Case Study 5

Arts Infused Science - Bridging the Divide

Practising artists and scientists worked collaboratively with a cluster of New South Wales schools to explore scientific concepts in bioluminescence, environmental sustainability, and sensing other worlds (electromagnetism). Project Coordinator, Professor Karen Rogers, and Deputy Coordinator, Sherryl Ryan, facilitated the program, which brought together teachers, students, artists, scientists, university education academics, curators, and arts and science organisations to develop high-level scientific literacy in talented primary science students. A range of innovative curriculum units was produced, with the learning embedded around student experiences at museums and galleries.

At the Australian Museum, students appreciated the opportunity to use scientific equipment not found in schools. Investigating through observation and close attention to detail were skills to be applied throughout the project.

The Full Story

Teams of teachers from the cluster schools were presented with the topic that the scientist and artist would explore. From a concept map related to the chosen area, each school developed lessons that would prepare the students for their visit. Teachers were introduced to different models for designing the school-based curriculum for the topic and developed their curriculum utilising these models. These three differentiation models included:

• Williams Model ¹ – designing the school-based curriculum for the topic.
• Maker Model ² – modifying content and processing products for gifted learners.
• Kaplan Model ³ – translating outcomes for greater depth and complexity.

During visits to museums and galleries, students were exposed to the science by the scientist, and introduced to the science used by the artist in their practice. Then, in groups, students worked on both science and art concepts to explore the in-depth science content they had been exposed to. Fusing both scientific and artistic practice, students developed products reflecting the pre-visit learning and and their exposure to science and art experts.

The three science/arts areas explored were:

• Bioluminescence – through the Australian Museum with artist, John Nicholson and scientist, Dr Kathy Takayama, Senior Lecturer in Microbiology University of New South Wales.
• Environmental Sustainability – through the Object Gallery and National Art School, with architect and designer Michael Alvisse, partner in furniture design company, Shamburg+Alvisse, and environmental science expert and Managing Director of Cadre e-learning, David Heggarty
• Sensing Other Worlds (Electromagnetism) – through the Power House Museum with artist and Australia Council Fellowship recipient, Joyce Hinterding, and Chief Scientist ICT, CSIRO, Professor Trevor Bird.

Main Features of the Project

• High-end challenge activities were aligned with museum science and art collections.
• Differentiated curriculum experiences were developed for students talented in the sciences.
• Science learning outside the classroom was provided through skilled teacher associates in the arts and sciences.
• An integrated interdisciplinary curriculum was developed without losing the integrity of pure science or pure arts content.
• School educators were encouraged to look for learning experiences and resources for science outcomes ‘outside the box’.
• A collaborative curriculum development process was utilised, focusing on pedagogical knowledge and content expertise at the primary level of schooling.

Evaluation of the Program

Evaluations of the project suggest that not only did teachers’ and students’ stereotypical perceptions of science learning change, but that all collaborators made changes in their planning for the teaching of science. The museums and galleries plan to implement the gifted and talented model used in this project. This gifted and talented model, developed by Sherryl Ryan at the Art Gallery of New South Wales in 2004, features pre- and post-visit learning and extended duration in-depth content and art and science linkages. The schools have added extensive units of work aligned with but differentiating the Board of Studies science and art outcomes, and the professional artists and scientists involved have extended their work in new directions that involve children.

Learning for All

Sherryl Ryan commented that a highlight of the project was ‘seeing all participants create a learning environment and become learners along with students.’ Motivating primary student’s interest in science was facilitated through teachers having the opportunity to learn about the phenomena of science themselves. Teachers expanded their professional development opportunities, co-learning with the students about the science topics and enhanced their understanding about artist’s professional practices and the crossover between art and scientific research. Teachers reported interest in developing their own expertise and careers after being exposed to the scope of the project. Scientists and artists who have worked together previously came into an education research project environment and were surprised about what they learned through their involvement.

Focussing on Successful Project Outcomes

A project of this type with multiple players from a range of organisations will clearly have some challenging aspects. Sherryl Ryan shares these tips for project success:

• Believing that the future of science education is imperative and that gifted students deserve appropriate educational resources.
• Using a successful model to develop the research project.
• Having a vision and a well-developed plan to follow.
• Enlisting support from the museums and gallery and their education staff and curators.
• Identifying appropriate artists and scientists.
• Active involvement and commitment from the six schools, teachers and their students.
• Being flexible about the availability of the external project partners, and having a ‘reserve list’ of organisations.
• Revisiting and shifting the project parameters when necessary, whilst still following the project plan.
• Developing the project under the IdEAS title (Interdisciplinary Enrichment, Art & Science).
• Ensuring regular communication between team members and a sense of positive and collaborative project development.

In her summary of the project, Sherryl said, ‘the artists and scientists have been pivotal to the project. Access to these professionals in particular the scientists changed the success of the project. As difficult as it was to initially pull them away from their research and grant writing, it was equally inspiring to see them working directly with primary students, passing on their passion and knowledge to hopefully a new generation of scientists. The value of having scientists directly involved with students cannot be stressed enough – even the scientists realised this after working with these bright students and want to continue to participate in any future projects.’

Further Information

Dr Karen B Rogers - Project Coordinator
Professor of Education, Director of Research
Gifted Education Research, The University of New South Wales
Telephone: (02) 9385 1944

Sherryl Ryan - Deputy Project Coordinator
Education Consultant and Artist
Telephone: 0401 884 776

References for Learning Models

1. Williams Model
Frank E. Williams: Teaching strategies for thinking and feeling. In C. J Maker (Sole author), Teaching models in education of the gifted. Rockville, MD: Aspen Systems.

2. Maker Model
Maker, C. J. (1983). The role of teaching-learning models in curriculum development for the gifted. In C. J. Maker (Sole author), Teaching models in education of the gifted. Rockville, MD: Aspen Systems.

3. Kaplan Model
Kaplan, S.N. (2001). Layering differentiated curriculum for the gifted and talented. In F. A. Karnes & S. M. Bean (Eds.), Methods and materials for teaching the gifted. Waco, TX: Prufrock Press

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