Deviani Catherina – S00172641
ANALYSIS AND EVALUATION OF CURRICULUM MODELS:
DISCIPLINE­BASED ART AND CHOISE­BASED ART EDUCATION
1. Identification and description of the 2 curriculum models selected:
including the overall rationale, aim, and outcomes of the models.
Discipline‐based Art
Rationale Content of instruction is derived from
several discipline of knowledge, especially
four fundamental disciplines in art; i.e. art
making, art criticism, art history, and
aesthetic. It contributes to the creation,
understanding, and appreciation of art,
artists, artistic processes, and the roles
and functions of art in cultures and
societies.
The study of art promotes attention to
perception and expression, therefore
contributes to the building of language
and communication, critical thinking, and
problem‐solving skills.
Aim The aim is to develop students’ abilities to
understand and appreciate art. This
involves the knowledge of the theories
and contexts of art and abilities to
respond to as well as to create art.
Outcomes Students will be active inquirers and able
to interpret works studied by researching,
discussing, and writing about them (art),
and by creating their own works
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Choice‐based Art
In a choice‐based art program, the
classroom becomes a "studio" and
students are treated as artists. Individual
students are responsible for designing
and implementing their "art problems"
and initiating their own projects.
It is a student‐centred learning which
allows students to actively participate in
discovery learning processes from an
autonomous viewpoint. Students
construct a new understanding of the
material being learned in a proactive way.
A variety of hands‐on activities are
administered in order to promote
successful learning. The control shifts
from teacher to learner as students
explore ideas and interests in art media of
their choice.
‐ Strengthens student motivation
‐ Promotes peer communication
‐ Reduces disruptive behaviour
‐ Builds student‐teacher relationships
‐ Promotes discovery/active learning
‐ Responsibility for one’s own learning
Students will learn self‐motivation, build
ideas, collaboration, and higher order
approaches to self‐expression
2. Analysis of the conceptual structure and underpinning the theories of the
selected curriculum model.
Discipline‐based Art
‐ By creating works of art: the process of
responding to observations, ideas, feelings,
and other experiences by creating works of
art through skilful, thoughtful, and
imaginative application of tools and
techniques to various media.
‐ By describing, interpreting, evaluating, and
theorising about works of art (art criticism):
includes the use of language, thoughtful
writing, and talk about art through which we
can better understand and appreciate art,
artists, audiences, and the roles of art in the
culture and society. It improves the
intellectual environment in which we think
about art, by developing reasoned
justifications for appreciating and valuing
various forms artistic enterprise.
‐ By inquiring into the historical, social, and
cultural contexts of art objects: includes
attribution (where, when, why, and by
whom), authentication (confirmation),
iconography (meanings of the
objects/symbols), provenance (history of the
creator), function (what was the original
purpose), style (characteristics/qualities),
psychology (personal factor), and
connoisseurship.
‐ By raising and examining questions about the
nature, meaning, and value of art: aesthetic ‐
focuses on the visual imagery of art objects.
Aesthetic inquiry occurs when we examine
the statements and judgements we make
about imagery to determine what conception
of beauty or other value systems they
represent, and how these may be justified.
=============
‐ Full implementation is marked by systematic,
regular art instruction on a district‐wide basis,
art education expertise, administrative
support, and adequate resources.
‐ Student achievement and program
effectiveness are confirmed by appropriate
evaluation criteria and procedures.
2
Choice‐based Art
‐ Personal context: regards students as artists
and offers students real choices for
responding to their own ideas and interests
through art making.
‐ Pedagogical context: supports multiple modes
of learning and teaching.
‐ Classroom context: provides resources and
opportunities to construct knowledge and
meaning in the process of making art.
‐ Assessment: utilises multiple forms of
assessment to support student and teacher
growth.
=============
‐ Subject Learning: students learn best from
subject matter thoughtfully presented.
‐ Self‐Learning: one must engage oneself in the
generative process.
‐ Social Learning: empathy is wealth in this
regard, social interaction with diverse others
the target for generosity.
=============
‐ Teacher‐delivered whole group mini‐lesson
‐ Teacher‐delivered small group lesson
‐ Teacher‐delivered individual lesson
‐ Informal peer‐to‐peer teaching: through peer‐
to‐peer interaction, collaborative thinking can
lead to an abundance of knowledge
‐ Student “experts” teaching whole group
‐ Classroom as “silent lesson plan/teacher”
‐ Guest experts and field trips: enriching the
students’ aesthetic learning experience in the
classroom. Bringing a guest into the
classroom and going on field trips are great
opportunities to get students excited about
art.
‐ Individual inquiry
‐ Class discussion/reflection
‐ Students are given extrinsic motivators like
grades and rewards which motivates children
to internalise information and objectively
demonstrates their understanding of concepts
3. Example of teaching and learning activities, conceptual and skill development
in each curriculum model.
Discipline‐based Art
Teacher‐centred
Example of teaching please see [Appendix A].
‐ Use a pre‐reading and writing activity to
inspire students to draw a portrait of Martin
Luther King Jr. begin by having the students
read the quote by Martin Luther King Jr.
entitled "The Trumpet of Conscience, 1967"
‐ Divide the quote by Martin Luther King Jr. into
four parts and have the students rewrite the
sections of the quote in their own words. See
worksheet #1 [Appendix A1] and supply each.
Start a class discussion by asking some of the
students to voluntarily read their response to
the class and afterwards ask the students to
draw a portrait of Martin Luther King Jr.
‐ Demonstrate on a large piece of paper how to
draw the face. Focus on the head and
shoulders. Next, fill in the details and features
of his face like eyes, eye brows, hair, nose
mouth, neck and shoulders.
‐ Let the students draw the portrait of Martin
Luther King on a large piece of paper the face.
Encourage them to use their interpretation of
his quote as inspiration for their drawing.
Remind them to include his head and
shoulders. Next, fill in the details and features
of his face like eyes, eye brows, hair, nose
mouth, neck and shoulders.
4. Investigation of the assessment of teaching and learning outcomes of the
curriculum models.
Discipline‐based Art
Student achievement and program effectiveness
are formally and systematically assessed and
evaluated. Assessment of student learning is
conducted on a regular basis, with results
reported to stakeholders (including students,
teachers, administrators, and parents).
3
Choice‐based Art
Student‐centred
Example of teaching: http://vimeo.com/47513104
Choice‐based classroom begins with demo where
the whole class is presented with new topic,
artists, techniques, concepts, materials, etc. The
students then respond to the demo through
choice.
‐ Students are greeted at the door and invited in
‐ They gather at the demonstration table
‐ After the demonstration, students find their
work (materials)
‐ Students set themselves up and taking out
only what they need
‐ Some try the new project, others continue
working from the previous classes or work on
their own ideas
‐ Project in a variety of media occur
simultaneously
‐ Students who are engaged, work with focus
‐ The teacher celebrates with and stretches
individual students
‐ Clean‐up time, students put away their own
materials, mark their placemats to show
where they worked, and wait for the share
time where amazing discoveries are revealed
‐ Students have ideas for their future work from
the artwork of their peers’
Choice‐based Art
‐ Choice based classroom assess on effort, skill
with materials, creative problem solving, and
making artistic choices
‐ Assessment is ongoing and students are coached
and encouraged to self‐assess as they work
‐ Self‐assessment occurs on a regular basis,
both informally and with self‐reflection writing
‐ Student‐directed exhibitions are also used as a
form of assessment and as a tool for learning
‐ Rubrics are negotiated between students and
teachers and are broad enough to affirm
student differences
5. Evaluation of the approach to the curriculum

Discipline‐based Art Choice‐based Art

DBAE is more appropriate for a topic that is
foreign to students where teacher focuses more
on content and establishes the knowledge for
students to perceive and learn. It is also a better
approach to be applied in a fairly large
classroom. This model is more suitable for lesson
sequence rather than a single lesson.
TAB is best applied to grow more on students
creativity as they are able to explore more in the
classroom. But it should also be based with
history, criticism, aesthetic, and production of
the art. TAB is assumed to be able to work if
students have the basic knowledge of the four
elements.

6. Description of the similarities and differences of the selected curriculum models.

Discipline‐based Art Choice‐based Art

DIFFERENCES ‐ Teacher‐centred ‐ Student‐centred, choice‐based
‐ Focuses much on content but not approach to art education
enough on the actual students ‐ A variety of teaching methods are
used, increasing the likelihood of
reaching all students
SIMILARITIES Both:
‐ develop creativity in students – art creation
‐ help students to understand and appreciate arts

STRENGTHS ‐ Build strong understanding about art ‐ Students are intrinsically motivated
‐ Focus on the knowledge of the and completely engaged
theories and contexts of art and ‐ working on the right project at the
develop the abilities to respond to as right time
well as to create art ‐ Students learn that art comes from
‐ Finely structured with guidelines with within themselves not from a teacher
step‐by‐step assessments, therefore it is ‐ Students are able to get ideas for their
easier to assess students’ works of arts own future work from the artwork of
‐ No equivocation on what needs to be their peers’
done and what will be accomplished ‐ Students interests can be explored in
‐ Written, sequential lesson units and depth
learning experiences engage students ‐ teacher is able to make general and
in balanced attention and study one‐on‐one observations of what
derived from the content of the four students know and can do
foundational art disciplines: art ‐ Students are engaged in art making,
making, art history, art criticism, and art planning, and art reflection. They
aesthetics. are the instigators of their art
‐ strongly support cognitive development curriculum.
DEFICIENCIES ‐ The serious study of art may result in ‐ Difficult to assess or evaluate
dry, boring activities students’ work of art
‐ Meaningful challenges are not offered ‐ Difficult to fit in to a short class period
‐ Students are not invited to bring their ‐ Students tend to choose to do the
own experiences in to the arena of same thing every lesson
learning and asked the kind of ‐ Complex situation for large‐size class
reflection and exploration of ‐ Possible to have a student or two who
possibilities that engages their thinking do nothing (need to set a clear and
good starting point)

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Bibliography

Douglas, K. (2012). Visit to a choice-based art classroom. Visit to a choice-based art classroom,
152.3, 11. Retrieved March 25, 2014, from
http://go.galegroup.com/ps/i.do?id=GALE%7CA307525167&v=2.1&u=acuni&it=r&p=AONE&
sw=w&asid=cd2d8b5325a6f0c5417667c2691ec65c

Hathaway, N. (2008). 10 Teaching and learning strategies in a "choice-based" art program,

144.1, 36. Retrieved March 25, 2014, from
http://go.galegroup.com/ps/i.do?id=GALE%7CA184131426&v=2.1&u=acuni&it=r&p=AONE&
sw=w&asid=ad43a7a88bdc765163717d7dce4ba062

Jaquith, D. (2013). This is not art, it's engineering!, 153.4, 11. Retrieved March 25, 2014,
from http://go.galegroup.com/ps/i.do?id=GALE%7CA329365218&v=2.1&u=acuni&it=r&p=AO
NE&sw=w&asid=897cbc59b8f2fe6bd9f6fe47403a46c3

Reimer, B. (1989). A comprehensive arts curriculum model. A comprehensive arts curriculum

model, 90 (6), 2-16. Retrieved March 25, 2014, from http://dx.doi.org/10.1080/07320973.
1989.9938161

Stephen Dobbs, (1998). Learning in and through Art: A Guide to Discipline-Based Art
Education. Los Angeles: The J. Paul Getty Trust

DISCIPLINED-BASED ART EDUCATION. (n.d). DISCIPLINED-BASED ART EDUCATION.

Retrieved March 27, 2014, from http://www.d.umn.edu/artedu/dbae.html

Teaching for Artistic Behavior. (n.d.). Teaching for Artistic Behavior. Retrieved March 30, 2014,
from http://teachingforartisticbehavior.org/studio-centers/art-history/

Teaching for Artistic Behavior: Choice−Based Art. (n.d.). Teaching for Artistic Behavior:
Choice−Based Art. Retrieved March 30, 2014, from http://www.brown.edu/academics/education-
alliance/sites/brown.edu.academics.education-alliance/files/uploads/KLOOM_tab_entire.pdf

Bedrick, A. (n.d.). Choice Without Chaos Opening Movie. Vimeo. Retrieved March 30, 2014,
from http://vimeo.com/47676569

Bedrick, A. (n.d.). Peek A Typical Class Period. Vimeo. Retrieved March 30, 2014, from
http://vimeo.com/47513104

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from http://prezi.com/tjxthsl7b_mc/copy-of-choice-based-art-education/

Hough, J. H. (2009). DBAE (Discipline-Based Art Education) Verses TAB (Teaching for Artistic
Behavior): Two Approaches to Art Education. DBAE vs. TAB. Retrieved March 30, 2014, from
http://artedmethods.blogspot.com.au/2010/01/blog-post.html

Alexander, K., & Day, M. (1991). Discipline-Based Art Education: A Curriculum Sampler. Getty
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Art Studio FM. (n.d.). A Portrait of Martin Luther King Jr.. Teachers Pay Teachers. Retrieved
March 30, 2014, from http://www.teacherspayteachers.com/Product/A-Portrait-of-Martin-Luther-
King-Jr-394644

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 Appendix A - DBAE Lesson Plan

ART IS ABOUT IDEAS

ART STUDIO FM

Art is About Ideas:

A pre-reading and
writing activity for
working with
portraits as an
studio art project.

"The Trumpet of
Conscience, 1967"

"Non-violence is
the answer to the
crucial political and
moral questions of
our time: The need
for man to
overcome
oppression and
violence without
resorting to
oppression and
violence. Man must
evolve for all
human conßict a
method, which
rejects revenge,
aggression, and
retaliation. The
Foundation of such
a method is love."

MLK Jr., 1967

A Portrait of Martin Luther King Jr.

The Trumpet of Conscience, 1967
Start Here:
Use a pre-reading and writing
activity to inspire students to
draw a portrait of Martin Luther
King Jr. begin by having the
students read the quote by
Martin Luther King Jr. entitled
"The Trumpet of Conscience,
1967"
Step 2.
Divide the quote by Martin
Luther King Jr. into four parts
and have the students rewrite
the sections of the quote in
their own words. See
worksheet #1 and supply each
students with their own
worksheet.
Step 3.
Start a class discussion by ask
ing some of the students to
voluntarily read their response
to the class and afterwards ask
the students to draw a portrait
of Martin Luther King Jr.
Step 4:
Demonstrate on a large piece
of paper how to draw a the
face. Focus on the head and
shoulders. Next, Þll in the
details and features of his face
like eyes, eye brows, hair,
nose mouth, neck and
shoulders.
Step 5:
Let the students draw the
portrait of Martin Luther King
on a large piece of paper the
face. Encourage them to use
their interpretation of his quote
as inspiration for their drawing.
Remind them to include his
head and shoulders. Next, Þll
in the details and features of
his face like eyes, eye brows,
hair, nose mouth, neck and
shoulders.

1
 Appendix A1 - DBAE Lesson Plan

Reading, Writing and Art

Think and Use your Imagination
By Art Studio FM
ART IS ABOUT IDEAS Art Studio FM

"Non-violence is the answer to the crucial political and moral questions of our time: The need for
man to overcome oppression and violence without resorting to oppression and violence. Man must
evolve for all human conßict a method, which rejects revenge, aggression, and retaliation. The
Foundation of such a method is love."

Name: Date:

Connect: “Non-violence is the answer to the crucial political and moral questions of our time.

Question: The need for man to overcome oppression and violence without resorting to oppression and violence.

Visualize: Man must evolve for all human conßict a method, which rejects revenge, aggression, and retaliation.

Predict: The foundation of such a method is love."

Directions for
Work Sheet
#1:

Students rewrite
the sections of
the quote written
by Martin Luther
King Jr in your
own words in the
spaces provided
on this
worksheet and
then use your
words to inspire
an original
portrait of Martin
Luther King Jr.

2
ART IS ABOUT IDEAS Art Studio FM

Materials
supplies for making a portrait
By Trenz Pruca

Suggestions and Some Alternative

Means of Problem Solving;
Use your words to inspire how
create your portrait of Martin Luther
King Jr. Feel free to erase and make
changes. Draw big and draw lightly.
Then, add color with markers or
watercolor paints!
• 24" x 30" large white drawing paper
• Drawing pencils
• Erasers
• Pictures of Martin Luther King Jr.
• Paper towel for shading
• Scrap paper
Colored markers
•
• Water color paint supplies
• A copy of worksheet #1