1. Project Summary
The Arts: On-Site and On-Line Pilot Project has been a great success!
The goal of the project was to bring K-12 teachers together with (University of California) Berkeley Art Museum and Pacific Film Archive and Cal Performance staff to explore how site-based arts organizations (museums, performing arts presenters) could best employ new technologies to engage K-12 students in learning and experiencing the arts. The emphasis was on mechanisms for structuring and delivering educational information on the Internet related to arts programming, and cognitive questions about a best-practices approach. The audience who will benefit from this research is quite broad, and includes teachers, students, educators and arts organizations.
Teachers and UCB staff met monthly from September 1997 to May 1998 to discuss a variety of existing Internet and CD-ROM educational resources. Each meeting had a specific Case Study focus and teachers and staff discussed the strengths and weaknesses of these materials for enhancing K-12 education. Moreover, Case Study discussions led to the formulation of a "best practices" criteria list.
The "best practices" criteria list contains recommendations that teachers and art organizations can use as a check list when evaluating educational resources on the Internet or as series of guidelines when developing new electronic educational materials. This criteria list is the culminating product of this pilot project. This valuable criteria list and set of recommendations is a synthesis of all member's commentary and feedback regarding Case Studies. Its usefulness as a tool and guide for improving on-line educational resources could only have come about through the dedication and hard work of all On-Site and On-Line participants. Indeed, the interaction and collaboration that took place between the K-12 teachers and the staff of the UC Berkeley Art Museum and Pacific Film Archive, Cal Performances, and the Interactive University group has been extremely successful and rewarding. Certainly the positive results achieved in this project could not have occurred with out the generous assistance of the K-12 teachers--whose input has been invaluable.
Throughout the course of this project, there have been a number of milestones, as listed below.
Project Objectives and Accomplishments:
2. Programmatic Changes
In the beginning some teachers had confusion about the design and goals of the Arts: On-Site and On-Line project. The project was designed as a collaborative investigation, a "think tank" discussion group where teachers and UC Berkeley Museum and Cal Performances staff could meet monthly to discuss the best practices for using technology and the Internet for teaching K-12 students about the arts. The project was not intended to have a hands-on project with specific curricula development, but to derive a criteria list and set of recommendations for what constitutes the most promising practices for using the Internet and technology to enhance learning in K-12 schools.
After clarifying the project goals, the teachers had a clearer understanding of the project, and enthusiasm for the collaborative investigation being conducted at the monthly meetings. Nevertheless, two teacher were still inspired to try small implementation projects with their students, even thought that was not a requirement of this project. The results of those experimental hands-on student projects were very positive, and an unintended outgrowth of this pilot.
Sarah Feldman, teacher at Gloria Davis Academic Middle School in San Francisco guided students in creating a "virtual classroom art gallery" as part of her art and social studies curriculum. Students studied the art and culture of Africa, and then made their own paper mache versions of African masks and painted them. Then the masks were video taped and converted into digitized QuickTime Virtual Reality (QTVR) movies and place onto the classroom's web site.
Marcia Meyers, teacher at Madison Middle School in Oakland helped her students study painting composition and design by having them view on-line art at BAM/PFA, and then on-site art (in the galleries), such as Hans Hofmann paintings. Then Marcia's students used computers and Adobe Photoshop software to manipulate the digitized images as a way of understanding the principles of art, color, composition, depth of field, and so on.
Throughout the life of this project, a number of UC Berkeley staff have joined the Arts: On-Site and On-Line Project, while several participants have had to resign for reasons that existed outside the pilot. In addition, several teachers joined us midway through the year. There was a total of 19 members, but not all of them could participate in the project for its duration.
Dana Mitroff, Education Programs Coordinator at BAM/PFA and participant in the Arts: On-Site and On-Line project resigned from the museum in September 1997 to embark on a new employment opportunity.
Sherry Goodman, Curator for Education at BAM/PFA joined the project in September 1997 and shared her extensive knowledge of museum education with group members and teachers.
Ella Baff, Educational Programs Director, resigned from Cal Performances and The Arts: On-Site and On-Line Project in November 1997.
Hollis Ashby, Cal Performances Associate Director joined the On-Site and On-Line Project in November 1997 to replace Baff.
Mark Heiser, Cal Performances General Manager, also joined the On-Site and On-Line Project in November 1997.
Deborah Gordon, OUSD K-12 teacher received a new teaching position with the OUSD Independent Study Program in the Fall of 1997, which took her out of the regular classroom. Nevertheless, Gordon remained with the Arts: On-Site and On-Line project until its end, making significant contributions at all monthly meetings.
Lisa Yesson, IU Project Coordinator for the California Heritage Pilot Project at the UC Berkeley Teaching Library at Moffitt joined the On-Site and On-Line Project in February 1998.
Elizabeth Lay, English teacher at Oakland Tech High School, Oakland Unified School District, joined the On-Site and On-Line Project in February 1998.
The primary product of Arts: On-Site and On-Line Pilot Project has been the formation of aCriteria List of Promising Practices guidelines which can be used for evaluating or creating on-line electronic educational materials. The Criteria List includes recommendations that were derived by members after having analyzed six case studies involving electronic educational materials.
APilot Project Listserv was created to facilitate communication and on-line discussions for the Arts: On-Site and On-Line participants. Pilot Project Listserv: email@example.com
A Pilot Project web site: http://www.bampfa.berkeley.edu/iu/ was developed as a resource for participants and individuals interested in the project. The web site contained an Introduction (abstract) of the project, a full project description, a list of participating members, a link to the Interactive University Project, and a Meeting Calendar and Agenda section, that contained monthly meeting dates, agenda, case studies to review, and the minutes from each meeting of the Arts: On-Site and On-Line group. The site contained nearly 20 web pages and links to 16 web sites (case studies) that were analyzed by members.
Sarah Feldman, Social Studies Teacher at Gloria Davis Academic Middle School, worked with her seventh grade students and produced on the school web site a "Classroom Virtual Art Museum": http://www.sfusd.k12.ca.us/schwww/sch641/virtual/mask_3fr.htm
The project was conducted (March 2 - 6th, 1998) in partnership with the Arts: On-Site and On-Line Project at BAM/PFA. Designed to give students a "hands-on" experience with technology, Feldman's project was a wonderful success! The project had several components. First, the seventh grade students explored the relationship between art presented virtually (on the BAM/PFA and other web sites) and art that is tangible and experienced in a classroom or museum. Then students created paper mache masks as part of their study of Africa. Each painted mask was placed on a lazy Susan, and with a tripod mounted video camera patched into a computer, filmed (36 stop-motion frames taken at 10 degree increments of rotation). Next the filmed sequences were digitized with Adobe Premiere video software. Finally the stop-motion sequences were turned into Apple QuickTime Virtual Reality (QTVR) movies. These can be rotated on the computer screen and viewed from all angles. For the conclusion of this project, Feldman will help students place the QTVR mask images on the classroom's web site, turning it into their own "virtual art museum."
Feldman used HyperStudio multimedia software and HTML to produce a multimedia presentation package to teach help teach her students about African art, showcase BAM/PFA on-line African art materials, and Feldman used this presentation to demonstrate her classroom teaching and technology strategies this to the San Francisco Unified School District on March 6, and to the Arts: On-Site & On-Line members on March 24 at BAM/PFA. Both of Feldman's presentations received excellent reviews.
4: Lessons Learned and Recommendations:
As part of the Final Project Report for the Arts: On-Site and On-Line Pilot, the members made the following comments:
(a) What strategies and processes worked, and why?
Sarah Feldman: It was very useful to have monthly meetings with the group. I also found it extremely helpful when Barney was able to come to our school site to help us with setting up the QuickTime VR equipment.
Marcia Meyers: With regard to students, getting students to view virtual and physical art was very positive. For example, students viewed the BAM/PFA interactive Children's on-line guide and then took a field trip to the physical museum, which helped them understand artistic principles. Student appreciation for art was enhanced by museum and on-line exploration, which encouraged critical thinking about art in general.
The think tank approach of the Arts: On-Site and On-Line monthly meetings was quite valuable for the teachers participating. Educators got to review and explore the wide variety of academic resources that exist on the Internet. By applying the criteria list and recommendations the group adopted, teachers developed a means by which to judge on-line educational materials. Meeting with museum and performing arts professionals to learn about issues concerning their institutions helped teachers see how collaborative efforts could work to the greatest benefit of all.
The teachers were exposed to new software such as Adobe Photoshop, Adobe Pagemill, HTML, Adobe Premiere, QuickTime and QuickTime Virtual Reality, HyperStudio, and others.
Deborah Gordon: My overall opinion is that this project was mostly unsuccessful because the objectives were not clear from the outset. I wanted to create and/or find things to be immediately useful in the classroom. I wanted students to create and/or find things. I had the impression that the UC staff saw the project as a good deal more theoretical.
Elizabeth Lay: I liked the process of working with museum and technology professionals because they brought a dimension to my area of expertise that expanded, in delicious ways, new materials and new uses for old materials.
Hands-on investigations of various on-line resources followed up by critical feedback were invaluable as meaningful learning strategies. I also liked the variety of formats of the various investigations--a rich range of Internet websites, student projects using museum and technology resources, and CD-ROM's. My own classroom practices were both validated as well as expanded. I have new resources, new technology, new project ideas, and new formats through which to teach them.
The teachers shared with BAM/PFA and Cal Performances staff the realities of the current state of K-12 technological infrastructure in California, and what Internet applications can realistically work in a real classroom settings where equipment is often limited. In addition, teachers made clear what needs they have for on-line materials when teaching art-related courses. Teachers stressed the importance of having educational on-line resources meet curricula objectives mandated by the State Educational Frameworks.
Hollis Ashby: Cal Performances already has had in place a fairly sophisticated program
of curricula, and the ability to adapt those projects to different schools and grade levels. In the case of the IU Pilot Project, senior high school classes at Lowell and Sala Burton schools accessed performances of Alvin Ailey American Dance Theater as inspiration for expository writing projects.
We were interested in discovering what existing methodology was useful to the teachers and students, and what could be expanded on. Successful pre-existing conditions included video tapes on the company and one full ballet ("Revelations"); a study guide which included background on the company, artistic directors and dancers, excerpts from "The Autobiography of Miss Jane Pittman", American history and the history of gospel music, dance vocabulary, and suggested essay topics; an interview class with two dancers from the company; attending a full matinee (adult) performance (as opposed to the abbreviated, 1 hour SchoolTime performance); and a backstage tour with technical and artistic directors.
I discovered that my assumption that I would overwhelm the students and teachers with too much material was unfounded. The teachers recommended a number of additional materials that would be useful to them--including additional interviews, American, dance and music history, recorded music, etc.
Lisa Yesson: I thought monthly focus groups was a very good approach to getting feedback from teachers on the selected web sites. It may have been easier to summarize the results at the end if each discussion had some more structured questions along with the somewhat free-flowing conversation. Sometimes it was also difficult to review the selected materials (such as the CD-ROM). It was great to be able to check the web site to learn the agenda, and the email notifications were also very helpful.
Sherry Goodman: I felt that monthly meetings that focused on a series of educational web-sites whose issues built naturally upon each other was a good format for the process of evaluating such on-line material. This way the discussion advanced as well as broadened with each successive session, as the group became more critically aware of the value of what is available and could articulate increasingly well to one another what works well and what doesn't, and why. Focusing on specific Web-sites and formulating, and then applying, specific criteria also worked well; and ultimately this focus generated some basic and philosophical thinking as well.
Barney Desroches: It was very beneficial to bring teachers, museum, and performing arts professionals together for monthly meetings. Discussions of "promising practices," what works and doesn't work with regard to electronic educational materials intended for classroom use, helped all members identify very important key points, which were drafted into our list of promising practices criteria and recommendations.
Richard Rinehart: What worked well was to have a very structured and predictable agenda for our monthly meetings, which allowed the actual format of the meetings could be discussion-oriented, informal, and highly participatory.
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(b) What was the impact of your pilot project on the key audiences you worked with (k-12 teachers, K-12 Students, UCB participants)? Identify what specific actions needed to take place (at the classroom level, school level, District level, and UCB level) for such impact to occur.
Sarah Feldman: The impact was that it provided teachers with more in depth technology training, and opportunity for collaboration with the university partners and sharing with other teachers. Most importantly, however, the project exposed students to new methods for learning and they were extremely motivated by the project.
Marcia Meyers: The impact of this project on key audiences was significant. Through monthly meetings, UC Berkeley staff and faculty developed a realistic picture of the strengths and limitations of the K-12 system and technology infrastructure. Museum and performing arts professional participating in our project learned from discussions with K-12 teachers, the shortcomings of school technology labs--that have limited and often outdated equipment and little tech support. On the other hand, student interest and comfort with art and museums was elevated since virtual and real viewing of art helped students, with time, to independently differentiate different styles of art.
Deborah Gordon: I don't think I can really answer this question.
Hollis Ashby: The project was highly inspirational for the students who participated. They made good use of the experience as impetus to expand their writing and thinking abilities.
As stated above, the students worked in the classroom, on-site with the artists, attended a performance and followed it up with a technical tour. The District identified the participating teachers and classes, and provided moneys to purchase the tickets for the students to attend the performance. Other moneys from UCB IU project subsidized the ticket cost.
Lisa Yesson: Collaborating with the Arts On-line project was very helpful in understanding what educators want in web-based learning materials, which was beneficial to my own work with the Cal Heritage Project.
Because of my contact with an Arts On-line teacher, I was also contacted by a Social Sciences teacher in Fremont who is putting together an entire CA history curriculum. We met at the Bancroft Library and I gave him an orientation to the digital and non-digital resources available on his topic. He was very enthusiastic and appreciative. It was also his first introduction to the Internet. So through my collaboration with Arts On-line, I was able to make more teachers aware of the Cal Heritage resources.
Sherry Goodman: I believe that the teachers' critical faculties about web-site materials were sharpened, and their awareness of and enthusiasm for the potential of these materials was heightened. As a UCB participant, it was very worthwhile for me to hear directly from teachers--who were in the process of critically evaluating educational web-sites--about their needs and about the issues that arise in the classroom, well in advance of the museum's undertaking to create any grade-specific or curriculum-related web-site programs.
For classes who visited the museum for a guided tour after using the museum's web-site, it was clear (to the Education Curator!) that this advance familiarity with images and issues enhanced the students' receptivity and learning experience in the galleries.
For more such impact, there would need to be better technology available in the classroom, involvement of more teachers in such discussion-groups, and adequate staffing at the museum in order to develop high-quality web-site programs for schools.
With more funding, adequate technical support and perhaps more of a liaison between museum/university and classroom, the scale of the pilot project could be greatly expanded. Limitations are primarily in the resources of funding and staff time.
Barney Desroches: For successful teacher involvement / classroom activities, there needs to be a minimum of three functioning computers (more is better), Internet access on all computers, technical training workshops, well coordinated field trips, if students are intending to visit the physical museum, an email participant's Listserv for electronic discussions and on-line bulletin board announcements, and technical support for teachers at participating schools.
Richard Rinehart: I believe our project impacted the relationship of our campus partners to local K-12 teachers. From this project we much better understand each others' needs and resources for on-line education in the arts, and will be able to relay this in a generally-applicable way in our final report.
Because we conducted an investigation into best practices, and generalized from specific real-world case studies, we feel the recommendations in the final report will be solid and useful to partners in any of the other, or in future projects, and in the arts/education/academic community at large. So, thought it may be a small piece of the bigger puzzle, it could be a broadly applied piece and thus of great impact.
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(c) What is the potential of your pilot project to scale beyond the classroom(s) / school(s) you worked with? How would you redesign your project for scale? What are the limitations?
Sarah Feldman: To design it to scale we would need a bit more technology support from someone like Barney--perhaps a few more days of time to spend with teachers and students at our school site. But it is very feasible to develop the program further.
Marcia Meyers: My project with students would scale nicely if there was more time, funding and support from the IU and Oakland School District. On-going technical support and training would help me understand and use the computers placed in my classroom more, especially for student teaching, and in turn I would have more students use the computers, Adobe Photoshop software, and digitized images from consenting museums and arts organizations as part of my on-going art instruction. As for the Arts: On-Site and On-Line project in general, continued funding for meetings and collaborative technology projects--if possible--could be scaled up now that this year's project has put many of the necessary parts in place (equipment, training, UCB partnerships, etc.). Perhaps teachers involved with the IU could help other teachers outside the IU to understand the possibilities that exist, and encourage them to participate in similar activities, even if independent of the IU.
Deborah Gordon: I would like to have a project where the objective was developing a web site (that is, having the students actively participate in developing this web site) where students could explore a variety of art genres, and have on-line and classroom discussions.
Hollis Ashby: With the information gathered, it is now possible to craft our on-line educational materials in an accessible and useful manner. These materials would be available to any school interested in pursuing a project like this. Not every school would have the benefit of meeting with the artists, due to obligation limitations on their time; but the students certainly could make use of the project to the fullest without this interface.
The basic limitation of creating on-line study materials for the performing arts is that the "product" (i.e. dance, music or theater performance) must be experienced live for any meaningful understanding to occur. The on-line guides can only provide so much: this is a live art form, which cannot be appreciated unless the students experience it in person.
Lisa Yesson: You could have a rotating membership for these focus groups (???)
Barney Desroches: The format of having K-12 teachers, museum and performing arts professionals meet as a "think tank" for finding the best practices for collaboration and electronic educational materials could be scaled beyond the participants of this specific project. The collaborative approach model taken by BAM/PFA, Cal Performances, the UCB Interactive University, and the Oakland and San Francisco Unified School Districts could be emulated by other cultural institutions, universities, and schools to establish dialog between campuses and K-12 teachers to bolster joint projects that enhance education via technology. This would take significant financial support and coordination, but ideally, should occur state-wide, to have the most benefit. Some of the limitations for this would include setting standards of best practices for web materials, and uniform application of the standards and criteria.
Richard Rinehart: Since our pilot project was an investigation/case study/planning project which studied instances of on-line arts curricula from a variety of national organizations, it scales very well. I believe that other organizations planning on implementing on-line arts curricula or resources would do well to both read our report, and if possible to duplicate our project by involving teachers in strategizing such projects. The project was by necessity fairly inexpensive to run and thus could be duplicated easily.
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(d) What would motivate participants at all levels (UCB and K-12) to sustain the pilot project work you have begun? How would you evolve you project to become sustainable? What are the Limitations?
Sarah Feldman: The most sustainable projects would be where the project supports district curriculum and state (educational State Framework) standards.
Marcia Meyers: The educational benefit to students participating in projects such as this should be thoroughly tested to evaluate whether or not there is a significant pedagogical or cognitive gain. Student levels of engagement and learning from technology assisted activities developed from the Arts: On-Site and On-Line Pilot and others should be measured against control groups of students learning by conventional methods. Does technology-based learning and electronic educational materials significantly enhance the teaching of art to K-12 students? Answering these questions with statistical proof that favors this research, would motivate the K-12 and university community to pursue future endeavors.
Deborah Gordon: More involvement in the k12 classroom from UC staff. I don't think I can speak to the rest of it, since my involvement was pretty limited.
Hollis Ashby: The pilot project in performing arts is unique because there are no other similar curricula experiences available in public schools. The students and teachers who participated thought this was a rarefied "treat", but one which could be fashioned into a meaningful learning experience, which expanded their vocabulary, writing and thinking abilities.
Evolving the project is merely a matter of standardizing some form of communication with interested schools, to let them know it is available to them. But there already exists such a high level of interest, the greatest problem would be giving every school individual attention.
And, as mentioned earlier, the school district would have to find a way to subsidized the ticket cost for the class to attend a live performance.
Lisa Yesson: Continue feeding them well ; ) (Note: free dinners catered by the Grace Cafe at the Berkeley Art Museum and Pacific Film Archive for Arts: On-Site & On-Line members, who met at 5:00 p.m. for scheduled monthly meetings, were essential and much appreciated, and helped create a relaxed setting for meeting discussions.
Sherry Goodman: One motivation for all the participants to sustain the pilot project would ultimately be for the museum to be able to create some curriculum-related web-site materials designed to relate to specific curriculum--that way teachers' input would directly affect something they then could use. Another motivation would be for a technological consultant to be able to work in the classroom with teachers on using existing materials, the group then convening to evaluate and share experiences about the process and results. Limitations are again resources.
Barney Desroches: To sustain the pilot project work that has begun, there would need to be additional funding. Teachers would need to continue being paid for hours spent at meetings, events, and for research and digital curriculum development. For UCB partners BAM/PFA and Cal Performances, there would need to be a project coordinator working at least half time, if not full time, depending on the scale of future activities. The coordinator has a big role in making things work smoothly, and therefore must be funded to work enough hours to achieve the best outcome. If our project moved from a research and evaluative phase, to a phase where projects were being implemented in classrooms, or if teachers were called upon to work with BAM/PFA and Cal Performances to create digital curricula, then a full-time project coordinator would be essential.
Richard Rinehart: I think our project would be valuable to continue on two fronts: one, to continue the dialogue with teachers about developing arts resources for education on-line. This ongoing evaluation and feedback mechanism (or even co-designing) will avail much more useful resources all around. The trick is how to structure such ongoing input; our project had good focus on the case studies however that would not be the best way to sustain the input. In a way one would want to start getting more local and immediate feedback; so gathering this same group of teachers on a per project basis might be beneficial, but then that makes their involvement ad hoc and irregular. The other track to continue would be to undertake implementation projects which put into place the recommendations our planning and study project developed.
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(e) What problems and obstacles were encountered in implementing your project (this is a very import section of your report, and we encourage candor in this area).
Sarah Feldman: It was difficult to finish everything given the very late start--equipment ordered did not arrive until February and that delayed our implementing the project in the classroom. Also we needed better communication at the outset about the process of bringing students to Berkeley for field trips to museums and Cal Performances.
Marcia Meyers: Equipment took a long time to arrive, which held things up a while with my project. I wish my equipment package could have included a color printer so that student projects using Adobe Photoshop and digitized images of art could have been printed out for the student's sake, and for lecturing purposes. Having hard copies of student work to use a visual examples during my art lectures would have been quite beneficial.
Deborah Gordon: It took too long for the technology to be installed at the school sites. And in my case, which is unique, I simply didn't have enough contact with the students.
Hollis Ashby: Cal Performances participation in the pilot project was initiated by a staff member who departed shortly after the meetings began, and little documentation remained behind. Therefore, certain expectations had been established among the teachers, and we were unable to fulfill some of them, due to lack of internal communication. Also, we found that the schools were not able to respond to fluctuations in schedule, as readily as artists are obligated to adjust their rehearsal and performance schedules.
Lisa Yesson: Still seemed to be connectivity issues in the schools???
Sherry Goodman: There were a few rather pragmatic problems in implementing the project. One was apparently a lack of clarity for some teachers that this project, in contrast to most others, was designed to be an evaluative one rather than one which provided equipment and materials to the classroom. This resulted in something of a tug-of-war about purpose until the project was convincingly clarified. A fuller orientation and rationalization for such an evaluative project at the start would have probably benefited everyone.
Another problem was that, although some teachers attended sessions with dedicated regularity, others did not--which, for a small discussion group, created some discontinuity. Also, since we did not have a large-screen monitor to refer to web-sites during discussion, if a teacher had not prepared ahead, his/her potential contribution was mooted.
Lastly, the Project Coordinator could have used more time, i.e. his position could well have been half-time, especially in terms of allowing classroom visits.
Barney Desroches: Computers, equipment and software was slow to arrive at schools for the participating teachers, who needed these resources for reviewing On-Site and On-Line Case Studies and for doing informal classroom technology projects as part of this project.
Although an Arts: On-Site and On-Line E-mail Listserv was established to enhance communication and on-line project discussion, it was seldom used by teachers or staff to discuss "content." Members seemed reluctant or too busy to try the Listserv. Instead, it was mostly used by the Project Coordinator to remind members of meeting dates and other administrative issues. It would have been nice to see more lively on-line discussions about the case studies we looked at.
As Project Coordinator, it was difficult to perform all the duties required of this position on funding that could only support 10 hours of my time per week. Additional funding to work more hours would have benefited this project.
Richard Rinehart: One problem was the vast overhead in terms of meetings. Sometimes the sheer number and length of IU and School District meetings, retreats, seminars project staff wanted to go to left very little time for implementing the projects specific work (our work at least was much better conducted according to our meeting schedules rather than during work sessions at more general meetings). It is good to have a sense of activity, which such continual events showed, and some of those were working meetings, but again the overall volume was daunting. Our project in particular (On-Site and On-Line) was not funded at the level where paid staff could afford the extra paid time to attend these meetings.
A second challenge was the integration of the two proposed Arts projects, the Arts writing course and the Arts: On-Site and On-Line project. These two projects were related in their academic discipline, but as far as projects their goals, methods, and even audiences were different enough that they never meshed even though they were funded as one project. If funding was an issue, it probably would have been just as well to just give each separate
project reduced funding rather than combine them. In fact, our On-Site and On-Line project had much more overlap with a Library pilot project, and as a result, Lisa Yesson of that Library project began to attend and participate in our project toward the end.
The Berkeley Art Museum's resources (art images) were not used in the Arts writing project as originally planned, nor was a visit to the BAM included. Instead resources from other Bay Area museums were used. This was unfortunate as exposure to UC Berkeley's resources was one of the aims of the project, but it could also have something to do with the difficult attempt to mesh the two projects, slightly scrambling both in the process.
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(f) Did your project have any unintended consequences?
Sarah Feldman: Yes, it was more successful than I had anticipated for motivating students to learn about the arts.
Marcia Meyers: Students really enjoyed their field trip to BAM/PFA and the museum art tour led by Sherry Goodman. This experience, combined with on-line activities students did with BAM/PFA and other museum web sites, helped my students get a rich, new perspective on art. They enjoyed using technology to learn about art, design, perspective, composition, and color.
Deborah Gordon: No, except for me leaving (the regular classroom to work at the Independent Study Program).
Hollis Ashby: I did not realize at the outset that the teachers who I was working with in San Francisco were not going to be part of the focus group that met regularly with BAM/PFA. That was a great drawback. I felt that Cal Performances had to glean conclusions from two different sources--both of which had only a partial picture of what the other was contributing.
Lisa Yesson: The collaboration with the Cal Heritage project was probably unintended. Also see (b) above.
Sherry Goodman: no response
Barney Desroches: The Arts: On-Site and On-Line project was designed as a investigative think tank for K-12 teachers and university cultural arts professionals. This pilot was not designed as an implementation project for classroom activities, and there was some confusion among teachers in the beginning who wanted to mainly do "hands-on" projects. After clarification by the UCB staff, teachers understood the research nature of the project's monthly meetings, but they still had motivation to try small-scale activities with students which made use of computers, software, the Internet and the physical and on-line resources at BAM/PFA. The result of these teacher-driven endeavors (projects by Sarah Feldman at SFUSD and Marcia Meyers at OUSD) was impressive! This unexpected, unintended consequence clearly exemplified the wonderful learning opportunities that can arise for K-12 students when teachers, schools and cultural arts institutions collaborate to make the best use of resources and technology. These teacher projects made clear what should be the next step / on-going process: teachers and arts organizations working together to create on-line digital curricula and the implementation of classroom educational activities.
Richard Rinehart: The consequences were pretty much in line with our goals and expectations. We did have a few unanticipated additions of interested participants including teachers from the Berkeley district, new teachers from Oakland who joined later, and a coordinator from another IU pilot project (Library).
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(g) What recommendations (to IU, to your department / unit, to the University and / or the K-12 partners) would you make on the best approaches for University / K-12 collaborations using Internet technology?
Sarah Feldman: Continue in-person meetings simultaneously with on-line meetings and have specific project goals that are concrete.
Marcia Meyers: Establish an extensive technology infrastructure prior to project beginning/implementation that would actually provide daily or weekly tech support for teachers at the K-12 schools participating. Perhaps UCB and other nearby university students in departments such as computer science or instructional technologies could serve Interactive University internships (for academic credit or pay) and could be assigned as tech support at various schools to help with IU related hardware, software, and Internet issues.
Deborah Gordon: More opportunity to collaborate, and have discussions on-line. More student involvement.
Hollis Ashby: To the IU project as a whole, I'd like the central unit to consider the unusual nature of art and performing art. Templates and expectations need to take into account the "live" experience as the most important factor in the learning experience.
Lisa Yesson: The collaboration with the Cal Heritage project was probably unintended. Also see (b) above.
Sherry Goodman: I would recommend more adequate staffing for the museum, and, eventually, access to a State Curriculum Framework consultant; for participating schools, availability of an educational technical consultant who could work with teachers in the classroom.
Barney Desroches: I would recommend more staffing on the UCB side, especially in the form of a full-time Project Coordinator position. With more time, the Project Coordinator could spend more time with teachers on-site helping with implementation projects, teaching educators how to use the Internet and make classroom web pages, and so on. I don't think a successful, sustainable, and on-going collaboration can take place without having a full-time Project Coordinator. With a full-time staff support, institutions such as BAM/PFA could have the Coordinator research California State Educational Frameworks, do HTML web mark up, attend meetings at school districts and at UCB, trouble shoot problems, etc.
Richard Rinehart: Our group strongly recommended that in follow up projects, ongoing technical support at the schools needed to be addressed. Purchasing equipment is important too; although still a secondary consideration to the often-overlooked need for ongoing, available support.
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5. Next Steps
From your point of view, what would be the natural next steps for your pilot project?
Sarah Feldman: More classroom implementation.
Marcia Meyers: For my project with students in my art course at Madison Middle School, the next step would be to use Adobe Photoshop to teach various elements and principles of art to the students by manipulating digitized exemplars of art which are found on-line in museum web sites.
Deborah Gordon: I'd like to see the UC staff along with OUSD personnel pitch their ideas directly to students, through the school newspaper, school bulletins, assemblies, etc. The thing that interests me most is getting students to get their hands on technology.
Hollis Ashby: To expand the project to more schools and grade levels. The possibilities are really limitless.
Lisa Yesson: I suspect that the need for this kind of feedback never ends. I am impressed with the Museum's commitment to education and outreach. Keep going!
Sherry Goodman: Next steps could possibly be including one or two teachers from the IU project into the museum's Community Advisory Committee; having a few teachers advise or collaborate with the museum's Information Specialist on web-site materials; eventually beginning to adapt museum web-site materials to specific grade-levels/curricula.
Barney Desroches: If possible, a teacher advisory committee should be formed where UCB staff and K-12 teachers can continue meeting to discuss educational and technological issues as they arise concerning the best practices for using the Internet, and for improving K-12 -to- university collaborations. If funding can be secured to pay for this, and especially for full-time staff support, then BAM/PFA and Cal Performances could put the criteria list developed here, into practice creating digital curricula, interactive web resources, and into guided support helping teachers implement technology activities for students.
BAM/PFA and Cal Performances staff need to continue to search for educational arts web sites that meet the "promising practices" criteria list for superior on-line materials. This list of sites (links) could be added to the this report, and could be synthesized into a cohesive and cross-referenced resource web site that K-12 teachers could turn to when in deed of art related information for teaching and student activities.
Richard Rinehart: Ironically, our other recommendations will be summed up in our final report since our project itself developed a set of detailed recommendations for others developing cooperative, educational on-line resources, and could act as a building block for future implementation projects. I'm glad we did the detailed planning and investigation first: it will make a natural leaping-off place for future implementation projects, and it is a step all too often forgotten in the rush to "do something".
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