatory should retain a copy. Participants may be given a copy).
Signed: _____________________________
__________________________________
(Student) Name:
Date: _________
Signed: _____________________________
(Co-researcher) Name:
__________________________________ Date: ________
Signed: _____________________________
(Co-researcher) Name:
__________________________________ Date: ________
Signed: _____________________________
_________________________________
(Tutor) Name:
Date: _________
44
Consent form for Participation in Research Inquiry: Art for Literacys Sake
On 19/11/10
Hereby consent to participation in a focus group practical art workshop and individual
interview. I understand that any data gathered may be published in an academic
research paper. I consent to be the subject of photography and / or sound recording
and understand that I will not be identifiable and my privacy will be protected by the
researcher of the paper.
45
Forwarded
Katie
Sun,
message
Carmichael
Nov
28,
----------
<ktcarmichael@yahoo.co.uk>
2010
at
6:53
PM
Hello
As we chatted about last week, here is the interview re Life Skill's programme
involvement in my research into the use of art as a vehicle for literacy development in
young people. There are questions specifically on our focus group at the YT Club
and general questions about your practice.
Could you type your answers in below each question, be as detailed as you wish,
and return to me? Or alternatively handwrite - whichever "vehicle" you prefer!
1. What do you think the young people got from the session?
46
Hidden literacies and the chance to do a fun activity that met several of our
priorities and needs of young people
(IT, art, planning and organisation). One yp in particular was experiencing chaos in
her home life but she felt
safe to remain with the session and was distracted by the activity.
2.Why is the approach taken by the researcher helpful / unhelpful in your practice?
It strongly addresses the need of individuals, and combines several varying skills
allowing yp to
build on their strengths but develop new skills - recognises that learning can be
delivered in several, fun
ways
Participation from individuals who have generally been quite 'closed' began sharing
and displayed open behaviour and the conversation between the small group was
relaxed
4. The session was slotted in to the Fun Friday session. What is the usual
purpose of Fun Fridays?
To try something new, experience new challenges and work in a relaxed group
47
Reminder that we as professionals need to view all ways of delivery not just
obvious wksps and standard styles.
Chance to get to know the yp from a new angle - to understand them more and a
piece of art for my bedroom wall!
Brilliant session, delivered in such a relaxed laid back way - fun, the participants
loved it and fed back so.
48
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50
R: Ok lets go through to the PCs, well get the lyrics for our chosen
songs.
{Knock at door)
(A and C pick songs each.and play them on You Tube website for R and
W to hear. They Search, download, copy, paste, edit, and print the lyrics
with no assistance required. B has trouble deciding between 2 songs.
A: This one, right, is the one that means something to be but the other
one is just a really guid song and I like it. I like Pixie Lott just coz it chills
me oot.
R: I would go with whatever song means most to you
A: I diny ken, I feel funny aboot itRight Ill pick this one.
R: Great. Weve got our songs. Come round the table again.
Participant B joins the group following a one to one intervention from
the worker. THe worker informs me C has had a difficult morning but
wants to join the session.
R: Is anyone up for sharing why their song is meaningful?
C: Makes me happy!
A: No.
W: Yeah mine makes me happy too. Reminds me of dncing in the
kitchen with my mum and dad. We were that kind of family. I picked
Andy Williams Song I Love You, Baby.
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52
R: Will you give us some comments on the grafitti sheet? Just to know
what you think.
C: Aye. Can I dae it oer here though?
R: Yeah, great.Thanks. Everyone else will fill it in too if theyre up for it.
A: Look at mine! Its cool. All scratchy. What do we do now?
R: Well, next were going to put the lyrics on the canvas.
A: Whit do I need to cut out every single line?
R: You can do this however you think is best. Im just picking one or two
favourite lines for mine. What do you want to do?
A: Im goin tae put big bits doon.
R: Nice. While Cs scribbling and youre being creative there, give me
some feedback. Im going to ask you some questions. B, I know youre
not doing the art work here but give us your thoughts too. What does
literacy mean to you? What do you think of?
A and C simultaneously: Boring!
C: Being bored!
R: How have you learned literacy in the past?
A: School. Writing. Reading a book. Boring.
R: C, what about you?
C: Boring stuff.
R: B?
(no response)
R: So, you know this has been a literacy session?
A: Aye but this is all right like.
R: What makes you come to sessions on (Progamme) then?
A: Money!
C: Aye money!
53
W: What else? You can get money on benefits. Why come to the
programme?
R: Can you put into words what the images in your mind are?
A: Naw I diny get any images. Nothin at all. I can hear the song but the
inside of ma heid goes blank. Nah I diny get anything like that at a.
R: Ok, well by picking out one of the words randomly does it make you
have an image?
A: nah. Nothin at all. Nothin.
R: Can I have a look at the words so I can see what I get?
A: Aye.
R: Right, yeah, its a hard one isnt it. I see a scene but not really any
symbols..
A: Its aboot pregnancy.
R: Ah! Right. Is that something you think about?
A: Nah its no like that tae me. I just like the song..
R: Fair enough. I understand that. The word pregnancy puts images in
my mind of. Well. A pregnant woman. Or a baby. Or you know, like a
scan?
A: Nuh. Nah. I like it like this. Can I just leave it like this?
R: Yeah of course. Its your piece. Its actually really interesting to know
that you dont have any images when you think of your song. But you
hear the music clearly in your mind?
W: A is more audio than visual I would say What about you, B. What
does music mean to you at all?
(no response)
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