PATHS THROUGH PROFESSIONALISM

PATHS THROUGH PROFESSIONALISM: A STUDY OF THREE ART EDUCATORS

By

CASEY NOELLE SMITH

A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS OF THE

UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS

UNIVERSITY OF FLORIDA
August 2018

i
PATHS THROUGH PROFESSIONALISM

© 2018 Casey Smith

ii
PATHS THROUGH PROFESSIONALISM

ABSTRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS

OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE

REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS

PATHS THROUGH PROFESSIONALISM: A STUDY OF THREE ART EDUCATORS

By

Casey Noelle Smith

August 2018

Chair: Jodi Kushins

Committee Member: Elizabeth Delacruz
Major: Art Education

Abstract

This paper describes my exploration into the paths people take to become art educators

and where those paths lead them. Through semi-structured interviews with three participants, I

investigated their personal educational backgrounds, professional experiences in the field of art

education, and exit from the field if they did so. I embarked on this research to provide those

interested in pursuing a career in art education, including myself, with insight into the field. My

findings include analysis of the reasons individuals become art educators, teaching experiences,

reasons for leaving the field, and advice for those interested in the profession. Documentation as

well as infographics and a presentation about this study are available on my webpage:

https://caseysmitharteducation.weebly.com/

iii
PATHS THROUGH PROFESSIONALISM

Table of Contents

Title Page ......................................................................................................................................... i

UF Copyright Page ......................................................................................................................... ii

Abstract .......................................................................................................................................... iii

Table of Contents Page .................................................................................................................. iv

Introduction ......................................................................................................................................1

Statement of the Problem .....................................................................................................1

Goals of the Study................................................................................................................2

Definition of Terms..............................................................................................................3

Assumptions of the Study ....................................................................................................4

Limitations of the Study.......................................................................................................4

Literature Review.............................................................................................................................5

Research Method .............................................................................................................................9

Subject Selection .................................................................................................................9

Data Collection Procedures..................................................................................................9

Data Analysis .....................................................................................................................11

Documentation ...................................................................................................................12

Findings..........................................................................................................................................12

The Prevailing Art Educator ..............................................................................................12

The Retired Art Educator ...................................................................................................16

The Art Educator who left the profession ..........................................................................20

Summary Across all Findings ...........................................................................................24

Discussion and Conclusion ............................................................................................................25

Implications and Recommendations ..................................................................................25

iv
PATHS THROUGH PROFESSIONALISM

Conclusion .........................................................................................................................26

References ......................................................................................................................................27

Appendix A: Questions used to guide the interview .....................................................................30

Appendix B: Sorting Matrix ..........................................................................................................31

Author Biography ..........................................................................................................................32

v
PATHS THROUGH PROFESSIONALISM

Introduction

As an aspiring art educator, I am interested in the paths that individuals have taken to

becoming art educators. When I first started in the University of Florida graduate program, I

thought I was different because I had not taken the traditional route to becoming a teacher and

because so many of my classmates were already teaching. However, after my experiences with

others in the program I have learned there is not one route to becoming an art educator. Everyone

has taken a different path.

My transition into education comes at a time when many art educators feel isolated and

dismayed in their own schools, so I’m curious as to why people still want to be art educators and

what keeps them in the education field. Buffington, Williams, Ogier, and Rouatt (2016)

conducted a case study that identified five factors that lead individuals to becoming art

educators: the individuals’ family and early childhood experiences, school art experiences, the

influence of mentors, young adult experiences, and the individual’s identity. For my research, I

conducted a case study to learn about the inspiration that leads individuals to becoming an art

educator, if their ideas and values concerning art education have changed since becoming art

educators, and finding out if they have changed professions and if so why. This research will

assist me and others interested in the field of art education to better prepare for the challenges

facing art educators.

Statement of the Problem

Although there are many reasons why people become art educators, there is a significant

number of individuals who are leaving the profession. Lawton (2016) describes art educators

feeling isolated, divided, and undervalued simply because of the type of degree that they hold. I

found this to be surprising and alarming. Some people are naïve concerning art degrees and

therefore they often place unfair judgement on people who hold degrees in art. I know that I have
1
PATHS THROUGH PROFESSIONALISM

felt that way where I work because of the position that I hold as Administrative Assistant at a

college. When people learn of my educational background in photography, art and education and

my work experiences then they tend to show me more respect. It is surprising how something

like a title or a degree can determine the way a person thinks of you. Feldman (1993) mentions

that art educators should think of themselves first as art professionals. Art educators are different

from other teachers because of their sensitivity to the visual world. This is something that I

believe should be looked at positively by both art educators and their colleagues and art

educators’ should be recognized for their specialized knowledge and craft.

The challenges that educators face can lead to a high turnover rate in schools which can

lead to low success for the schools. Mages (2013) observed a relation between teacher turnover

and school success. Mages explains that teacher retention plays an important role in how

successful a school functions and the success of its students. If this is the case then why are not

more schools working to address the issue of high teacher turnover? The information learned

from this study can be used by teacher-training programs for recruitment and by school

administrations to combat attrition.

Goals of the Study

Through this study I investigated why and how people decide to become art educators. I

also explored how practicing art educators feel about the profession once they have spent time as

an educator as well as the reasons why former art educators left the profession. Through this

study, I hoped to better prepare myself to enter art education with the knowledge of challenges I

might face. My findings can be shared in teacher training programs to help prepare others

entering the field of art education.

2
PATHS THROUGH PROFESSIONALISM

Research Questions

1. How and why do people decide to become art educators?

2. What do practicing art educators report about their experiences in the classroom

over time?

3. What reasons do former art educators give for leaving the profession?

Rationale and Significance of the Study

There are many reasons a person might choose to be an art educator therefore there are

numerous paths that can be taken to becoming an art educator. Unfortunately, research suggests

that many art educators are experiencing teacher burn-out, “artitude”, and feelings of isolation

(Lawton, 2016). My research study is needed to determine the reasons individuals are entering

art education and to discover what art educators experience once they enter the classroom. By

learning about the possible struggles of being an art educator individuals preparing to enter an art

classroom can also prepare to handle these issues.

Definition of Terms

Artitude encompasses the attitudes and opinions of others concerning the degree that an

art educator possesses. Lawton (2016) explains that many people are judging educators based of

the type of degree that they hold. Whether an individual has a Bachelor of Fine Arts degree or a

Bachelor of Arts degree makes a difference in what people think the individual is capable of

accomplishing.

Burnout can be described as emotional exhaustion, depersonalization, fatigue, frustration

or apathy resulting from prolonged stress, overwork, time pressure or intense activity

experienced by an educator, lack of personal accomplishment or student accomplishment. Byrne

(1998) explains the causes, effects and even suggests solutions to teacher burnout such as; stress

3
PATHS THROUGH PROFESSIONALISM

reduction workshops, teacher support groups, scheduled leisure time, and other workshops that

would pertain to students and curriculum.

Career Changers are individuals changing career fields. In the context of this research,

career changers are individuals who have changed from their previous career fields to enter the

educational field. Haggard, Slostad, and Winterton (2006) explain that a growing number of

individuals are changing their careers to become classroom teachers. Conversely, Cuddapah,

Beaty-O’Ferrall, Masci, and Hetrick (2011) explore why individuals who made a career change

into education leave the field. They explain that career changers are often thought of as more

mature, stable and realistic therefore they do not need the same support as other educators, which

is not always true.

Assumptions of the study

I had two assumptions entering into this study. I believed that the feelings of isolation

being experienced by art educators and the difficulties they have with non-art educators is often

due to a lack of leadership from administration. I also believed that there is a lack of

understanding among the general population of the importance art has in education. I believed

that the stories of the three art educators I interviewed, would confirm these assumptions.

Limitations of the study

My selection of only three individuals did limit the scope of the study, but allowed me

the opportunity to establish a personal connection with each participant and to convey each

participants personal experiences in art education. A drawback from having a limited number of

participants is the possible lack of generalization of gathered information. Their experiences

might not provide an accurate depiction of what all art educator’s experience in the classroom.

4
PATHS THROUGH PROFESSIONALISM

Literature Review

In this literature review I summarize and discuss scholarly articles that relate to the topic

of paths taken to becoming an art educator and where those paths can lead. Haggard, Slostad,

and Winterton (2006) discussed the increasing number of career changing individuals entering

the educational field. Cuddapah, Beaty-O’Ferrall, Masci, and Hetrick (2011) found that

individuals entering art education as their first career choice often think of being an art educator

as a short-term job that could lead them to a more advanced career later down the road, a means

to an end, whether that career be in education or another career field. These two aspects were

found throughout the researched literature for this topic: there are numerous reasons individuals

are entering the educational field, there are numerous reasons individuals are leaving the

educational field.

Reasons Individuals Enter Art Education

Art educators are led to the profession on various paths for various reasons. Buffington,

Williams, Ogier, and Rouatt (2016) identified five factors that lead individuals to becoming art

educators: the individuals’ family and early childhood experiences, school art experiences, the

influence of mentors, young adult experiences, and the individual’s identity. Through their case

study the participants became more aware of the influences that led them to art education, and

the implications those influences have on our own teaching methods. Similarly, Anderson’s

(2000) book Real Lives: Art Teachers and the Cultures of Schools provides an excellent snapshot

of the paths that some individuals have taken to becoming art educators including their personal

education and experiences as an artist, their teaching experiences, and current jobs.

Many individuals decide to be art educators due to their personal passion for art. Unrath

and Kerridge (2009) noted that one of their case study participants, “saw the need to share and

5
PATHS THROUGH PROFESSIONALISM

encourage the joyous spontaneity of art-making especially in very young children” (p. 276).

Some individuals take joy in art and art making and want to share that joy with others. This

passion for art and the desire to share it with others leads many people to become art educators.

Many career changers are interested in the education field because they have a desire to make a

difference, providing a positive influence for children (Haggard, Slostad & Winterton, 2006).

Anderson (2000) builds on this concept by stating that one thing has always stayed steady in

education and that is, “good teachers still care deeply about the life success of their students and

say that’s the most important reason they teach” (p. 113). Many career changers also believe that

a career in art education will be more exciting than their previous careers were, and provide them

with more creative opportunities, job security, and flexible time with holidays and summers off

(Haggard, Slostad & Winterton, 2006).

Reasons Individuals Leave Art Education

Garrett and Von Nessen (2016) reported that the state of South Carolina experiences an

average loss of 3,850 teachers each year contributing to a statewide teacher shortage. The Center

for Educator Recruitment, Retention, & Advancement (2017) reported that nearly 6,500 teachers

in South Carolina did not return for the 2016-2017 academic year, confirming that the teacher

shortage dilemma is not only a consistent issue but that it is increasing. There are many reason

why individuals choose to leave the education field. Byrne (1998) discussed how teacher burnout

effects turnover and retention rates in schools. He explains that many individuals have

preconceived expectations entering the field but when these expectations are not met they leave

disheartened. He also describes many factors that can contribute to teacher burnout such as

fatigue, frustration or apathy resulting from prolonged stress, overworked or intense activity, low

income, a feeling of isolation, and difficulties with administration and with students. Scheib

6
PATHS THROUGH PROFESSIONALISM

(2006) explains the need for policy changes that would support teacher retention by meeting the

needs of the dual identities that art educators have as both educators and as artists. Another

influence is what Lawton (2016) describes as “artitudes,” opinions of others concerning the

degree an art educator possesses, that can affect the educators’ self-confidence, self-esteem and

can contribute to teacher burnout. She discusses how people still hold on to the notion, “Those

who can’t do, teach.” This is true for art educators as well. Many people look at art educators as

individuals who failed as artists.

Scheib (2006) notes that many educators feel as if they have little or no support system

within their school. In addition, Anderson (2000) found many of the participants in his study

were buried in what they considered bureaucratic busywork from a micro-managing

administrative system. This contributes to the art educators feeling of isolation with in their own

school. Riedler (2016) builds on the idea of isolation by discussing the feeling teachers

experience when they begin to feel like they are losing their sense of belonging. This often

happens because art educators are struggling to juggle their identity as an artist and their identity

as an educator.

A participant in Anderson’s (2000) study mentions that she is on several school

committees as a way to be seen as a legitimate academic teacher and not a superfluous member

of the school. Another participant states that this type of thinking, “just shows how ignorant

critics are of the complex intellectual and emotional synthesis required to meaningfully connect

the hand and the eye and the brain and the heart” (p. 89). Ward (2016) adds to the concern of

artitudes by using the National Society for Education in Art and Design Survey Report from

2015-2016 to show that the government is routinely devaluing art education and therefore cutting

funding to art programs in schools and cutting art courses out completely in some schools. A

7
PATHS THROUGH PROFESSIONALISM

participant in Anderson’s (2000) study mentions that an art educator loses so much time and

energy to creating curriculums that fit legislated standards that they often become frustrated.

Educators are also leaving the classroom to advance their careers in education elsewhere.

As stated before Cuddapah, Beaty-O’Ferrall, Masci, and Hetrick (2011) found that individuals

entering art education as a first career often see it as a short-term job that could lead them

potential advancement in the educational field such as positions in administration and curriculum

reform. Sometimes individuals leave the education field due to retiring or reasons beyond their

control such as changing locations. Income also plays a factor for many who leave.

Summary

Florio-Ruane and Williams (2008) explain that, “By examining our paths to teaching, we

come to understand our work in the here and now in a new light” (p. 21). Through traditional

teaching and alternative licensing programs, people are taking many different paths to pursuing a

career in art education for different reasons including; a passion for art, a desire to make a

difference in children’s lives, opportunities to be creative, job security, and better schedules.

However, there is still a teacher shortage in the state of South Carolina. Teacher burnout, low

income, and advancing careers are just some of the reasons so many teachers are leaving the

classroom. As this literature review suggests, while teacher-licensing programs are improving,

and there are many different reasons people choose to become art educators, more can be done

within the school systems to retain teachers in their current positions. It is important to listen to

the stories and experiences individual art educators are reporting to gain insight into the

challenges they face. The solutions and suggestions that the authors and researchers make should

not only be profoundly considered by administrations but put into practice promptly if they wish

to promote retention and deter attrition in their schools.

8
PATHS THROUGH PROFESSIONALISM

Research Method

For this research I conducted a case study of three individuals who are or have been art

educators. Hamilton and Corbett-Whittier (2013) explain that case studies can provide an

enhanced understanding of contexts, communities, and individuals as well as help reflect on

changing perspectives. Case studies involve interacting with individuals on a personal level

focusing on collecting rich data instead of simply an overview of survey responses. Through

interviews, I gathered information from current and former art educators to learn about the paths

they took to become art educators and where those paths have led them.

Subjects

The subjects invited to participate in this study included current and former art educators.

The final participant pool consisted of one current art educator, and two former art educators. Of

the two former art educators, one is retired from art education and the other left K-12 art

education for other reasons. This provided a variety of perspectives, from different areas of the

United States, differing levels of education, and different years of experiences. To pursue this

study using art educators as subjects I requested and received the approval of the University of

Florida’s Institutional Review Board (IRB).

Data Collection Procedures

To collect data for this case study I conducted interviews with the participants to learn

more about how and why they decided to become art educators, their experiences in the

classroom over time, and what reasons former art educators give for leaving the profession.

Brenner’s (2006) explanation of the intent of interviews informed my work, “to understand

informants on their own terms and how they make meaning of their own lives, experiences, and

cognitive processes” (p. 357). In addition, Jacob and Furgerson (2012) helped me understand

9
PATHS THROUGH PROFESSIONALISM

interviews as, “When we interview, we ask people to share their stories” (p. 1). This is exactly

what I did when interviewing the participants. I strived to gain personal stories from the three

participants about their individual experiences leading up to and during their time in the field of

art education.

Dilley (2000) builds on this storytelling concept by emphasizing the importance of being

knowledgeable about the participants’ background. He explains that if you cannot gain

information about their personal background then you should learn about the subject matter

being discussed. In his own work, “I gain an understanding of social and contextual factors that

might bear upon the experiences and lives of those I interview” (p. 132). I think this is an integral

part of the interview process that I took very seriously.

Brenner (2006) suggests starting off the interview with a “grand tour” question that will

give the participant an opportunity to discuss the topic broadly then follow it with “minitour”

questions that will delve into the topic further. I used what Brenner (2006) described as an

interview guide (see Appendix A). I divided the interview up into different topics that I wanted

to cover with a grand tour question and a list of minitour questions that fit within that topic. This

allowed me to gather the information that I was interested in discovering but also the flexibility

to deviate into other areas that the participant brought up.

Turner (2010) suggests a pilot test of the interview with a third party to determine if there

are any flaws or limitations in the questions or the flow of the survey. I provided sample

questions to an art educator who is not part of the study to gauge what I needed to refine in the

structure of the interview. Interviews were audio recorded and I kept a journal of notes of the

most important information.

10
PATHS THROUGH PROFESSIONALISM

Conducting the interviews took a couple of weeks to complete due to the schedules of the

participants. One interview was done in person and the other two were done over the telephone

due to the location of the participants. Holt (2010) suggests that when conducting phone

interviews the interviewer will have to be very direct due to the lack of non-visual cues. I had a

list of questions planned out ahead of time and tried to be very articulate as I conducted the

interviews so I would not cause any confusion. Holt (2010) also mentions the benefit of location

and time flexibility that online and phone interviews provide. I think this was very beneficial for

both myself and the participants. Another beneficial data collection method was audio recording

the interviews so that I could focus on the participant. Brenner (2006) mentions that recording

interviews allows the interviewer the ability to give their full attention to the conversation.

Data Analysis Procedures

I used different methods to analyze and sort the data I collected. I used ideas from the

scholarly research articles I consulted to assist me in deciding on preliminary categories to sort

my data such as what influences inspired them to want to be art educators. I added to and

adjusted these according to the data I collected. I transcribed the audio recording of the

interviews and coded the responses the participants gave as I typed them up. I created a matrix to

help me quickly sort through my data from the transcriptions. I used a grid with each box

numbered referencing a corresponding question from the interview (Appendix B). I color coded

each participant: current teacher is green, retired teacher is purple, and the teacher that left is

yellow. Each numbered box had a short note of that participant’s response to that particular

question in their color. This helped me quickly reference my transcriptions without having to

read through several pages looking for a response. This helped help me group similarities and

differences in the experiences that the participants had in the profession.

11
PATHS THROUGH PROFESSIONALISM

Documentation

In order to document the information I gathered for this study I audio recorded the

interviews on a digital recorder and took notes of the most important information. Once the

interviews were transcribed and edited I checked for accuracy using member-checking. I sent the

participants the transcription of their interview to check for any edits. None of them had anything

to add or edit. I analyzed and compiled my findings and presented them using Prezi as well as on

my professional website (https://caseysmitharteducation.weebly.com/) consisting of the final

Capstone paper, references, and interview questions. I also created infographics to show the data.

Findings

The goal of this study was to document and examine the personal stories and experiences

of three individuals who are or have been art educators. I had three questions I hoped to answer:

How and why do people decide to become art educators? What do practicing art educators report

about their experiences in the classroom over time? And finally, what reasons do former art

educators give for leaving the profession? Most of the responses I received from the participants

met my expectations, while others were surprising. Over all it is their passion for art and

education that led them and keeps them in the field of art education.

The Prevailing Art Educator

I met the first participant, Cindy1, in the University of Florida’s Master of Art Education

program. When she agreed to participate in my research study I was very excited. She has been

an art educator for eleven years. Her passion for art and for education is enthusiastic and

captivating.

1
Pseudonyms were used for each participant to retain confidentiality.
12
PATHS THROUGH PROFESSIONALISM

I started off the interview by asking her to discuss her background in art education; why

did she decide to be an art teacher and what degrees or training did she complete? Cindy

explained that part of the reason she became an art teacher was because she did not have many

art experiences in school. She developed a love for drawing in elementary school however art

was not offered in her high school. Because of this love for art her parents found private art

teachers to provide afterschool lessons for her. Cindy stated that one teacher in particular had a

profound influence on her, “He was handicapped from a serious bout of polio at a young age,

had braces on both legs and his left arm was completely paralyzed. He had a huge love for art

and would have taught in schools if not for his bad health. I owe my influence to him” (personal

communication, June 21, 2018). This one teacher’s passionate love for art and teaching helped

him persevere through his personal struggles and possible physical limitations to encourage

others to peruse their talents in the arts.

Cindy has a Bachelor of Fine Arts degree in Graphic Design and while earning that

degree she also took education courses in the hopes of graduating with a double major in

education. However, her husband was transferred to another city for work so she decided to only

earn the graphic design degree and wait till later to complete her teaching degree. She worked in

a small graphic design shop for several years before leaving due to low income. Next she worked

for four years at Hobby Lobby in the arts and crafts department as well as traveling to new stores

to prepare them for opening. During that time she learned of an alternative summer certificate

program for individuals in her state with other types of degrees that want to become teachers. “I

jumped on the opportunity” (personal communication, June 21, 2018). This was very interesting

for me to learn about as I too have an undergraduate degree in something other than education

and will be looking into alternative certificate programs.

13
PATHS THROUGH PROFESSIONALISM

I asked Cindy to discuss some pivotal experiences that she has had as an art educator. She

stated, “I believe the most pivotal experience has been deciding to get my master’s degree!”

(personal communication, June 21, 2018). She explained that the experience made her look back

over her past years in the classroom and realize that she had mainly been teaching art skills and

techniques over self-expression and critical thinking. With this new knowledge and wisdom she

stated that she has slowly been changing her teaching methods as she learns new ways of

teaching.

I was eager to follow up that conversation by asking her to discuss challenges that she

faces as an art educator and what the most difficult part about being an art educator is for her.

She shared that her greatest challenge was, “meeting the need of all students in my classes based

on their skill levels and psychological/developmental levels” (personal communication, June 21,

2018). She explained that she currently teaches both Art I and Art II high school students during

the same class times, therefore she has two different lesson plans running simultaneously. She

also tries to change her lesson plans and activities each year to keep them fresh for the students.

Cindy told me that the most difficult part of being an art educator was dealing with

behavioral issues and students disinterested in art. She explained that there are students in her

classes that are not actually interested in art they only take it to complete required credits for

graduation. And she only gets to see most of her students for one semester so she struggles to get

to know them really well. She mentioned that while she has taught in elementary schools before

she has always wanted to focus on high school aged students, “because I wanted to share my

love of art to the point that students went on to college for art careers” (personal communication,

June 21, 2018). It can become hard to encourage students to follow their interest and talents in

art when you only get to see them for one semester.

14
PATHS THROUGH PROFESSIONALISM

I moved the interview along by inquiring about advice she had for school administrators,

education programs, and those entering the art education field. I started the inquiry by asking if

she felt her education adequately prepared her to be a teacher. She expressed to me that both her

educational and non-educational background experiences adequately prepared her to be a

teacher. She believes that, “every experience we have with the world can be used in the

classroom in some way” (personal communication, June 21, 2018). This was an inspirational

statement for me to hear. I then asked her what suggestions she would make to school

administration to make working in art education better. Her suggestions were similar to what I

had learned in my research of scholarly articles. She would suggest that administration support

their art teachers in every possible way. To recognize that the arts are just as important as other

subjects and as such art teachers work on schedules just like teachers of other subjects do. She

also suggested that schools stop taking students out of art classes to remedy other subject classes.

I followed that response by asking her what suggestions she had for education programs

preparing those entering the art education field. She suggested, “Art education programs

everywhere need to have more hands-on classes for preservice teachers, teaching them the

importance of demonstration and the creation process other than just integrating cultural, social,

and personal interest lessons” (personal communication, June 21, 2018). She believes that

teaching art history is just as important as teaching about the present and future of art.

I ended the interview with two questions: What keeps you in the field of art education?

And what advice do you have for those entering the art education field? I loved her response. She

exclaimed that what keeps her in the field of art education is her passion for art. And her advice

for those entering the art education field is to, “Be passionate about what you do! There are

15
PATHS THROUGH PROFESSIONALISM

going to be good days, months, and years and there will be the bad also. Stick with it! It is worth

the blood, sweat, and tears!” (personal communication, June 21, 2018).

The Retired Art Educator

The next participant in my study, Gloria, was actually one of my former high school art

teachers. She spent thirty years teaching in public schools and six years in college before retiring.

She was influential in my life and my decision to pursue a degree in art and in education, so

interviewing her for this study was paramount.

As with the previous interview I started off by asking her to discuss her background in art

education. Gloria explained to me that she loved art in high school, but wasn’t sure what she

wanted to do when she graduated. College was not really an option for her because her family

couldn’t afford it. During high school she was able to work as a teacher’s assistant for class

credit, so she signed up to be the art teacher’s assistant for several quarters. During that time she

took a preference exam through the counselor’s office and the results said she should be a forest

ranger. However, this was in 1976 and women were not really able to be forest rangers during

that time, so her counselor suggested she think about being a nurse or a teacher. She didn’t do

well in chemistry so she decided to be a teacher. Coincidentally, the next day she was assisting a

student with a project in art and her teacher commented, “You know you’re really good at

teaching” (personal communication, June 19, 2018). That is when the light bulb moment

happened for her. She knew being an art teacher was what she wanted to do.

Gloria first received a Bachelor’s degree in Art Education, then went on to earn her

Master’s degree in Art Education. After that she also earned a Master’s degree in Education

Leadership. She revealed to me that she would have continued on to receive a Doctorate but her

father was battling with cancer and she was busy helping take care of him.

16
PATHS THROUGH PROFESSIONALISM

I asked her to share some of the pivotal experiences she had as an art educator. She told

me about a lesson she learned when she was in the first grade. There were two students who

were very poor and always very dirty. Gloria remembers that one day the teacher brought a wash

tub and two sets of clothes for those two students. She left the teacher’s aid with the class and

took the two students to a small room in the library where she washed them and gave them new

clothes. This lesson of kindness stuck with her through the years and she strived to show

kindness to her own students. She told me a story about one middle school student she taught

who was always filthy. His hair was always matted, dirty, and long. So one day she asked him if

he wouldn’t mind if she cut his hair for him. There was more freedom in education at the time

and not as many restrictions on teachers as to what they could or could not do for students. He

accepted and she was able to make it a learning experience for the whole class. She shampooed

his hair in the classroom sink. She remembers having to wash it multiple times because of how

dirty it was. She then trimmed his hair while teaching the class about how to cut evenly, and

trim, and use the tools. While showing this student kindness she was able to make it into an

instructional learning experience for the whole class.

Gloria told me another story about a student she had who came from a very rough home.

The student had a speech impediment and was learning disabled. Gloria went to the school

counselor and asked if it was ok for her to go to the child’s home and ask the parents if the

student could spend the weekend with her. The counselor told her not to go because every time a

social worker goes to that house they pull a gun on them. She thought about it and decided to go

anyway. She baked two sweet potato pies and went over to the students’ house. Just like the

counselor predicted she was met at the door by a man carrying a shotgun. She told the man, “Hey

you going huntin? Listen I’ve been baking pies and I got carried away cause you know I do like

17
PATHS THROUGH PROFESSIONALISM

me some pies. I just wondered if you would take these off my hands” (personal communication,

June 19, 2018). She knew he would have to put down the gun if he wanted to take the pies and

that’s exactly what he did. He got the pies and she got to take the student home with her for the

weekend. She mentioned that every time she would bring the child home with her the girl had

lice. So she would run her a bath and have her use lice shampoo to get rid of them. She would

also take her shopping for a new set of clothes. She expressed to me that the most pivotal

moments to her were simply showing kindness to students. I found that to be a very profound

statement. Kindness, especially to a student, can make such a huge impact on someone’s life.

I moved the interview along by asking her to discuss challenges that she faced during her

time as an art educator and what the most difficult part about being an art educator was for her.

She shared with me that being a “dumping ground” (personal communication, June 19, 2018)

was always a challenge. Administrators would place troubled students and students that were

failing in other subjects in the art classes, therefore there were students that were not interested at

all in art. She also noted that funding was an obstacle sometimes. There were also times when

administrators and other teachers would ask her to do their crafts for them. I mentioned to her

that was a common complaint from art educators I found in the literature that I researched. She

explained that was probably the most difficult part about being an art educator. The feeling that

the administration and other teachers did not understand that art teachers have a curriculum,

lesson plans, and a schedule just like they do.

I was curious to hear her responses to my next set of questions concerning her advice for

school administrators, education programs, and those entering the art education field. She

described how the expectations for art teachers should not be the same as those for other subject

18
PATHS THROUGH PROFESSIONALISM

area teachers. Having a curriculum and a set of standards works, but assessment areas such as

tests and grading are not always going to work the same as they do with other subjects.

Gloria expressed that she felt like her education prepared her very well. They learned to

create lesson plans and curriculums. The faculty was personable and helpful. There was adequate

classroom observation before student teaching. The one thing she would suggest is to have a

course that prepares you to deal with administration and other faculty, a class on how to “play

the game” (personal communication, June 19, 2018). Knowing the social aspects and being able

to navigate not only being an educator but also an employee would be invaluable. This

suggestion really captivated me.

Although she is retired from education she mentioned to me in a previous conversation

that she was searching for a part time position as an art educator again. So I ended the interview

with the same two questions: What keeps you in the field of art education? And what advice do

you have for those entering the art education field? What keeps her in the field of art education

was quite amusing. “I’ve got my animals but I kind of miss being called Professor … instead of

the goat lady” (personal communication, June 19, 2018). She went on to elaborate that she has a

good income as a retiree but she wouldn’t mind the extra income. She revealed to me the story of

her last day in her classroom. She cleaned out all her stuff, “I closed that door behind me, but I

remember looking back at it. It was 23 years where I lived most of my time. And I loved it so

much. But I thought well I guess I can recreate some of this at home” (personal communication,

June 19, 2018). And that’s what she did. She turned her basement into an 1,100 square foot

studio with three floor looms, an easel, work tables, an old teacher’s desk, and bookshelves filled

with books and supplies. She also has a 3,200 square foot shop that she is slowly converting over

as well with wood working tools, a kiln and two potter’s wheels. She mentioned to me that she

19
PATHS THROUGH PROFESSIONALISM

would like to clean up the basement so that she can provide art lessons at home. Her love of art

and for teaching are still a prominent part of her life. When I asked her why she decided to retire

she told me she felt like it was just time for something different. She had already been teaching

night classes part time at a college. She stated, “I played the game as smart as I knew how”

(personal communication, June 19, 2018). She finished high school in three years, went to

college straight through without taking any summers off, started teaching at the age of 20, and

earned her Master’s degrees later in her career so that her retirement income would be higher.

She retired at the age of fifty, which I find to be pretty incredible.

Gloria’s advice for those entering the art education field was, “Just embrace it. Don’t quit

learning” (personal communication, June 19, 2018). She explained that art educators should

learn as much about other subjects as they can because it encompasses almost all of them. She

also suggested coordinating with other teachers. And her main suggestion “just enjoy it”

(personal communication, June 19, 2018).

The Art Educator who Left the Profession

My third and final participant, Sharon, spent fifteen years teaching in public schools

before she left the profession. She now teaches private lessons and works with an organization

called Engaging Creative Minds (www.engagingcreativeminds.org). She is someone who has

become a mentor of mine after I spent time observing her teach private art lessons to both

children and adults. She lives locally so I was able to conduct the interview in person.

Sharon shared that she decided to be an art teacher because she was working full time as

an interior designer, had small children and she was going through a divorce. She wanted to be

available for her children but also needed to sustain herself. So, she went back to school to be an

art teacher earning a Master’s degree in Curriculum Integration. She knew she wanted to do

20
PATHS THROUGH PROFESSIONALISM

something where she could make a difference as well as be there for her own children. So the

school schedule was very appealing. She also mentioned that the times when she was happiest

were when she was in the art room and that the people who had the biggest influence in her life

had been her art teachers. Therefore, she knew that was the path for her.

I then asked her to discuss some of the pivotal experiences she had as an art educator. She

proceeded to tell me about the joy she experienced when students would tell her that she made an

impact on their life. One student told her, “You used to make me mad when you would answer

my question with a question and now I’m the smartest kid in my class” (personal

communication, June 28, 2018). Sharon also told me a story about a job interview she went to for

a promotion in her school district where the interviewers were so excited to meet her finally

because they could always tell when they met a student from her one of her classes. The

interviewers told her, “We can always tell the kids that come from Raymond because they’re the

ones that answer questions in a different way, they’re the ones that approach a project in a

different way. We can always tell if there’s a kid that stands out in the crowd we know where

they’re from” (personal communication, June 28, 2018).

I kept the interview moving along by asking her to describe challenges she faced as an art

educator. Sharon pointed out that budget and storage are always a struggle but the cultural

differences were especially difficult. In Maine she dealt with parents who for whatever reason

didn’t like school when they were growing up, became farmers, and have a decent life

financially. These parents now think that because their life turned out alright then their child does

not really need an education at all. They just don’t see the importance of education. Then she

moved from Maine to South Carolina where the southern culture is quite different. She noted that

she didn’t realize that racism was still so prevalent in the south. When I asked her what the most

21
PATHS THROUGH PROFESSIONALISM

difficult part about being an art educator for her was she replied it was apathy from the students

and parents. The hardest part about being an art teacher was when people just don’t understand

the importance of art education.

Since she left public education to teach private lessons, I asked her to explain what lead

her to that decision. She confided in me that her time working in the South Carolina school

system had been horrid. Poverty, crime, racism, and apathy were very big issues. She felt like it

was a waste of her energy, time and education. She felt like she wasn’t able to make a positive

impact in that school. She told me, “I wasn’t going to be a part of that school to prison pipeline”

(personal communication, June 28, 2018). Sharon’s breaking point came though when a student

actually struck her. This of course was very alarming for me to hear. I’m not sure what I would

do in that situation.

I continued on by asking her what made one school better than another. Sharon answered

by explaining that her school in Maine had a $5,000 budget for art however the budget at her

school in South Carolina was only $500. She had also taken a considerable pay cut when she

moved to South Carolina. But what really made one school better than the other was the way

they valued the art program. The administration in Maine backed the art program and the parents

supported and showed up for art events. However, in her school district in South Carolina was a

real struggle sometimes to get administration and parents to support the arts programs.

I was interested in learning about her advice for school administrators, education

programs, and those entering the art education field. She suggests giving teachers more

opportunities to collaborate. Share their experiences, thoughts, ideas, and possibly how they can

help one another’s curriculums. Sharon expressed to me that she felt the education she received

had been phenomenal. I followed that response by asking her what suggestions she had for

22
PATHS THROUGH PROFESSIONALISM

education programs preparing those entering the art education field. She shared with me that the

classes that impacted her the most were the classes where she acted out lesson plans and

classroom discipline. It gave her real world experiences before starting student teaching. She

would suggest having more of those experiences for students in education programs.

As before with the other two interviews, I ended the interview with what kept her in the

field of art education and what advice she had for those entering the art education field? Because

of her passion for education, she knew she wanted to find a way to work in the school system

again. There are elements of the school system she felt were valuable and positive and she

wanted to be a part of those. She shared with me a program that she works with called Engaging

Creative Minds. This program is a privately funded organization that works with school systems

to provide engaging and inspirational curriculum-based arts integration activities. She fell in love

with the program and what they do for the schools and students. She got involved with them and

often teaches art lessons for them during their summer programs. This allows her to continue to

teach private art lessons to children and adults as well as be a part of the art education taking

place in schools. It was the perfect fit.

Sharon’s advice for those enter the art education field is, “listen to the kids, and go with

the flow a little bit, but hold your ground” (personal communication, June 28, 2018). She

explained that sometimes teachers “over teach” by trying so hard to stick to the lesson that they

don’t allow themselves to improvise or deviate when necessary. This can hinder the students

learning and creativity. Teachers need to find a balance between allowing the students to be

creative while also learning the process or lesson. She also advised that art educators, “find

yourself a tribe” (personal communication, June 28, 2018). A group of individuals that you can

collaborate with, discuss classroom challenges, and educational system issues; a support system

23
PATHS THROUGH PROFESSIONALISM

that you can bounce ideas off of. She noted that with social online platforms such as Facebook

there are so many ways art educators can find a support system.

Summary Across Findings

When reviewing my findings there were several similarities between the three art

educators. One participant started off in art education while the other two participants made a

career change into education. Although all three participants took different paths to become art

educators, their core reasons for doing so were their passion for art and desire to make a

difference in people’s/children’s lives through teaching.

In regards to what they reported about their experiences in the art education field their

responses varied. One report was as extreme as being struck by a student and another was

reminded of the kindness she and other educators have shown students in need. One struggles

with meeting the needs of all her students based on their differing skill levels and developmental

levels. All three participants reported that they struggled with disinterest and apathy from some

combination of students, parents, and administration.

Finally, when reviewing the reasons art educators leave the profession the two

participants who left had very different reasons for doing so. One retired and the other left K-12

due to the failing institutional culture of the current educational system. Although these two

participants left K-12 art education, Gloria contacted me after the interview to tell me that she

has returned to teaching as she has accepted a part-time job as an adjunct professor at a local

community college. And Sharon still teaches private classes which allows her to provide art

education services to schools without dealing with the bureaucracy of education.

24
PATHS THROUGH PROFESSIONALISM

Discussion and Conclusions

Based on my interviews and research, I believe that the core reason an individual decides

to become an art educator is because they have a passion for art and a deep desire to make a

difference. Even though my participants’ individual experiences in art education were different,

it seems most of the challenges they faced stem from apathy from students, parents, and

administration. I found that the experiences and challenges shared by these participants confirms

what I had discovered in my literary review.

Implications and Recommendations

Although the number of participants in my study was limited, I collected personal stories

from each participant, providing a snap shot into the paths that people take to become art

educators and where those paths lead them. I believe that my findings not only influence my path

as an art educator but could influence other individuals interested in pursuing careers as art

educators.

My recommendations are that education preparation programs provide more

opportunities for students to practice delivering lessons instead of just writing plans over and

over again. I would also suggest offering more opportunities for education students to practice

dealing with discipline other than simply discussing it in theory. This could be done by meeting

with school administrators or faculty to discuss policies, procedures, and growth opportunities.

Furthermore, I believe there is a lack of understanding among the general public of the

importance of art education and I would suggest that administrators in school systems support

their art educators and assist them in drawing the support of the community too. This could be

done through publicity, marketing or public events. I also recommend to current art educators

and those entering the field to establish a support network consisting of educators and artists.

25
PATHS THROUGH PROFESSIONALISM

Conclusion

As a result of my research, I suggest that individuals interested in a career as an art

educator understand the possible challenges that they might face but also remember the reasons

they want to be an art educator. Form a support network to help you through the challenges. Talk

to current art educators to learn about their personal experiences. Art educators have immense

passion for art, we need to work together to make sure they don’t lose that.

This study was very personal for me and has made a significant impact on how I view art

education. Prior to this study I was viewing art education as exclusively K-12 art education

without even realizing it. When I interviewed the two participants whom I described as having

left the profession I then realized they only left K-12 art education. Both are still involved with

art education in other forms such as teaching at the college level, private lesson, or with non-

profit/public organizations. This study has certainly opened my eyes to how I view art education

and where my career in the field might lead. There are many opportunities available if we only

look. While after learning about the challenges that art educators are facing has discouraged me

some I was also profoundly encouraged by their passion and desire to persevere and peruse other

areas to continue working in the field of art education. I know that whatever challenges I face in

art education my passion for art and desire to teach will always persevere.

26
PATHS THROUGH PROFESSIONALISM

References

Anderson, T. (2000). Real lives: Art teachers and the cultures of schools. Portsmouth, NH:

Heinemann

Brenner, M. (2006). Interviewing in educational research. In J. Green, G. Camilli, & P. Elmore

(Eds.), Handbook of Complementary Methods in Education Research. 357-370. Mahwah,

NJ: Lawrence Erlbaum Associates, Inc.

Buffington, M. Williams, A. Ogier, E. Rouatt, L. (2016). Telling our tales: Becoming art

educators. Studies in Art Education A Journal of Issues and Research. 57(4), 329-340.

Byrne, J. (1998). Teacher as hunger artists: Burnout: Its causes, effects, and remedies.

Contemporary Education. 69(2), 86-91.

Center for Educator Recruitment, Retention, & Advancement. (2017). A report on the fall 2016

supply and demand survey. Retrieved from

https://www.cerra.org/uploads/1/7/6/8/17684955/2016_supply_demand_report.pdf

Cuddapah, J. Beaty-O’Ferral, M. Masci, F. Hetrick, M. (2011). Exploring why career changers

leave teaching. The New Educator. 7(2), 114-130.

Dilley, P. (2000). Conducting successful interviews: Tips for intrepid research. Theory into

Practice. 39(3). 131-137.

Feldman, E. (1993). Best advice and counsel to art teachers. Art Education. 46(5). 58-59.

Florio-Ruane, S. & Willams, L. (2008). Uncovering paths to teaching: Teacher identity and the

cultural arts of memory. Teacher Education Quarterly. 35(3), 7-22.

Garrett, J. Von Nessen, E. (2016). Teacher supply study report: FY16 legislative proviso 1A.78.

Retrieved from

https://www.cerra.org/uploads/1/7/6/8/17684955/teacher_supply_study_5-11-16__1_.pdf

27
PATHS THROUGH PROFESSIONALISM

Haggard, C. Slostad, F. & Winterton, S. (2006). Transition to the school as workplace:

Challenges of second career teachers. Teaching Education. 17(4), 317-327.

Hamilton, L. & Corbett-Whittier, C. (2013). Using Case Study in Education Research. Endsleigh

Gardens, London: SAGE Publications Inc.

Holt, A. (2010). Using the telephone for narrative interviewing: a research note. Qualitative

Research. 10(1). 113-121.

Jacob, S. & Furgerson, S. (2012). Writing interview protocols and conducting interviews: Tips

for students new to the field of qualitative research. The Qualitative Report. 17(42). 1-10.

Lawton, P. (2016). Artitudes: Mapping lines of demarcation in art education. The Journal of

Social Theory in Art Education. 36, 58-64.

Mages, W. (2013). Building a strong ensemble of teaching artists: Characteristics, contexts, and

strategies for success and sustainability. International Journal of Education & the Arts.

14(8), 1-17.

Riedler, M. (2016). An art educator’s journey of becoming a researcher: A self-reflective auto-

ethnography of identity construction and personal growth. International Journal of

Progressive Education. 12(2), 138-148.

Scheib, J. (2006). Policy implications for teacher retention: Meeting the needs of the dual

identities of arts educators. Arts Education Policy Review. 107(6), 5-10.

Turner, D. (2010). Qualitative interview design: A practical guide for novice investigators. The

Qualitative Report. 15(3). 754-760.

Unrath, K. Kerridge, D. (2009). Becoming an art teacher: Storied reflections of two preservice

students. Studies in Art Education: A Journal of Issues and Research in Art Education.

50(3), 272-286.

28
PATHS THROUGH PROFESSIONALISM

Ward, H. (2016). More than half of art teachers consider quitting as subject becomes ‘devalued’.

Tes. Retrieved from https://www.tes.com/news/school-news/breaking-news/more-half-

art-teachers-consider-quitting-subject-becomes-devalued

29
PATHS THROUGH PROFESSIONALISM

Appendix A

Interview Guide

1. Why did you decide to be an art teacher?

2. What degrees or training did you complete?
3. How long have/were you in the field of art education?
4. What led you to your current position?
5. What are some pivotal experiences that you have had as an art teacher?
6. What challenges do/did you face as an art teacher?
7. What is the most difficult part about being an art teacher?
8. If you have changed schools, what made one school better than the other?
9. Do you feel like your education adequately prepared you to be a teacher?
10. What suggestions would you make to school administration to make working in art
education better?
11. What suggestions would you make to education programs to better prepare those
entering the art education field?
12. What keeps you in the field of art education?
13. What led you to leaving the profession?
14. What advice do you have for those entering the art education field?

30
PATHS THROUGH PROFESSIONALISM

Appendix B

Sorting Matrix

31
PATHS THROUGH PROFESSIONALISM

Author Biography

My interest in art started as a child. I was able to hone several of my artistic skills in the

art courses I took in high school. I also took several child development courses and a family

services course, which began my interest in becoming an educator. I started my college career at

Darton College in Albany, Ga. as a Special Education major. However, I soon became

discouraged due to the overwhelming paperwork and administration overviews in that field.

I transferred to Savannah College of Art and Design in Atlanta, Ga. where I earned my

Bachelor of Fine Arts degree in Photography in 2010. After graduating, I worked as a freelance

photographer while working in administrative positions in varying fields. My desire to teach

never left me. In 2016, I decided to go back to college to earn a Master’s degree in Art Education

so that I can become an art educator. I am currently working on my Master’s degree at the

University of Florida and expect to graduate in 2018. While I work on my Master’s degree, I

have a position at the College of Charleston as the Language Lab Director, and administrative

assistant to the African American and Asian Studies programs.

After graduating I plan to enroll in the PACE program, an Alternative Certification

program, in South Carolina to make the transition into the education field. I hope to find a

position in a public school system teaching art. My preference would be to teach high school

aged students but I would be happy with any age. I have also thought about the possibility of

going into the non-profit field or a private organization to teach.

32