Putting Concept-based Learning Into Practice: Collaborative Research in English and Art

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(1)Title. Putting Concept-based Learning Into Practice: Collaborative Resea rch in English and Art. Author(s). TODD, Ivan; TOMITA, Toshiaki. Citation. 釧路論集 : 北海道教育大学釧路校研究紀要, 第50号: 53-60. Issue Date. 2018-12. URL. http://s-ir.sap.hokkyodai.ac.jp/dspace/handle/123456789/10472. Rights. publisher. Hokkaido University of Education.

(2) 釧路論集－北海道教育大学釧路校研究紀要－第50号（平成30年度） Kushiro Ronshu, - Journal of Hokkaido University of Education at Kushiro - No.50(2018):53-60. Putting Concept-based Learning Into Practice: Collaborative Research in English and Art TODD Ivan 1 , TOMITA Toshiaki 2 GEL Program Advisor, Hokkaido University of Education, Kushiro Campus1 Department of Art, Hokkaido University of Education, Kushiro Campus2. 概念理解型学習を実践する英語・美術の共同研究トド・アィヴァン1 富田俊明2 北海道教育大学釧路校外国人プログラムアドバイザー 1・北海道教育大学釧路校美術研究室2. Encouraging students to take a multi-disciplinary approach to teaching has been a recent goal for the Japanese Ministry of Education, and for Hokkaido University of Education (Kushiro Campus) in particular. One task for teachers has been to investigate how, in the four years of teacher training, this kind of thinking can be fostered in students. A teacher of English and a teacher of art, recognizing similarities in their fields of interest (respectively‘concept-based learning’and imaginative learning’ ), decided to collaborate and provide a model of inter-disciplinary teaching for students. Ideas from contemporary art were introduced into English classes, and the linguistic dimension of activities in art classes was deepened. The performance of students in class, post-collaboration questionnaires, and end of term test results all suggested that students respond positively to this kind of teaching. Ideas for how this kind of collaboration can be developed were also suggested, along with ideas for how an atmosphere of interdisciplinary study can be encouraged in both teachers and students throughout the campus.. 1 BACKGROUND. campus, and recognizing that the campus’ s teaching philosophy (Tamai, 2017) overlapped significantly with. In 2012, Sapporo Sacred Heart School was designated. the Concept-based learning element of IB education,. an IB (International Baccalaureate) Research School by. continued to place interdisciplinary and intercultural. the Japanese Ministry of Education. At this time, Mr.. connections at the heart of teaching practice.. Todd joined the school as head of IB English research,. Mr. Tomita works as an artist (Tomita and Mori,. and focused on developing Concept-based learning, which. 2018) and an art teacher (Tomita, 2011). As part of his. is a key part of IB thinking (Todd, 2014a). Central to. research into painting and contemporary art, he followed. this approach to education is developing‘the ability to. movements in art education around the world, especially. transfer understanding from one experience or domain. Scandinavia. This led him to pursue research into. to another’(Barnard, 2016). To achieve this, students. Imaginative Learning’ , an approach developed by the. were encouraged to see connections between all parts. Lincoln Center in New York.. of the curriculum in their daily study (Todd, 2014b),. He has collaborated with teachers at Willowpark School. and to see connections between different cultures when. in Alberta, Canada, which practices Art-Centered. traveling abroad as exchange students. The culmination. Education based on the Lincoln Center principles.. of this research was the production of a practical English. While organizing a class for exchange students, Mr. Todd. speaking syllabus (Todd, 2013).. and Mr. Tomita noticed the overlap in their teaching. In 2014, when the GEL (Global Education Leadership). ideas, and embarked upon the collaborative research. Program was inaugurated at Hokkaido University of. presented here. Education, Mr. Todd became the GEL Advisor at Kushiro. In an extensive review of Kushiro Campus research. － 53 －.

(3) トド・アィヴァン・富田俊明 (Tamai, 2017), an interdisciplinary approach has been. example from host mother to exchange student.. outlined by Kasai (2017), Hiroshige (2017), and Hotta (2017), emphasizing how certain topics can allow students. c) Change the perspective on the cross-cultural difference. the chance to cover a variety of subjects in the same. in question, for example from a Japanese to a western. lesson. In this paper we report on an attempt to deepen. perspective.. this interdisciplinary approach by directly connecting the content of two different syllabuses (English and Contemporary Art). The questions addressed were: a) Is it possible for English and Contemporary Art courses to be mutually enriching? b) Can students benefit from this kind of collaborative approach? First of all, the background to this collaboration will be explained in more detail. 2 CONCEPT-BASED LEARNING To encourage students to‘transfer knowledge from one domain to another’ , English teaching at Sapporo Sacred Heart was linked to topics in fields as diverse as Japanese language, ethics and environmental studies (Todd, 2014b). Connections were especially encouraged between students in different grades, and between exchange students (both to and from the school) and the rest of the student body. Exchange students were asked to keep diaries of their experiences, particularly moments. Illustration: A page from the Syllabus. of‘culture shock’ , the often difficult experiences of the difference between two cultures. These experiences were. This activity was continued at HUE Kushiro campus,. then used to help prepare younger students for exchange. helping students prepare for exchange trips by improving. trips, becoming the source material for a Practical. their English ability and sensitivity to cross-cultural. English Speaking Syllabus (Todd, 2013). In this syllabus,. differences. Students kept diaries of exchange trips, and. model conversations were created based on the exchange. to encourage a spirit of interaction between different. students’experiences, and having practiced these as. grades, these were used as source material for younger. skits in class, students were then required to perform a. students’English practice.. spontaneous role-play in which they switched roles, and also switched location – from Japan to the West, or vice. 3 CONNECTION TO THE GEL PROGRAM. versa - enacting the cultural difference from the opposite perspective.. In the GEL program, students have been encouraged. As well as high levels of English, this activity required. to be sensitive to links between different subjects,. extremely high conceptual thinking ability, in order to:. and to seize all possible opportunities for developing their English ability. This is especially important when. a) Change the grammar in the conversation, for example. considering that a score of either 92 in TOEFL or 860 in. from third person to first person.. TOEIC is required to complete the program. The nature of these two tests is very different, but this difference. b) Change the person whose role is being performed, for. offers an opportunity to relate all aspects of daily life at. － 54 －.

(4) 概念理解型学習を実践する英語・美術の共同研究 university to English study.. life as an opportunity for English study, including leisure. TOEFL is designed to prepare students for life at. time, and recommended watching films in English as an. an English speaking university, the content being. especially helpful method.. divided into a) academic and b) administrative parts. The academic part covers all fields of education; the administrative part covers all practical English requirements, such as registration and discussions with a tutor. TOEIC, by contrast, focuses on Business English. It is intended to prepare students for work in a multi-national environment. This contrast offers a chance for students to see every part of their daily life as an opportunity for English learning. If we consider a hypothetical daily schedule of a HUE student, every stage of the daily routine, including a part-time job, is linked to either TOEIC or TOEFL:. Above: Taiga Ogisho explaining how he attained a TOEIC score of 920. The bag on the desk contains the 30. Activity. Related. notebooks.. 9.00. Lecture about Elementary. English Test TOEFL (a). Below: The notebooks.. 10.40. Education Meeting with tutor about. TOEFL (b). 13.00. coursework Discussion with student. TOEFL (b). 14.40 19.00. registry Science lecture Part-time job. TOEFL (a) TOEIC. Time. Based on these considerations, GEL students were encouraged to be sensitive to these connections and to keep extensive notebooks, in the following way: After each lecture, make brief notes in English about the theme of the lecture, and look up the English translation of key words and phrases. After meeting with a tutor or the student registry, make. 4 CONNECTION TO CONTEMPORARY ART. a brief summary of the content in English. After finishing part-time work in the evening, recall an. Mr. Tomita’ s Contemporary Art and Culture Theory. important conversation with a boss, colleague or customer. course is intended to be an arena in which students. and write it in English (this type of conversation makes. develop their creative potential. To facilitate this,. up parts 2 and 3 of TOEIC).. well known ideas from contemporary art have been. One Kushiro student used this approach to great effect.. introduced and experienced directly by students. A. Taiga Ogisho became the first student from the three. central theme has been Joseph Beuys’notion of‘social. GEL campuses to achieve the target score. He spoke. sculpture’ .in which society as a whole is regarded as one. about this in a GEL video conference in February 2018. great work of art, to which each person can contribute. (below), referring to his six months in Australia, and the. creatively through thoughts, words and actions (Beuys,. importance of using all possible opportunities to improve. 1973).. vocabulary and fluency. He showed his 30 notebooks, in. In class, students are introduced to Beuys’ideas, and. which he had recorded all the English words and study-. to overcome inhibitions to expressing creativity arising. related ideas over his three years on the GEL program.. from the socialization process, an experiential approach. He encouraged students to see every part of their daily. is adopted, allowing students to directly explore Beuys’. － 55 －.

(5) トド・アィヴァン・富田俊明 ideas. To give students a broad perspective, a number of. students’understanding.. guests from outside the university have been invited to classes.. In the class, Mr. Tomita spoke of how he had been. This approach is part of a broader teaching philosophy,. inspired by Yoko Ono’ s work, and how her art placed the. Imaginative Learning’ , developed by the Lincoln Center. creative locus in the mind of the observer, allowing them. in New York, at the heart of which are the following. to become part of the artwork.. Capacities for Imaginative Learning’ :. Part of Yoko’ s exhibition was then recreated in class, allowing students to experience her work directly. The. Noticing Deeply. piece is called‘Ceiling Painting / Yes Painting ’ . A single. Embodying. word is written on the ceiling, and to read it, an observer. Questioning. must climb a step ladder and use a magnifying glass.. Identifying Patterns. The word is‘Yes’ . Several students in the class climbed. Making Connections. the ladder and read the word, but were told to keep it a. Exhibiting Empathy. secret (as shown below).. Living with Ambiguity Creating Meaning Taking Action Reflecting / Assessing Mr. Tomita has collaborated with teachers at the Willowbank School in Alberta, Canada, which practices Art-based Education based on these principles. The collaboration presented in this paper arose from a similar recognition of shared principles. 5 ENGLISH-ART COLLABORATION The collaboration started with Mr. Tomita visiting Mr. Todd’ s English class. The three key points in the setting. Next, two students who had climbed the ladder. up of this class were as follows:. performed a role-play. When John Lennon read the word in 1966, he was moved by its simple and powerful. a) To deepen students’understanding of concept-based. message. Now students were asked to imagine John. learning, a multidisciplinary approach was taken. In. giving his impressions to Yoko after he came down the. previous classes, students had explored concept-based. ladder. There was one condition imposed - they were. activities using English. Here, this understanding was. not allowed to use the word‘yes’in the conversation.. deepened by connecting English to contemporary art.. Students who did not yet know the word were asked to. The theme of the class was Yoko Ono’ s exhibition of. guess what it was by listening to the role-play. For all. 1966.. those taking part, this activity tests not only students’ English ability, but also their powers of imagination.. b) Instead of simply explaining the nature of her work,. In the next stage of the class, students chose their own. one of the pieces from Yoko’ s 1966 exhibition was. special word. They wrote these in English on strips of. recreated in the classroom so students could fully. paper that were placed on the wall. Students read all the. experience it in the same way as visitors to the original. words and chose the one they liked best.. exhibition (one of those visitors being John Lennon, with whom, thanks to his powerful reaction to the exhibits,. 6 COLLABORATION IN THE ART CLASS. Ono formed an instant and lasting artistic connection). This activity was developed with a separate group of c) Instead of having the subject introduced by an English. students when Mr. Todd visited Mr. Tomita’ s Class.. teacher, an art teacher was invited to the class to further. Here, students wrote the special word in Japanese, and. － 56 －.

(6) 概念理解型学習を実践する英語・美術の共同研究 a follow-up activity was added. When all the words were. next class, students were asked to select four that could. placed on the wall, students chose three that they liked. be associated with Kushiro, and to put them in order to. and wrote a short story including those words. Students. create a lyric.. then read each other’ s stories and gave their impressions.. In the next stage of the class, students were told to make. An example is shown below:. another Instruction Piece for the contest. The crucial difference with this second stage was that the theme. ある風の強い日に、男と女が生まれた。2人は生まれつき. was now clear – students were now deliberately making. 人の声が文字になって目に見えてしまう。2人は見たくな. Kushiro-themed Instruction Pieces.. い声まで見えてしまい、心臓を悪くしてしまう。そのうち. Shown below are examples of the first stage of the. 2人は見たくない声ばかり見えるようになる。「もう人間な. process:. んてやめたい!」と思う2人だったが、母の優しい声や友達の明るい声を聞き、落ち着きを取り戻す。いつしか2人は. 飛びなさい. 自分に関わる人々の声を見て、心臓も良くなったのだった。. 二度と地上に戻ってこれないようにザクザクと白い雪を踏みしめたたとえゴールしても走り続けなさいあなたの思う綺麗な生き方をしなさいつららを一本だけ残して白い雪を踏みしめた音濁った透明な坂の上に立つ雪で照らされた小さな光は. The next stage of the collaboration involved another of. 暗闇の中で輝いて…. Yoko Ono’ s works, Instruction Piece, taken from her book. 日だまりがやわらかく街をつつみこむ. Grapefruit. These pieces are suggestions for interacting. その栄光につめをひっかけろ. with the world in a playful and imaginative way, for Below: stage 2 lyrics.. example:. Imagine the clouds dripping. Dig a hole in your garden to put them in.. 何も言えない真っ白な霧の中赤いカモメが鳴いている湿った空気に海のにおいがした. Carry a bag of peas. Leave a pea wherever you go.. 風に薫る湖のにおいが僕の背中を押した湖のにおいをかぎながら波の音を聞く. Mr. Todd once again joined Mr. Tomita’ s Contemporary. The same two-stage procedure was then used in the. Art Class. After reading some of Yoko’ s examples,. English class, with students’freely made Instruction. students wrote their own Instruction Piece in Japanese. Pieces being appropriated for a Kushiro theme, followed. and then read each other’ s ideas. These were collected. by a stage of explicitly Kushiro-themed Instruction Piece. at the end of the class, and the teachers decided that. making. Some examples are presented below:. they were suitable for an activity outside the university. At the time of the class, a Kushiro lyric contest was in. Instruction Pieces from the first stage (those underlined. progress. The band‘Heat Boys’were asking the public. are the ones students later chose as most fitting a. to contribute ideas for a Kushiro themed song they. Kushiro theme):. were writing, The students’Instruction Pieces were deemed suitable material for this contest, and in the. － 57 －.

(7) トド・アィヴァン・富田俊明. Look at the sky and run away.. 8 OVERALL RESULTS. Imagine snow and flowers. What season is it? I don't know.. Looking at the performance of students in class, postcollaboration questionnaires, and end of term test results, it appeared that students responded positively to this. Wake up and go to bed again.. collaboration. In both the English and Art classes, teachers felt that the. Step in a world you don’ t know.. quality of work produced by students in the collaborative classes was of an extremely high standard, especially in. Open all the windows in your house. Sit in each frame.. terms of originality. A common problem with creative classes is that many students fall back on cliché, giving. Go to the forest. Listen to the sounds.. opinions, writing stories or producing works of art with little originality. Both teachers felt that in these classes,. Imagine what a bear is saying. We can’ t hear it.. the level of originality was perhaps higher than they had observed in any of their classes in the seven years. Feel the wind.. (Tomita) and three years (Todd) of teaching experience at Kushiro campus. This impression was reinforced by end of term test. Instruction Pieces from the second stage, with the. results (in the English class) and post-collaboration. Kushiro theme made explicit:. questionnaires (in the art class). In the English class, the average score in the end of term test was almost. Step in the sea, the lake and the river. Feel the snow, the rain and the fog.. 80%, which is around 10 points higher than the previous highest for this class. As well as English grammar, originality was a key factor in marking the test, and the. Lie down in the marshland.. teacher’ s tentative interpretation of these high scores was that, compared to previous years, an atmosphere. Be alone on the bridge and look at the river.. had been established in the class which encouraged imagination and creativity, and that the English-Art. Sleep in the snow until spring.. collaboration was a key contributor to this. In post-collaboration questionnaires in the Contemporary. Pick up a stone from every park. Hold them.. Art class, students generally responded positively, and the opinions expressed led the teacher to conclude that students have a strong need to experience this kind of. 7 INSTRUCTION PIECE RESULTS. active, interdisciplinary style of education.. When comparing the results of these classes, an. 9 CONCLUSION. interesting picture emerged. Beforehand, teachers had presumed that the second stage would produce better. The questions addressed in this study were:. results. That is, when students knew they were making Kushiro themed pieces, they would use their creative. a) Is it possible for English and Contemporary Art. powers to make lyrics of a higher quality than when. courses to be mutually enriching?. they were allocating previously made pieces for a new purpose. In fact, the opposite pattern emerged. Both. b) Can students benefit from this kind of collaborative. students and teachers thought that lyrics made in the. approach?. first stage were of a higher quality – that when they chose ready-made pieces and put them together, the. Based on the activities reported here, the answer to. resulting Kushiro themed lyric was more powerful.. the first question appears to be‘yes’ . If we look at the rationale of the respective classes, this result is perhaps not surprising. A central theme of the Contemporary Art. － 58 －.

(8) 概念理解型学習を実践する英語・美術の共同研究 syllabus has been Beuys’notion of a social sculpture to. a microcosm of global society, in which students have. which each individual contributes through their thoughts,. the chance to‘travel’to other disciplines and integrate. words and actions. By introducing ideas from English. two different forms of learning. The final conceptual leap,. teaching, the linguistic component of this process can be. as we prepare students for a life as educators, could be. enriched. From an English perspective, the recent focus. to encourage them to think as teachers and decide for. in Japanese education has been on the ability to express. themselves which kind of interdisciplinary challenge they. original ideas, and we might expect this to be enhanced. would like to undertake.. by introducing an artistic element into the curriculum. As regards benefits for students, we conclude that the References:. challenge this kind of collaboration presents to students can be extremely rewarding, offering an extra stimulus to creativity and boosting their general motivation and. Barnard, Sebastien (2016), Concept-based Learning for. standard of performance.. Today’ s Students , IB Community Blog. Retrieved April. Both teachers concluded that collaboration of this type. 16th.. should be pursued further, not only between their own. http://blogs.ibo.org/blog/2016/07/08/concept-based-. English and Art classes, but between other subjects on. learning-for-todays-students/. the university curriculum. There were also hints about. Beuys, Josef’ s ideas first published in English in Caroline. what kind of collaboration might be beneficial in the. Tisdall: (1973) Art into Society, Society into Art , ICA,. future. The results of the‘Instruction Piece’activity. London. in which students made lyrics for the Kushiro-themed. Lincoln Center (2007) Aesthetic Education, Inquiry, and. song contest, suggest that students are happy to make a. the Imagination , Lincoln Center, New York. conceptual leap’– using material originally designed. Ono, Yoko (1964), Grapefruit , Wunteraum Press. for one purpose for a separate creative project. If this. Todd, Ivan (2013), Practical English Speaking Syllabus ,. is so, (and the preliminary stage of a follow-up project. Presented to the Japanese Ministry of Education as. in English classes supports this idea), it suggests that. Part of the Official IB Research Report, Sapporo Sacred. making interdisciplinary leaps across the curriculum is. Heart School. precisely the kind of challenge that students need.. Todd, Ivan (2014a), Using Concept and Content in an IB. Here we are reporting on two teachers with very similar shared outlooks may not be a necessary condition for. Syllabus ,カトリック女子教育研究所, p.128-140 Todd Ivan (2014b),「高校３年生「ライティング」(IBの言語Bを意識した授業) 」、『国際バカロレア(IB)の趣旨を踏. collaboration. Putting together two seemingly unrelated. まえた教育の推進に関する調査研究』文部科学省に提出. subjects and asking students to suggest how they might. した研究報告書、札幌聖心女子学院, p.98-101. educational outlooks who decided to collaborate, but. interact would challenge them to make a new kind of. Tomita, Toshiaki and Mori, Akira (2018), A Letter From. conceptual leap and engage their imaginative capacities. Rip Van Winkle , Forthcoming exhibition at Kushiro City. in a new way.. Museum of Art, Nov. 11th – Dec. 23rd. The experience of Taiga Ogisho on the GEL program. 広重、真人 (2017),「教科横断的な地域活動（音楽つき大き. supports this view – encouraged to see links between. leaps’of the kind outlined here. Both the authors have. な画面の絵本おはなし会）」、玉井康之『子どもの“総合的能力”の育成と生きる力』, 北樹出版, p.96-98 堀田、誠 (2017)「英語・コミュニケーションを育む学習活動」、玉井康之『子どもの“総合的能力”の育成と生きる力』, 北樹出版, p.129-132 境、智洋 (2017),「地域を活かした横断的・総合的学習活動と生きる力の育成」玉井康之『子どもの“総合的能力”の育成と生きる力』, 北樹出版, p.92-96 富田、俊明 (2011), 分析的視覚化としてのドローイング , 北. been involved in facilitating overseas exchange trips, in. 海道教育大学紀要、教育科学編、p.49-64. English and all other parts of the curriculum, he responded by taking this idea even further and using every aspect of daily life as a potential learning opportunity, making his time as a student an immersive English project. We hope that in the future both students and teachers will continue to seek opportunities to make‘conceptual. which students place themselves in a different culture and have to integrate Japanese and western ways of thinking. It is possible to see a university campus, analogously, as. － 59 －.

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