TEACHING FOR ARTISTIC BEHAVIOR: IMPLEMENTING A CHOICE-BASED

CURRICULUM UNIT IN THE ART ROOM

By

CARINA M. COOPER-RACHOW

A CAPSTONE PROJECT PROPOSAL PRESENTED TO THE COLLEGE OF THE ARTS OF

THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS
UNIVERSITY OF FLORIDA
2016

Summary of Capstone Project Proposal

Presented to the College of the Arts of the University of Florida
In Partial Fulfillment of the Requirements for the
Degree of Master of Arts

TEACHING FOR ARTISTIC BEHAVIOR: IMPLEMENTING A

CHOICE-BASED CURRICULUM UNIT IN THE ART ROOM

By
Carina M. Cooper-Rachow
August 2016

Chair: Elizabeth Delacruz

Committee Member: Craig Roland
Major: Art Education

Abstract
This proposal entails my development and processes in creating a curriculum
unit that focuses on the choice-based education, specifically Teaching for Artistic
Behavior (TAB). Studying the specific roles and responsibilities for the teacher and
students in a choice-based educational setting will benefit my development in a
curriculum unit. Choice-Based education and Teaching for Artistic Behavior reflect the
student as a working artist in a studio setting. Throughout this proposal I will identify
scholarly authors whom reflect the necessity and understanding of implementing a TAB
learning environment, which is a stem of choice-based education. My methodology
expresses the process and actions I will take to observe in my action based research
study, and how I will use my collected data to analyze my findings.

Table of Contents
Title Page............................................................................................................................i
UF Summary Page.............................................................................................................ii
Abstract..............................................................................................................................iii
Table of Contents Page.....................................................................................................iv
Introduction........................................................................................................................1
Statement of the Problem.......................................................................................1
Purpose of the Study..............................................................................................1
Research Questions ..............................................................................................2
Assumptions of the Study.......................................................................................3
Study Limitations.....................................................................................................3
Literature Review...............................................................................................................4
Research Method.............................................................................................................11
Subject Selection, Site, and Description...............................................................12
Data Collection Procedures..................................................................................13
Data Analysis........................................................................................................13
Significance...........................................................................................................14

References.......................................................................................................................16
Author Biography.............................................................................................................18
Timeline............................................................................................................................19

Introduction
Artists learn from the world they create in, and from their views and
understandings about the world they develop some of the most powerful messages and
images ever known. Walking into an art class you would expect to see students working
on their art, but how do we identify individuality in the art room? How do art teachers
develop opportunities for each student to express their own voice?
I am studying Teaching for Artistic Behavior (TAB) and developing a curriculum
unit that I will implement and observe in one of my advanced courses offered at my
school. Through this research I hope to gain insights on not only the TAB concept, but
also new instructional practices that help inspire my students.
Statement of the Problem
As an art teacher, I would like to provide unique and enriching opportunities for
my students to grown in the classroom. But at times I feel as though my students are
not fully expressing their individuality and crafting their own interests in their art because
they don't have the ability to fully express what they like and dislike in art. I think
students try to follow the teacher's guidelines too closely and because the lessons are
too teacher-directed their artwork is not original. Studying choice-based education and
Teaching for Artistic Behavior I am able to identify new student-centered teaching
approaches that help foster individuality and creativity.
Purpose of the Study
As a teacher, I want to grow and enhance professional practice as well as
attempt opportunities to enrich my classroom environment. Through my research I will

gain new insights to TAB, which is a form of choice-based education, and modify my
own instructional practices to foster a student-led environment. Through this study I will
examine how a TAB-oriented curriculum unit works with my students.
Research Questions
My questions for this study reflect not only my role, as the teacher, but also the
impact this study will have on my students. Understanding how to implement TAB and
how to use the collected data to enhance my practice is an essential component to the
success of this study. For the purpose of this study I will refer to my approach as TAB.
TAB embraces a choice-based approach to art education.
1. What is the purpose of Teaching for Artistic Behavior? Understanding Teaching
for Artistic Behaviors as a form of choice-based education and its purpose is important
because this will help me create and envision my end goal for the unit. Researching
why teachers use Teaching for Artistic Behavior guides my development and action plan
to correctly implement this study.
2. What are expectations in a TAB classroom for the students and the teacher?
During my research it is important to gain the understanding of each role because this
will ultimately affect the quality of my curriculum unit. In order to accurately develop the
unit I have to completely understand how and what the responsibilities are for everyone
in the classroom.
3. What are the benefits and/or challenges in student learning during a TAB
lesson? As I explore my TAB teaching approach and implement this study, I will identify
successful and challenging situations that myself and my students will encounter.

Reflecting on these situations will help me analyze the effectiveness of this instructional
approach.
4. What are the similarities and differences in my current practice compared to
TAB? After this study is complete, I would like to not only examine my students success
rate but also understand how I can enhance my instructional practice. Identifying
concepts that I already implement and new ones along the way will help me create
more meaning learning experiences for my students. I would like to end the unit with a
survey for my students that expresses their own comparisons to my instructional
practice, and use this data to understand how my students view TAB teaching
approaches, whether they were similar or different, and how.
Assumptions
As of now, I assume students will find this approach to have fewer limitations and
allow for individual expression with a freedom of media. From my research thus far, I
have gathered positive feedback from this type of educational approach, but that is
something that can create assumptions. During this study I will identify whether a TAB
approach is right for my school environment and my students.
Limitations
A limitation that comes to mind is the time allotted for this study, as I would like to
compare a few units throughout the semester before analyzing my gathered data. I
know using this unit, which will contain three lessons, will be beneficial to examine, but I
also feel as though TAB is an ongoing process throughout the semester or year, so
continuing this concept after my study could provide me with more data. Another

limitation could be the student body I attempt this with because from semester-tosemester I have different students who may or may not want to attempt this study, but
continuing this over a longer period of time would allow me to compare students
throughout the whole year. My study is also limited by the age and abilities of the
students in my courses because they do not reflect all demographics within the school.
Literature Review
Within the profession of art education, there have been numerous studies and
theories that describe successful and unsuccessful methods in teaching. One topic of
concern is consistent, students need to be fully engaged and have the opportunity to
create meaningful and personal works of art. In an education system full of standards
and rigor art teachers can feel pressured into maintaining teacher-led lessons. In my
research on choice-based art education, also known as Teaching for Artistic Behavior
(TAB), it has brought to attention the method, purpose, and success behind a studentled curriculum. Identifying the role of the art teacher as a role model and not as a leader
allows for students to interact and behave as artists (Hathaway, 2013). In order to foster
creativity and individuality in the classroom, Barkan (1962) stresses the importance of
allowing the students to generate art as an artist does in his or her studio. Modifying
instruction that centers around the students should be one that allows them to express
their own ideas. Hathaway (2015) asks "[w]hat do artists do (p. 17)? Asking these types
of questions opens the door for "a culture of inquiry, discovery and craftsmanship"
(Hathaway, 2015, p.17) in the art classroom. Throughout this literature review, I will
investigate the development of Teaching for Artistic Behavior within the classroom and
explore the vital roles that students and teachers play during its implementation.

Teaching for Artistic Behavior

Teaching for Artistic Behavior (TAB) has been implemented throughout
classrooms across the country and in the last several years it has created a wave of
attention. The TAB concept, also known as a form of choice-based education,
developed through courses at Massachusetts College of Art over thirty five years ago
(Teaching for Artistic Behavior, para, 1, 2015). Choice-based education stemmed from
teachers whom identified the need for a curriculum change and "the need for more
authentic art making experiences" (Teaching for Artistic Behavior, 2015). Art education is
recognized as "free expression; [where] everyone can learn to express" (Barkan, 1962,
p. 13), and TAB allows for more individualized freedom in the art room. Within a TAB
classroom, students have the freedom to make their own choices and work at their own
pace. Students are welcomed with the introduction to new topics from a quick
demonstration and then decide their own interests. Though the teacher wants to
maintain order in the classroom it is understood that "school art styles [do] not actually
create possibilities for free expression for youth" (Gude, 2013, p. 1), and in a TAB studio
the students identify their own problems and create their own solutions. School art is
identified as art that mimics the teacher and the directions given, so there is no
individuality from student to student, where as TAB that allows the student to identify
their own interests and develop their own concepts (Gude, 2013).
In order to implement a successful TAB curriculum, it is important to understand
how the classroom environment looks and acts for the student. The classroom itself, is
the "silent lesson plan [and has] distinct centers or studios, each appointed with
numerous materials and tools needed to make art" (Hathaway, 2008, p. 36). The

students enter a room with centers set up consisting of various materials, which are in
organized sections of the room that have posted menus and procedures along with any
necessary resources and information for each center. In the very beginning of class,
students are introduced to any new technique or medium within a quick five to tenminute demonstration by the teacher. After the introduction is complete, students have
the ability to consult with the teacher for additional assistance or continue in their
chosen center with their chosen media. Additionally during this time, the teacher is able
to observe and identify specific needs of students and groups who are struggling or
need more instruction. Hathaway (2008) states that the "art teacher in a studentcentered program is the school's own 'artist in residence,' with special skills, training and
knowledge that combine to produce a sort of human reference resource" (p. 36), and
because of this type of climate the students are able to view the teacher as a mentor,
which cultivates a "community of artists" (p. 37).
Choices to Make
In the development of a curriculum centered in Teaching for Artistic Behavior
(TAB), it is important to understand not only the use of time and space, but also to
create moments of reflection. The beginning, as mentioned previously, is the time in
which new techniques are introduced and the end is a time for not only individual selfreflection but also a time when students can share their art making experiences with
their peers. At the end of each class, it is important to invite students to talk about their
work and share their outcomes (Hathaway, 2008). Although all of the students will not
engage and work in each of the developed centers, sharing and discussion allow the
students to understand successful and challenging outcomes their peers encountered.

The end of the class generates pair-share, or group sharing activities where students
can reflect and discuss their productions (Douglas, 2013). Using well-planned endings,
"no matter how brief, support the climate of respect and reflection that is central to art
making and learning in the choice-studio classroom" (Douglas, 2013, p. 13). Planning
and implementing not only a brief and concise introduction, but also a designated time
for self-reflection and sharing can create a stronger climate of inquiry and a more
successful outcome.
Often in a teacher-led classroom there is the desire of the teacher to share an
overabundant exposure to different types of media, and the inaccurate mindset that
when more media is offered, a better curriculum is created (Barkan, 1962). But, the
wide variety of media, although essential, "can also be a hindrance if children are
expected to sample all of them" (Barkan, 1962, p. 18) because this doesn't allow the
child to accurately master any form of media he or she is introduced to. In a TAB, or
choice-based classroom, students might not feel the desire to engage with an
abundance of new mediums, but they are still gaining exposure from the class
introductions and the end discussions with their peers. According to Barkan (1962) our
job as art educators is to create an "atmosphere of an artist's studio in the classroom"
and this "means encouraging children to try different media for the primary purpose of
discovering the one worth sticking with" (p. 18). In a TAB curriculum the purpose is to
inspire and foster individuality, so even if a student never makes a completed art form
with watercolor, for example, he or she has still been introduced, possibly attempted it,
and has gained an exposure from the work of others. Students are assessed on not
only finishing a product, but also in the participation during discussions and sharing. In

TAB the assessment s not an evaluation of one finished piece of artwork, it is an

evaluation of how students go about creating art work, what they think about it, and how
they connect to the art work of others. In other words, authentic assessment needs to
evaluate artistic behavior (p. 12).
During a TAB curriculum unit, students are emerged into the classroom as
individuals, and because of this philosophy differentiated instruction naturally
formulates. Students can tap into not only their own interests, but also their own
strengths and through this process students become the experts. Hathaway (2008)
states that "[s]tudents can demonstrate their own innovations or discoveries. They can
offer insight and advice and highlight 'what works ' (p. 37), and students can act as a
"peer coach" (p. 37) for each other in their centers. "Children know who knows what and
who is good at something they want to know how to do" (p. 37). Through collaboration
and peer engagement, students gain the ability to become inquisitive artists. TAB
encourages students to have an attitude of autonomy and begin to take responsibility
for their own growth and learning. When the centers are developed, they outline
expectations and ultimately the students gain a respect for the area in which they are
working. "Throughout individual exploration, practice, research and presentation,
students may act as their own guide and teacher" (Hathaway, 2008, p. 53). Students
respond to the choices as an empowerment to their own learning and because of this
students maintain interest.
Standards and Common Core
Hathaway (2013) brings forth concerns in regards to current classroom practices
and the practice of standardization. She expresses that in the art room, we are seeing

less and less individual creativity and more lessons that quickly cover standards. In
today's education, we are responsible for implementing skills for 21st-century learners
and yet we are not giving them the opportunity to think or do on their own. Hathaway
(2013) suggests some opportunities for educators to take a back seat and allow the
students choices. We should be "[f]acilitating genuinely open-ended projects" (p. 12)
and creating ways students can develop mastery through revisiting previously
introduced concepts. Teachers should allow students to self-reflect and self-initiate their
own exploration into their own concepts. There should be a model of artistic behavior for
the students where they can see the teacher making time to create, and this would
inspire the students to create for themselves. The teacher, acting as a model in an
artistic endeavor allows the students to experience an authentic art-making process.
In a TAB setting the students are responsible for their learning process.
Hathaway (2015) encourages the idea that it is no longer the teacher's responsibility to
think of step-by-step instructions for reproducing an original art work. Students learn to
arrive to class ready to explore their ideas, and through their choice of process the
students set up, explore, make art, reflect on and present their work. Zalmstra (2015)
expresses that the integration of TAB into a 21st century classroom not only promotes
inquiry but also aligns with Common Core and the new National Core Art Standards.
This process is aligned with Common Core because it allows the students to create,
perform, respond and connect to their personalized art work. Students use the abilities
to envision, develop, craft, stretch and explore, engage and persist, express, reflect and
seek while in each center. The National Arts Standards guide educators instruct using
the creative process, presenting and producing, responding, and connecting the

10

students' work to real world applications (National Arts Standards, 2014). Students are
responsible for their own learning habits and understanding their processes along the
way. Assessing students in a TAB classroom should consist of evaluation of their
processes and achievements, as well as acknowledgement and understanding of their
individuality. With Common Core, students are supposed to gain responsibility in
generating and analyzing questions about the work they are producing, and this helps
create more individualized assessments. Zalmstra (2015) states that choice-based
curriculum,
Provides the necessary academic language to encourage rigor and facilitates
student ability to create and to make connections. Authentic assessment in a
choice-based classroom is shared between teacher and learner, even (or
especially) when everyone is pursuing their own learning path. (p. 12)
In art and within the TAB process, the students are gaining full responsibility not only for
the development and creation of their work, but also the reflection and analysis that
follows. Through TAB, students are more aware of their individual struggles and
successes, which helps maintain a sense of pride in their work.
Conclusion
The current emphasis on standardization and data driven instruction has created
a wedge in the creative process for students. Our current system "has the potential of
focusing too much on structure and system and diluting the desirable aspects of
creative development and personal causation that makes art in the schools unique and
valuable" (Wright, 1990, p. 52). Implementing forms of a TAB curriculum can help

11

rekindle that creative spirit within the art room. Once again, "the art teacher should
consider being model versus advisor" (Wright, 1990, p. 56), and with this modeled
behavior comes positive studio habits where students desire to learn more. Developing
a Teaching for Artistic Behavior classroom supports multiple directions of learning.
Engaging students into studio habits, like that of an artist, not only helps introduce them
to the fundamentals of art, but also direct them into the mastery of their choice.
Methodology
My purpose for developing a curriculum unit that reflects Teaching for Artistic
Behavior, which stems from choice-based learning, is to analyze the potential benefits
or limitations for student learning. Teaching for Artistic Behavior (TAB) is focused on the
individual development of each student, as an artist in a studio setting. I will use action
research to study what occurs when I implement my TAB curriculum unit. Action
research allows the teacher to develop a deeper understanding of their theories-inaction and improve their practice by engaging in action research (May, 1993, p.116).
With action research the teacher can develop personal meaning and purpose in their
own instructional practice because "we [as teachers] expect our research to move us to
a better understanding of our students and to better practice" (Hubbard & Power, 1993,
p.xiv). "Art-based action research is also in a close relationship with design research
that has an objective to design new action models or products" (Jokela, Hiltunen, &
Harkonen, 2015, p.442), and from this study I can identify new instructional strategies
that could potentially enhance my students' art experience. For this study, I would like to
study the procedures and outcomes of a TAB-oriented student centered instructional
setting in the hopes of fostering inspiration for my students to create more meaningful

12

pieces of art. I will develop a curriculum unit focusing on the Teaching for Artistic
Behavior model that consists of three lessons, each introducing a new technique and
historical art movement, which will last for three weeks.
Subjects
I will implement this study with my advanced art students who are in my twodimensional studio art two and three honors courses. These classes combined will
consist of about 10 students, and this study will reflect those whom I receive parent and
student assent to participate in my study. Subjects have had prior art courses, have
chosen to continue in art, and have a true interest in their individual artistic growth.
Research Site
This study will occur in a public school located in Titusville, Florida. The students
will range in ages between 16 and 18 years old. The school consists of a diverse
population of students, a majority of whom come from low to middle class families. The
school is on a block schedule, which consists of four 90-minute class periods each day.
Students are required to earn at least one fine arts credit in order to receive their high
school diploma. Students have multiple fine arts to select from which include: music,
band or orchestra, theatre, digital media, and studio art. All of the fine art courses that
are offered are considered a yearlong class, but due to block scheduling they are
completed in one semester.
The setting of my advanced studio art room will be rearranged to correlate with
the demand of choice-based learning. The classroom will be arranged in centers, which
consists of coordinating materials for students to explore and research. Centers are

13

filled with basic directions for material storage and use, as well as related resources
about the techniques they will attempt. Short teacher demonstrations for new materials,
techniques and resources will be introduced during the beginning of each lesson, but
students have the ability to choose their desired learning path. Throughout each week,
students will reflect and participate in classroom discussions that relate to learned
processes and technical obstacles.
Collected Data
During this unit students will participate in progression checks, individual and
group critiques, and informal interviews. I will create a blog to document progression
during this study, which will help create a reflection of all student and classroom
observations. Throughout the unit, I will take pictures of sketchbook development and
project concepts, as well as finished art pieces. I will also include some student
worksheets that will be completed during progression checks and in-group discussions,
which demonstrate personal growth and reflection. At the end of this unit, students will
be required to turn in a fully developed art piece along with a critique that explains their
concept, procedures, and a personal reflection.
Analysis
Upon the completion of this unit when my students have submitted their required
components, I will analyze their individual growth and development that occurred
throughout the unit, and compare them to previous art projects. Students will be
assessed on process, craftsmanship, technique, and individuality, which is similar to
what they are assessed on now. Reviewing their individual reflections and critiques will

14

provide insight to their development and understanding of the processes they

experienced. Analyzing their reflections allows me to see if they are developing more
personal works of art, which they can interpret and analyze themselves. Using
previously assessed work and comparing it the outcome of this new practice can help
me identify patterns of success or struggle. From my observations, I will analyze my
data and field notes taken during classroom activity and student engagement.
Developing "graphic forms of data organization can quickly show patterns, time
sequences, relationships, and missing pieces" (Rust & Clark, n.d., p.13), and using my
observation notes to do this is can identify not only successful aspects but also
challenging obstacles. In addition to analyzing student work and field notes of student
behaviors, I will compare my own teaching strategies that I currently use to those I will
use during this study. In addition, I will seek feedback specifically on the students'
opinions of my instructional changes, so I can compare their feedback to my own. Being
able to compare this data will help enhance my teaching practices further, which can
help create an environment of inquiry.
Significance
This study is important because I feel it will help my professional development as
a teacher, and help guide me into new instructional concepts. I want to inspire my art
students to create and explore the world of art with their individual voice, and
transitioning my classroom into a TAB studio will open these opportunities. To the field
of art education, and for other art teachers this study can enlighten the concept of
Teaching for Artistic Behavior and Choice-Based education. Engaging in this research

15

opens opportunities for other teachers to attempt TAB and gain the knowledge needed
to successfully implement it into their classroom.

16

References
Barkan, M. 1962). Transition in art education: changing conceptions of curriculum
content and teaching. Art Education, 15(7), 1228.
Cummings, K. L. (2010). So What. Who Cares? Whatever.: Changing adolescents
attitudes in the art classroom. Visual Arts Research, 36(1), 5567.
Douglas, K. (2015). When the cupboard is bare. Arts & Activities, 157(3), 16.
Douglas, K. (2013). Beginning & endings in the choice studio. Arts & Activities, 154(2),
13.
Douglas, K. (2004). Welcome to the choice studio: where students choose how to
express their art ideas. Arts & Activities, 136(1), 50-53.
Gude, O. (2013). New school art styles: The project of art education. Art Education,
66(1), 6-15.
Hathaway, N. (2008). 10 Teaching and learning strategies in a "choice-based" art
program. Arts & Activities, 144(1), 36-53.
Hathaway, N. (2013). Boost creativity and innovation. Arts & Activities, 154(3), 12
Hathaway, N. (2013). Smoke and mirrors: Art teachers as magician. Art Education,
66(3), 9-15.
Hathaway, N. (2015). The common core of choice-based art. Arts & Activities,
158(1), 16-17.
Hathaway, N. (2013). What is a center? Arts & Activities, 152(5), 15.
Hubbard, R. S., & Power, B. M. (1993). The Art of classroom inquiry. Portsmouth, NH:
Heinemann.

17

Jokela, T., Hitunen, M., & Harkonen, E. (2015). Art-based action research - participatory
art for the north. International Journal of Education Through Art, 11(3), 433-448
May, W. (1993). Teachers-as-researchers" or action research: What is it, and what
good is it for art education? Studies in Art Education, 34(2), 114-126.
National Arts Standards. (2014). http://nationalartsstandards.org/
Rust, F., & Clark, C. (n.d.). How to do action research in your classroom: Lessons from
the Teachers Network Leadership Institute. [PDF] Retrieved from
http://www.naeyc.org/files/naeyc/Action_Research_Booklet.pdf
Teaching for Artistic Behavior. (2015). http://teachingforartisticbehavior.org
Wright, J. (1990). The artist, the art teacher, and misplaced faith: creativity and art
education. Art Education, 43(3), 50-57
Zalmstra, D. (2015). Assessing in a choice-based classroom. Arts & Activities, 156(5),
12.

Author Biography

18

My name is Carina Cooper-Rachow, I graduated with my Bachelor of Science in

Art Education from the University of Central Florida in May of 2013. I am currently
pursuing my Masters of Art in Art Education at the University of Florida, which I will
complete August of 2016. I am currently an art teacher at a Brevard County public high
school, where I teach two-dimensional and three-dimensional studio art. My art courses
range in levels from beginning into portfolio development and Advanced Placement. I
am a part of the leadership committee for our countys art educators where I have
helped develop exemplar curriculum and assessments. Additionally, I assist in the
direction of our North Area Mall Show, which showcases our northern county schools
art programs every year. At my local school, I am a teacher mentor and leader where I
assist new and current teachers develop engaging and successful instructional
practices to improve their performance.

Timeline

19

Activity
Choose committee members, appoint a chair
Email confirmation for permission for action study from

Date
October 2015
December 2015

school administration
Committee Meeting
Complete UF IRB forms
Handout/receive parental permission forms for subjects
Committee Meeting
Conducting Action Research study
Committee Meeting March 2016
Complete Independent Study course
Submit draft paper to committee
Take the Capstone Research course
Submit final project to commit
Defend research study
Graduation

December 2015
December 2015January 2016
January 2016
February 2016
February March 2016
June 2015
June 2015
July 2016
July 2016
July 2016
August 2016