The Arts As A Catalyst For Improved Learning Outcomes For Youth In Detention Author: Dr Carolyn Broadbent PRESENTER DETAILS: Dr Carolyn Broadbent School of Education Australian Catholic University Canberra Campus (Signadou), Canberra, ACT Australia Ph: 61.2.6209 1134 Fax: 61.2.6209 1185 Email:
[email protected]
THE ARTS AS A CATALYST FOR IMPROVED LEARNING OUTCOMES FOR YOUTH IN DETENTION Abstract It is well established that youth in detention are characteristically not highly motivated to participate in educational programs that demand concentrated effort or study. If they do choose to participate, they often do not display behaviours consistent with high levels of engagement and persistence while on task. Therefore a strong need exists for educational programs that not only stimulate interest in the learning process but also encourage students to adopt a more active role and greater responsibility for the quality of their learning outcomes. For a period of over three years, a number of Adult and Community Education (ACE) funded arts projects have been offered by staff from the Australian Catholic University to young detainees at the Hindmarsh Educational Centre, Quamby Youth Detention Centre, Canberra. This paper provides an overview and evaluation of the programs offered; their development and implementation; the successes and challenges faced; the learning environment; and the role of community artists in the teaching and learning process. Evidence exists to support the claim that such projects can work effectively to rekindle interest in learning, provide opportunities for creative endeavour, and encourage the development of positive attitudes towards learning and improved levels of achievement. The high levels of enthusiasm displayed during the various educational activities suggest the visual and
kinaesthetic modes of learning utilised during these experiences might hold potential for stimulating the construction of more meaningful connections to other areas of learning. By the conclusion of the 2002 project, the participants had completed an environmental sculpture for display in the grounds of the centre, worked cooperatively to produce a variety of quality art works, and extended their ability to more fully concentrate on specific tasks for the production of personally satisfying learning outcomes. It is hoped that through participation in these positive learning experiences, students will be stimulated to pursue further educational activities after release from the centre. For this to occur, it is essential that continuing arts community programs that offer safe, engaging and constructive learning environments for young people are available to ensure the maintenance of the positive outcomes evidenced at the Centre.
INTRODUCTION Psilos (2002:1) observed the value of the arts in providing effective learning opportunities for the general population, ‘yielding increased academic performance, reduced absenteeism, and better skill-building’. Importantly, there is evidence to suggest that increased opportunities to engage in arts-based educational programs can have substantial benefits for disadvantaged populations, especially at-risk and incarcerated youth (Fiske, 1995), in improved self-esteem, the acquisition of job skills, and in fostering creative thinking, problem-solving and communication skills (Psilos, 2002:1). Learning in the arts can, argues Riley (1995), not only impact on how young people learn to think, but also on how they feel and behave’. Characteristically, youth in detention are not highly motivated to participate in educational programs that demand concentrated effort or study. If they do choose to participate, they do not consistently display high levels of engagement and persistence while on task. Therefore, there is a strong need for educational programs that encourage these young people to assume a more active role in the learning process and greater responsibility for the quality of their learning outcomes.
THE ACE PROJECTS In 1999, the ARTS Factory at the Australian Catholic University (ACT) was successful in obtaining a competitive Adult and Community Education (ACE) grant from the ACT Government to implement an Art, Design and Technology course for residents at the Hindmarsh Educational Centre, Quamby Youth Centre in Canberra. The course was presented by ACU staff and assisted by well-known community artists resident in Canberra. Since that time, a further three ACE grants (in total approximately $30,000) have supported the continuance of this work and, through the success of the various courses in contributing to the positive learning outcomes of youth, have been strongly affirmed by staff and management at the Centre. The courses have provided participants with numerous activities that have ranged across the whole spectrum of possibilities within the art, design and technology curriculum including painting, drawing, printing, 3D constructions, ceramics and the design and development of an environmental garden sculpture now permanently positioned within the grounds of the Centre.
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In keeping with the philosophical approach to learning in operation at the centre, the ACE art, design and technology courses have been offered to students as an integral part of the overall educational program. The workshops attracted considerable participant interest and generally students worked enthusiastically throughout the course workshops. While students varied in their levels of achievement, they interacted in a cooperative manner and were generally pleased with the outcomes of their endeavours. Of considerable interest were those activities that led to the production of ‘real objects’ that could be handed on as gifts to family and friends.
GENERAL AIMS The courses aimed to: •
provide a stimulating and supportive environment which encourages the development of positive attitudes towards learning
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cater for the individual learning styles of participants and promote selfdirection in learning
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encourage participants to explore issues, set short-term goals and achieve realistic outcomes
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provide opportunities for participants to express themselves on a personal level and explore the expressive nature of emotions
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discover and develop their own intellectual resources, extend their level of concentration and persistence with a task
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build a repertoire of skills suitable for further education
DETERMINING THE LEARNING NEEDS OF STUDENTS The learning needs for the four courses were generally determined on the basis of continuing discussion with educational staff at the Centre, ongoing evaluation and assessment of the art products that were created during each course and as a result of the growing awareness by course presenters of client preferences for specific materials and modes of expression. Further information was gained through reference to the research literature and learning about similar courses or community-based arts programs that were in operation in Australia.
COURSE DESIGN AND IMPLEMENTATION To ensure the ACE courses supported the ongoing educational program being offered at the Centre, the art, design and technology courses were developed collaboratively with educational staff, who worked with the students on a daily basis. The first program was implemented at a time when the current policy at the Centre allowed students to exercise some control over the design of their weekly educational program. Educational options, including the arts program, were offered to students each morning before the commencement of activities and, provided the students completed a specific number of core curriculum 3
elements each week, they had the opportunity to participate in programs that captured their interest. A modified approach to this program is now in operation at the Centre. Overall, the arts programs attracted strong participant interest across the various programs and while some fluctuation in numbers occurred as a result of matters related to contextual issues such as court and home visits, release, illness or other reasons, only on a few occasions during the operation of the programs were the workshops without participants. While the first course was presented in the main detention facility, all remaining courses have been presented in the educational building situated within the Detention Centre and, although the facilities were basic, they proved adequate for the ACE art courses. Staff were required to be vigilant in the selection of type and use of equipment and care needed to be exercised at all times regarding the storage and safe use of equipment and materials. To ensure relevancy and continuity throughout the teaching and learning process, each course comprised approximately 40-49 hours of structured learning experiences presented over a five-six month period each year, usually during the autumn and spring seasons. The two daily workshop sessions were 1.5 hours duration, totalling three hours per day, and comprised visual art and design activities that varied according to the concentration span and interest level of the participants. Throughout these learning experiences, students were encouraged to set and achieve short-term goals, extend their knowledge and understanding in the use of specific materials, and build a repertoire of skills useful for future education studies. Two and three-dimensional art and design projects encouraged the students’ development of new skills and perseverance in the refinement of their art products. The enthusiasm for the workshops by the students consistently resulted in the production of quality art works that were personally valued. The visual arts workshops were developed around specific themes, such as ‘trees’, and the students’ learning scaffolded through structured teaching and learning strategies that focused on the essential processes of observation, memory and imagination. Students were also encouraged to develop their own artistic style and to extend their ability to express themselves in personal and individualistic ways. The development of three-dimensional objects built upon the art and design concepts explored during the two-dimensional workshops. These activities focused on the harmonies in environmental elements such as earth, water, and plants and, as with the two-dimensional work, the constructions were developed around specific themes that related to the natural environment. The sessions provided variety and encouraged students to persevere with the development and refinement of their art products. Through utilising the talents of community artist, Robin Thomas, the students created imaginative works from a variety of recycled materials that emerged in the form of lizards, birds, dragons and other such creatures. Another artist, Robin Ong, contributed to the courses through the provision of a range of drawing activities and collage workshops.
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Development of an environmental sculpture in the grounds adjacent to the centre proved very worthwhile and while some students appeared a little reluctant to actually paint onto the sculpture, others participated enthusiastically in the creation of personal images. The large environmental sculptures enhanced the emerging garden design that was under construction in a specially designated area in the grounds at the educational Centre at Quamby. Overall comments from both students and staff were affirming of the results. The decorated poles now remain permanently situated in the garden setting adjacent to the educational centre. In parallel with the development of the sculpture, the program also extended students’ skills and abilities through the introduction of a ceramics component to the workshops. This decision grew from the observation that students appeared more motivated to participate and persevere with a task when the outcome resulted in a product that could be kept for personal use or presented as a gift to a family member or friend. With the assistance of a well-known Canberra artist and potter, Esme Smith, a stimulating ceramics program was offered to the students. This component of the program was very well received and students took great delight in producing a range of bowls, animals and creative objects for glazing and firing away from the centre. With the assistance of the community artist, students found they were able to produce pleasing art objects in a relatively short period of time and were delighted with the finished results. For one student, who had not shown particular interest in educational work, the medium of clay provided the vehicle for the expression of personal ideas and this, combined with his love of animals, led to the production of some very pleasing forms. Building on the success of this work, the 2002 course offered a series of ceramics workshops that saw the production of numerous bowls, bonsai pots, decorative boxes, vases, animals, money boxes and other art objects, many of which formed valued items for personal use or to give to family and friends as presents. The enthusiasm with which the ceramics courses were accepted may also be partly attributed to the ease with which the students were able to create pleasing art objects in a relatively short period of time. This proved motivating for those students who, while working on other art activities, experienced some difficulty maintaining prolonged concentration. Of importance also is that the nature of the medium allows greater opportunities for risk-taking behaviour in the development of art objects as the object itself can be destroyed easily, or modified, if students experience some difficulty in producing the object to their own expectations or fear critical comment from peers. Of importance also in stimulating interest in the workshops activities and group interaction was the encouragement given by the presenters to the students to participate actively in productive conversations about their learning as experienced during the workshops, providing valuable opportunities for the sharing of ideas and frustrations. The quality and level of engagement of some students during the workshops suggests that further learning opportunities through the visual and kinaesthetic modalities may prove effective in stimulating interest in the learning process more generally.
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The dynamics of each group session brought with it specific challenges and a need to remain cognisant of individual learning styles and abilities that necessitated continual reassessment of learning objectives and selection of activities. A few students found the level of concentration required to achieve specific goals somewhat challenging at times, and therefore the effort expended on each task and general motivational level of students varied considerably across the different courses.
COURSE EVALUATION Ongoing reassessment of learning objectives and outcomes proved essential to the maintenance of quality and relevancy of the art workshop activities to ensure they continued to maintain motivation and satisfy the students’ needs. Evaluation of the courses included: •
regular discussions with education staff and students at the Centre regarding workshop participation and achievement
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assessment of the quality of the products produced in the workshops
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monitoring the students’ level of interest in the workshop activities and enthusiasm to retain their art works when completed
Each course catered for the learning needs and styles of the participating students through the presentation of a wide variety of structured activities designed to provide opportunities for the development and extension of art and design skills. The nature of the tasks encouraged self-direction and personal development. Ongoing student interest in the workshop activities provided evidence of program suitability and students’ achievement of specific learning outcomes was determined through the assessment of the quality of the products they produced during the workshops. While students varied in their level of achievement across the courses, the final art works created a sense of pride in their accomplishment. Evaluative feedback offered by students, education staff and Adult and Community Education supervisors responsible for monitoring the success of all ACE projects, courses and activities across the ACT, supported the success and value of the ARTS Factory courses and workshops and further emphasised the need for ongoing art, design and technology courses to be regularly included in the educational programs offered at the Centre. The constructive nature and productive tone of the workshop environment was also noted as a positive element in the development of more positive attitudes towards learning for this group of students.
OUTCOMES The handover of completed art works was treated sensitively. Throughout the course program, photographs were taken of the students’ work to emphasise their value, assist in the evaluation of the project, and to build a store of images for an online exhibition, which should be operational by end 2002. The online exhibition will take the form of a website developed by educational staff and
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students at the centre in collaboration with the project coordinator and will provide an opportunity for educational staff, students, ACE members and others to view the outcomes of the various projects on line. The ACE funded courses offered by the ARTS Factory, in partnership with the educational staff at the Education Centre, were successful in providing a wide range of stimulating art, design and technology learning experiences for students. The workshops were well received by education staff and students and the production of many quality products attests to the success of the program overall. By aligning the art programs with the educational approach in operation at the centre, the ACE programs became an integral part of the educational program offered to the students each week. The focus on ceramics, rather than other visual arts activities, proved invaluable in retaining the students’ interest throughout the duration of the course, and students selected the workshops on a regular basis. With careful planning and preparation, students remained focused on the specific tasks and expended considerable productive energy in the creation of their art works. Although students varied in their levels of competency when handling materials, all managed to produce art objects of worth, with some students displaying considerable ability to be creative and sensitive to the qualities of the medium. Overall, students interacted in a positive manner and cooperated with staff and peers when working together. A sense of excitement was evident when products were returned to the students after glazing and firing. The placement of one ceramics program in the second half of the year worked effectively in that it provided the students with an opportunity to create art objects for family and friends in the lead up to Christmas, thus intensifying motivation and interest. The educational facilities at the centre proved adequate for the presentation of art activities, including the use of clay, and the education staff were generous in the provision of storage space, support, and assistance in creating an appropriate work environment for the workshops. Some ceramics workshops were presented outdoors which proved to be an ideal setting during the spring season when weather conditions remained sympathetic, and the paved area required only minimal clean-up after use. The establishment of a collaborative learning environment that encourages the active engagement of students in the learning process augurs well for the development of positive learning patterns that are more aligned to learning across the life span.
CONCLUSION The teaching and learning approaches adopted throughout the various courses have been affirmed by staff at the Centre and there are indications that the development of positive attitudes formed during the workshops, have impacted positively on more general behaviour. Requests for the development of similar courses to be offered in the near future provide further evidence of an ongoing need for students to have additional opportunities to participate in similar art courses. A possibility for further study is the development of learning pathways to other educational providers that offer similar programs catering for the specific learning needs of students. The high levels of enthusiasm displayed during the
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arts activities, especially the ceramics courses, suggests the visual and kinaesthetic modes of learning utilised during these experiences might hold potential for stimulating interest in other areas of learning. It is hoped that through participation in these positive learning experiences, students will be stimulated to pursue further educational activities after release from the centre. For this to occur, it is essential that continuing arts community programs that offer safe, engaging and constructive learning environments for young people are available to ensure the positive outcomes as evidenced at the Centre be maintained.
REFERENCES Fiske, E.B. (1995). (Ed.). Champions of change: The impact of the arts on learning. The John D. and Catherine T. Mac Arthur Foundation, New York. Marzono, R.J., Pickering, D.J. and Pollock, J.E. (2001). Classroom instruction that works: Research-based strategies for increasing student achievement. Alexandria, Virginia: ASCD. McInerney, D. and McInerney, V. (2002). Educational psychology: Constructing learning. 3rd edn. Frenchs Forest, NSW, Australia: Prentice Hall. Psilos, P. (2002). The impact of arts education on workforce preparation. Economic and technology policy studies, NGA Center for Best Practices, Washington. Riley, R. (1995). Introductory statement, Secretary of Education. In E.B. Fiske (1995). (Ed.) Champions of change: The impact of the arts on learning. The John D. and Catherine T. Mac Arthur Foundation, New York. Withers, G. and Batten, M. (1995). Programs for students at risk: A review of the American, Canadian and British literature since 1984. Melbourne: Australian Council for Educational Research. Withers, G. and Russell, J. (2001). Educating for resilience: Prevention and intervention strategies for young people at risk. Melbourne: ACER Press.
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