Cooperative and collaborative learning – lessons from the artroom

Arguing, discussing, instructing, squabbling…..call it what you will, it is all communication.  And communication is a crucial and live part of any classroom and in particular the bilingual classroom.  Here we are encouraging the pupils to practice and use the second language (English in my case) as they participate in my art lessons.

A well-constructed group/collaborative project forces communication, discussion, and consideration with others.  I often find myself saying to the Dutch teenagers I teach how much I love when I hear them arguing in English, it underlines how far that they have come in their mastery of a new language.

A well-constructed collaborative project may have relatively modest artistic aims but could have a very significant goal in the use of clear and concise communication within the group.

A class reworking of Guernica using collage of war related images and text

Such projects are a work-form that I have made a lot of use of over the years, I found myself hanging one up on the walls in school only last week.  But beyond the communication issue there are several other educationally sound reasons to be making use of such projects.

  • The result is ‘greater than the sum of the parts’ argument and a chance to produce something big with a wow effect!

There are many reasons why in art lessons we often find ourselves working on a relatively small scale.  Storage limitations, costs of materials, time pressures, large classes, the necessity for pupils being able to take work home with them, they all play a part.  A group project allows the pupils to see something different.  A large-scale project spreads across the classroom floor at the end of each lesson, slowly taking form and seeing how their own section of it contributes to the big visual statement that is developing.

  • It seems to force the underperformed in the group to up their game

Every class has them, the pupils who are content to do just enough in their work to gain a (just) sufficient grade.  It continues to surprise me how working within a group project, where their contribution is visually so obvious, the result is often that these very pupils feel the pressure to up their game.  There is, it seems, nowhere to hide, rather different perhaps than with a written group project. 

  • It shows pupils that often very complex and ambitious work is possible if it is broken down into smaller parts…..rather than feeling overwhelmed by the challenges ahead

This is perhaps most a benefit to those who are the more interested in art and want to produce the best possible results in their own visual work.  They suddenly realize that given time, and perhaps a slightly more systemic approach than they might usually use, could lead them too towards making more impressive and resolved individual work.

Tim Rollins and KOS

And on a personal note, it allows me to borrow from an important art educational influence, one who is responsible in part for me making the step into working with young people, Tim Rollins and KOS.

While I was still studying for my fine art degree, I watched a documentary about Tim Rollins and the Kids of Survival.  At the time I didn’t really have any plans to enter education, but the film gave me a glance into what might be possible.  I found it fascinating and inspiring.

About a decade later I was lucky enough, while doing my teacher training course in Utrecht, to observe a guest workshop given by Rollins to other students.  If there was ever anyone able to demonstrate the power of the group project it is Rollins, and a fantastic example of the “result is greater than the sum of the parts” argument I mentioned earlier.  Fantastic to see, and for a teacher in bilingual education, all the more inspiring for the way in which language, text and literature found its way into the work.

Tim Rollins and KOS on Artsy

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