Marzano’s comprehensive questions allow teachers to reflect
on their teaching practices by using a rating scale that ranges from 0-4. The
goal of self rating is to help educators look specifically at routine lesson
strategies, teaching content, and “on the spot” lesson segments. He discusses
the cognitive, shaping, and autonomous stages of development that occurs when
implementing new strategies in the classroom. Within a given year, Marzano
suggests that an educator pick 3 different areas to work on and urges teachers
to specifically improve the lowest scores within each main heading/section
(routine, content, on the spot segments). He states that successful growth
goals “include a time frame, the current level of performance on the goal, and
the desired level of performance for the goal.”
While comparing my 12 qualities self evaluation to the Marzano self-scores, I found a common link. I believe that my “passion for the subject”, “work ethic”, and “constant struggle to improve” are what allow me to make great strides in fostering student growth. I implement reflective strategies because I love Art and want to share it with young, practicing artists. Without that passion, I’m not sure how an educator could engage students in the classroom. I continue to dedicate time to my school, and stay up to date on the field of art education as I highly value lifelong learning and all that it has to offer.
While comparing my 12 qualities self evaluation to the Marzano self-scores, I found a common link. I believe that my “passion for the subject”, “work ethic”, and “constant struggle to improve” are what allow me to make great strides in fostering student growth. I implement reflective strategies because I love Art and want to share it with young, practicing artists. Without that passion, I’m not sure how an educator could engage students in the classroom. I continue to dedicate time to my school, and stay up to date on the field of art education as I highly value lifelong learning and all that it has to offer.
Some of my higher scores were placed next to numbers 9, 17, and 23. I
have chosen to elaborate on my reasoning:
(#19)-I take “baby steps” with my students so that they are given information at a gradual pace. This is important because I obtain students that have diverse learning levels and that have ranging abilities/skills in art.
(#17)-I use strategies that help my students compare and contrast art works. For example, sometimes I use comparison matrix sheets, Venn diagrams, or fill in the blank sentences.
(#19)-I take “baby steps” with my students so that they are given information at a gradual pace. This is important because I obtain students that have diverse learning levels and that have ranging abilities/skills in art.
(#17)-I use strategies that help my students compare and contrast art works. For example, sometimes I use comparison matrix sheets, Venn diagrams, or fill in the blank sentences.
(#23)-It is important for students to get feedback in class. I use
scoring scales, interviews, classroom monitoring, expressions/gestures, and portfolio/assessment
collections to keep the lines of communication open and to help students become
more successful in class.
Some of my lower scores were placed next to numbers 18, 25, and 27. I
have chosen to elaborate on my reasoning:
(#18)-In the past, I have had students write essays that identify weak
references. However, it is generally rare for me to help students examine
errors in reasoning on a regular basis.
(#25)-This book was a great aid as I’ve been hoping to include more
game-like strategies in my classroom, but wasn’t sure how I could make it work
for my classroom. I do invite my students to engage in some activities such as
“art style category” games, but feel I could definitely tie in more ideas. I have struggled to do this
because it seems there is often a power struggle. At times I feel some students
try to answer all of the questions while many of the others hide from the
spotlight.
(#27)-My students are active whenever we work with paint, printmaking, gesture
drawings and other activities where movement is necessary. However, I feel as
though my students refrain from a lot of physical activity. It is sometimes
difficult to motivate them to be more mobile when I need them to be.Here is the link to my "Marzano Self Score" sheet: https://docs.google.com/file/d/0B12UFZHSw75nOFhhZUx6a3FUTnM/edit
Palmer Summary, Connections, and Reflections:
Parker Palmer’s segment titled The
Teaching Behind the Teaching is both educational and spiritual. The author
speaks about ways to awaken the lifelessness that exists in many classrooms,
today. He discusses how important it is that teaching and learning be
transformed through seeking introspective “truth.” He goes on to add that many
educators focus on objectivism and subjectivism and that this is preventing
intellectual stimulation. Palmer alludes to the absence of community, collaboration,
and cooperation in schools which when strengthened lead to improved relationships
between teachers and students. Four problematic effects of the conventional classroom
are outlined in this chapter:
-learning becomes like a spectator sport
-students aren’t active participants in the classroom
-learning becomes like a spectator sport
-students aren’t active participants in the classroom
-students feel isolated
-students become detached from the community and “truth.”
Objectivism
Honestly, yes, some objectivism is present in my classroom.
Although, I do feel that I bring an eclectic blend of teaching styles into the
classroom. I would not consider myself strictly teacher-centered as I often
allow students to make choice-based decisions. That being said, I do lecture in
my classroom and I often teach in a traditional manner. Students learn about
Art History, terminology, and techniques and sometimes in a very formal way. Is
this somewhat mundane and mechanical? Well, probably at times. However, I think
with art comes the “ordinary” (the foundations of art education) and the “extraordinary”
(the pivotal products that result from pure imagination).
My Art Education teacher in undergraduate school, Pat Coleman-Thompson,
had many traits that resembled Abba Felix. She took a holistic approach to
teaching in her classroom. She spoke softly and never had to raise her voice in
order to gain the attention of her audience. Ms. Thompson (or Ms. Patt as most
students would address her) formed bonds with her students. We stayed on task
at all times and were always alert to her words of wisdom. She made learning a
pleasurable experience and often took lessons outside the classroom. Her
lessons were connected to the experiences we had outside of campus. As future
educators in training, we taught art lessons in museums, daycare centers,
schools, and worked to develop community murals. Learning was often centered on
our discussions pertaining to observations in field studies, and work
study/classroom placements. My fellow
classmates and I used to discuss how we aimed to please her and how no one
wanted to let her down. I think disappointing her would have fragmented the “troth”
that we formed.
Dangers in Interpretation
I have had both good and bad experiences when opening up the floor to students as far as discussions and debate. However, I do think it is important for students to speak from personal standpoints and to explore the viewpoints/opinions of others. Critiques open up many opportunities for students to have epiphanies and therefore it would not serve my students well to deny them the privilege of expressing their thoughts. By modeling tact and through creating a positive climate in the classroom it becomes easier to have conversations that may seem thought-provoking or even controversial.
