On March 13th I did not know how to teach online but as it became increasingly apparent, I was going to have to learn. Since then I have learned the power of not yet.

In her groundbreaking work on the power of a growth mindset Carol Dweck emphasizes the importance of “yet” in successes inside and outside of the classroom. The Stanford psychologist has put forth two different basic beliefs we have about ourselves.

A “fixed mindset” assumes that our character, intelligence, and creative ability are static givens which we can’t change in any meaningful way, and success is the affirmation of that inherent intelligence, an assessment of how those givens measure up against an equally fixed standard; striving for success and avoiding failure at all costs become a way of maintaining the sense of being smart or skilled. A “growth mindset,” on the other hand, thrives on challenge and sees failure not as evidence of unintelligence but as a heartening springboard for growth and for stretching our existing abilities (Popova).

A fixed mindset says I can’t teach online. A growth mindset says I can’t teach online… yet.

So I had to figure out a way to be able to teach remotely. When I first started teaching and felt something wasn’t quite right I started taking classes in Vancouver Community College (VCC)’s Professional Instructor Diploma Program. To prepare for our new reality,  I went back to VCC’s School of Instructor Education and found a course of study for teaching online. I am now almost finished the program, with one course remaining.

Yes it has been hard. My partner and I have been juggling child-care and both working (more than) full-time. We have been forced to create new routines. He takes our children for drives so I can meet colleagues over Zoom. I make new curriculum maps during nap time. I work on assignments after they go to bed.  But these challenging times have also created more space for me to spend time with my daughters. For the past two months we have read more, played more, coloured more, sang more. I remembered what is important in my life. And ironically I have  never been more productive or reflective. Spending time with my four year old and two year old has reminded me that I want them to grow up to be resilient. Together we have embraced our seclusion and used it as a special time to learn new things. Tori worked on using the big girl potty and Evie practiced reading and writing letters. For little ones these are big, challenging tasks. And that’s why instead of saying “I can’t read” we say, “I can’t read, yet.” When they say something is hard, I remind them we can do hard things.

Our kids are new to using the potty and reading, just like I am new to teaching online. My own anxiety about teaching in a new distance format reminded me how scary it can be to learn something new. It reminded me how many of my students feel when they enter class. For many instructors we have been experts for so long, teaching the same way, we forget what it is like to be a novice. And just like I want to model resilience for my daughters, as educators we need to be modelling resilience for our students. These are truly volatile, uncertain, complex and ambiguous (VUCA) times. For years now higher education has been talking about preparing students for a world not yet created. Now more than ever we need to be transparent about what we are doing in pandemic times: we are “working effectively in groups to solve problems together; reading and interpreting complicated data, events, and texts; undertaking original research; and understanding and making sense of ambiguity (the gray areas).”

2020’s drastic pivot in teaching and learning gives us an opportunity to reimagine our teaching. For some it might be an opportunity to experiment with new technologies. For others changes in format can allow for changes in assessment using Universal Design for Learning.  For all of us we could think about supporting our students by using Open Educational Resources (OER). Most importantly however, Cathy Davidson reminds us of The Single Most Essential Requirement in Designing a Fall Course Online: “Adjust accordingly. We need to be human first, professor second.  We need to design as humans for humans in a global crisis.”

At some point post-secondary institutions might go back to business as usual. But I wonder what we can learn from these truly VUCA pandemic times. One mindset shift recommends replacing “I cannot wait for this to be over!” with “After this ends, what will I appreciate?”

So much of my learning from teaching online I am going to take back to my face to face delivery:

• I am revising assignments to be more aligned with the learning objectives
• I am ensuring that assessments are authentic and sustainable (versus disposable)
• I am writing clearer instructions and more detailed rubrics
• I am ensuring that content is accessible for all learners
• I am working to build my intercultural competency
• I am excited to see how I can build community virtually, and use technology to connect with students across time and space.

Like it or not many of us will be teaching differently in the next academic year. We need to stop focusing on why it won’t work and figuring out how we can make it work. For us and for our students.

As the most resilient person I know, my Dad (and maybe the US Marine Corps), always says: Improvise. Adapt. And overcome.

This is a great introduction to OPEN by Amanda Coolidge of BCcampus .

Art & Visual Culture Renaissance to 20^th Century

This blog post is part of an assessment activity plan exercise for EDUC 4151. I will expand upon it for the final assignment in this course – Creating a Course Module.

Kamila Al-Karem, CE (Corona Era) (2020)

Learner Characteristics:

• First year Fine Arts students (required course)
• Various students from other programs (elective course)
• High number of International Students and/or students with English as an Additional Language
• Majority of students work part or full time
• For many of the students this is their first time taking an online course 

Upon successful completion of this course, you will be able to:

• Identify key works of art and visual culture from the Renaissance to the 20^th Century
• Define critical terms related to art and visual culture from the Renaissance to the 20^th Century
• Explain the changes and continuity of visual expressions from Renaissance to the 20^th Century
• Describe the form, content, and context of art and visual culture from Renaissance to the 20^th Century
• Analyze the iconography, symbolism, and forms of the period that continue to shape visual culture
• Make connections between the images and objects viewed in class and the visual culture of our world.

Module Activities 20% (On-going and self-assessed):

Completing the reading and viewing and assignments for each weekly module is mandatory. I have very carefully structured and organized the course material, with the intention that you will dive in and explore at your own pace. I encourage you to explore the topics I present to you, and consider how the themes may relate to your own life or possibly even artistic practice. The survey is often considered the foundation for you to build the rest of your art historical exploration on – make it a strong one.

Writing Assignments 40% (July 5^th  / July 12^th   / July 19^th / July 27^th):

For these assignments, you will write four responses to the assigned readings/viewings based on topics I provide. The prompts will range from research essays to more personal responses depending on which prompt you choose. Each writing assignment is to be 750-1000 words and will be worth ten points. You can write in first or third person. Some additional research may be required, as each submission requires a minimum of four sources. Your writing assignments can also be posted in whole or in part to your blog.

Create Your Own Blog 20% (On-going and due Aug 2^nd):
For this assignment you will create a blog frequently post written responses, images, articles and videos related to the art and issues discussed in class.

Art in Quarantine 15% (June 28^th  / July 12^th  / July 19^th  / July 26^th):

Since the COVID-19 pandemic closed museums around the world, many responded by encouraging people to recreate works in their own homes. For example the Rijksmuseum called for “everyone at home who needs some relief” to first an art work, then use 3 items in their home to reconstruct the work and share it. Many of these works are now being shared @tussenkunstenquarantaine (Between Art and Quarantine). This assignment challenges you to do the same. I am excited to see what you will create.

Rational

Module Activities:

• Identify key works of art and visual culture from the Renaissance to the 20^th Century
• Define critical terms related to art and visual culture from the Renaissance to the 20^th Century
• Explain the changes and continuity of visual expressions from Renaissance to the 20^th Century
• Describe the form, content, and context of art and visual culture from Renaissance to the 20^th Century
• Analyze the iconography, symbolism, and forms of the period that continue to shape visual culture
• Make connections between the images and objects viewed in class and the visual culture of our world.

Each week there will be a couple of low-stakes, activities for learners that relates to the content they have reviewed. These include adding definitions to terms in the glossary, completing crossword puzzles,  short discussion activities, matching iconography with images, short quizzes, wiki’s, and even a hashtag activity. At the mid-term they have an short survey for them to reflect on their engagement. At the end of the semester they will self-assess their completion of the activities.

Writing Assignments:

• Explain the changes and continuity of visual expressions from Renaissance to the 20^th Century
• Describe the form, content, and context of art and visual culture from Renaissance to the 20^th Century
• Analyze the iconography, symbolism, and forms of the period that continue to shape visual culture
• Make connections between the images and objects viewed in class and the visual culture of our world.

Students are required to submit four short writing assignments over the course of the semester. I provide them with a list of topics they can choose from. They also have the option of writing on another topic, they confirm with me.

Create Your Own Blog:

• Identify key works of art and visual culture from the Renaissance to the 20^th Century
• Define critical terms related to art and visual culture from the Renaissance to the 20^th Century
• Explain the changes and continuity of visual expressions from Renaissance to the 20^th Century
• Describe the form, content, and context of art and visual culture from Renaissance to the 20^th Century
• Analyze the iconography, symbolism, and forms of the period that continue to shape visual culture
• Make connections between the images and objects viewed in class and the visual culture of our world.

At the beginning of the course students create (or use a previous) blog. They can share their other assignments here and comment on classmates posts. Each week I give them a list of topics they can research and respond to.

Art in Quarantine:

• Identify key works of art and visual culture from the Renaissance to the 20^th Century
• Describe the form, content, and context of art and visual culture from Renaissance to the 20^th Century
• Analyze the iconography, symbolism, and forms of the period that continue to shape visual culture
• Make connections between the images and objects viewed in class and the visual culture of our world.

This has been my favorite assignment to date. This gives students an opportunity to physically engage with works and explore “knowing” in different ways beyond writing and speaking. This assignment is a great way for students to be creative.

Five ways I can ensure that learners feel my presence in the course site:

1. Answer the survey myself. Every semester in face to face or online courses I provide students with a survey. The questions range from very practical (what would like to be called, personal pronouns) to more fun (who is your favorite artist?). This semester I include more questions about internet capacity and hardware access. One way I can establish my presence is by answering some of the questions myself.
2. Respond to their answers. I try to remember what students say in their survey and refer to it when appropriate (and not something sensitive mentioned in confidence).
3. Participate along side them. For some of the assignments I have created my own examples for them to see.
4. Create short videos responding to their assignments. I can do this individually or to the class as a whole, commenting on their progress. I am now learning how to use Kaltura more efficiently.
5. Adapt to their feedback. I think it is important for them to see that I am responsive to their weekly comments.

Buis Challenges and Opportunities Report 000362506

What we’ve been doing for the last eight weeks is coping. What we are starting to do now feels more like planning. ~ Robin DeRosa

I just came across this article. I am a huge fan of Robin DeRosa’s work and I think her ACE model might be helpful for us in thinking about how we move forward. For more on consistent, mission-aligned framework see:

https://www.insidehighered.com/digital-learning/views/2020/05/13/consistent-mission-aligned-instructional-framework-fall-and-beyond 

“That’ll be $0, please” Art History forgoes textbooks, embraces open education

The chapter on “Addressing Diversity in Design of Online Courses” by Madhumita Bhattacharya and Maggie Hartnett in Education for a Digital World reminded me of a strategy for effective intercultural communication I learned about in another course I took earlier this year. In proposed and ODIS (Observe, Describe, Interpret, Suspend evaluation) strategy for reflecting on intercultural encounters. While I recognize that online learning may prevent some more nuanced details important in communication – body language, tone, physical presence – I wonder if ODIS might be easier to practice in asynchronous teaching and learning. I know that for me, in digital encounters sometimes I have more space to make take the time to look more closely, and take more time to suspend evaluation than I would in face to face teaching.

Furthermore, topics covered by Bhattacharya and Hartnett reminded me of the importance of universal design for learning (UDL). What I appreciate most about UDL is it approach to curriculum design that starts with a consideration of accessibility. Instead of altering courses to accommodate students with disabilities, designing a course through a diversity lens means that instructors are constructing courses with accessibility at the forefront.

Bhattacharya and Hartnett further provide a list of characteristics for teachers as leaders and designers of learning environments for embracing diversity:

• Respect—for others, for differences, for ourselves.
• Tolerance—for ambiguities in language, style, behaviour.
• Flexibility—in situations that are new, difficult and challenging.
• Self-awareness—be sure you understand your reactions and know what you bring to the diverse workplace (learning environment).
• Empathy—to feel what someone different from you might be feeling in new and strange surroundings.
• Patience—for change that can be slow, and diversity situations that might be difficult.
• Humour—because when we lose our sense of humour, we lose our sense of humanity, as well as perspectives (p. 9).

Finally, I love their prediction for a universal design for learning that celebrates diversity:

In future students will develop their own personalized learning environments and build their learning communities. Students will be equal partners with teachers in designing assessment activities. Students will have the freedom and right to choose how and when they would like to be assessed (p. 46).

Well I finally got around to doing the #tussenkunstenquarantaine challenge myself. Since I was assigning it to student in my upcoming class, I figured I better test it out and give them an example. It wasn’t easy!

Fortunately we have a large Frozen costume collection but I struggled with the lighting, and my daughter Everly struggled with the pose. These compositionally challenges reminded me just how difficult it would have been to paint a child! But most importantly this exercise made me look closely at the work. 

I also wanted to share one of my own responses to the Art in Quarantine Challenge as a way to provide and increase my presence as an instructor. I envisioned this activity as a way for students to get to know each other. What better way for theme to get to know me more too. I think it also demonstrates that I am learning alongside them. What are some other ways to provide and increase instructor presence? Another thing I did to reflect me and my teaching style was to share with them an essay I wrote as an undergrad. It was from an upper level history course I took as an elective and I was lucky enough to have it published in an undergraduate journal. It is about one of the paintings included in our fourth module. Sharing my writing and my learning journey is an important way I can show that I am approachable. 

Over the course of the semester I will probably recreate more works alongside students. Johannes Verspronnck’s portrait of a Girl in a Light Blue Dress (1641) has long been one of my favorite works. And now it is even more special.

I am excited to be starting my second course in VCC’s Certificate in Online/eLearning Instruction! The first course EDUC 4150 was great, and I can wait to learn more.

Thinking back to the first class, here are five practical statements on the opportunities and challenges of eteaching I am going to repurpose are:

1. Curate information
2. Provide structure
3. Be explicit
4. Gather learner feedback
5. Create community