WELCOME TO SPACE!

Welcome to Space!

Kelly Nyhagen

ARE 6641

University of Florida

3/31/2019
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Research Brief

It seems unlikely that an art educator can go one day without directly witnessing or

experiencing some sort of emotional distress. Social pressures, family situations, looming tests,

and the like, all effect our students, which is a true balancing act amidst the tumultuous seas of

development. Similarly, teachers experience stress due to student behavior, limited resources,

and pressures from administration (Schonert-Reichl, 2017). It may appear to be an uphill battle,

but through the practice of promoting mindfulness and coping skills for both students and

teachers, both parties can become better equipped for those scenarios.

Stress Factors

Middle school is a period of time where students are growing both physically and

emotionally, but today’s students bear more weight than in the past, due to changes in the

economy and media (Boisseau, 2017). Today’s students have seen and experienced trauma in

various ways. For example, mass school shootings make students aware that their daily

environment may not be safe and many parents are not prepared to handle these situations.

Chuck (2019) discusses the misperception of those who have not been through the same

experiences, “Well-intentioned friends and family who did not go through the traumatic event

themselves may expect the survivor to feel grateful to be alive, while in reality, the individual is

likely experiencing many other emotions” (p. 13). Similarly, studies around foods and nutrition

acknowledge that “Children from homes that were persistently food insecure were approximately

one-and-a-half times more likely to have internalizing problems and two times more likely to

have externalizing problems” (McSilver, n. d, p. 4). If students are not receiving the emotional

and physical support they need at home to be successful, they will struggle in a learning

environment.
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Another type of student in our schools is the refugee and immigrant child. According to

Brunick (1999), refugees and immigrants “between 9 and 15 years of age will have compounded

identity problems as they deal with the normal period of adolescence” (p. 14). Students with

backgrounds that are fraught with significant amounts of instability or change, and those who

may have difficulty communicating with the majority of the population, require an opportunity to

express themselves authentically. As a result of these factors intersecting with student life,

anxiety, depression, and stress have caused negative impacts on brain and executive functioning

development, as well as success in learning environments, primarily because coping mechanisms

are not always included in part of daily education (Boisseau, 2017).

It is often assumed that the teacher must bear all of the emotional burden of educating

students with little attention to their own. The United States government, through the Individuals

with Disabilities Act, requires teachers to provide supports for students with diagnosed

emotional disorders. Often, this is attempted in the classroom but, according to Boisseau (2017),

these attempts have had very little impact on the long-term success of emotional regulation. It is

suggested by the same writer that the best way to promote emotional wellness is through

mindfulness trainings.

Mindfulness. According to Schonert-Reichl (2017), “mindfulness means an attentive,

nonjudgmental, and receptive awareness of present-moment experiences in terms of feelings,

images, thoughts, sensations, and perceptions” (p. 143). Likewise, social and emotional learning

(SEL) has recently gained traction as a way to educate the entire student for success in the

classroom. However, in order for SEL to be effective as a method of development for students,

the teacher needs to have a highly managed stress level. According to Schonert-Reichl (2017),

“Teachers and nurses had the highest levels of reported stress among all occupational groups” (p.
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140). While there are programs that help to alleviate teacher stress and wellbeing, such as

Cultivating Awareness and Resilience in Education as well as Stress Management and Resiliency

training, the rate of attrition is still high. Thus, the issue does not lie only with student stress. It

seems like almost everyone is stressed out or dealing with anxiety and best-practices are not

making a significant difference in the lives of those involved.

Creative Expression

Creative expression can act as a tool for self-healing and regulation. As D’Amico (1943)

reiterates, “More important than diagnosis is the use of art for healing. The simple experience of

creative expression has a healing effect” (p. 9). Therefore, despite the importance of working to

provide supports for students with diagnostic implications, art can be used as a way to support all

individuals. According to a study conducted in Norway (Cuypers, Krokstad, Holmen, Knudtsen,

Bygren and Holmen, 2012), “participation in receptive and creative cultural activities was

significantly associated with good health, good satisfaction with life, low anxiety and depression

scores in both genders” (p. 698). If students and teachers are invested in an environment that

utilizes creative skills, they are, most likely, going to be able to cope better and feel better as a

whole.

Methods. According to D’Amico (1943), “If the therapeutic value of art is employed in a

plan for re-education, America may be spared a phenomenal rise in mental illness and emotional

disturbance” (p. 10). Early intervention in the form of stress management through art, should be

encouraged for all students. The process of learning to work through emotional strain and stress

is something that requires constant care and effort. Therefore, the results will not be as long-

lasting if they are practiced only once and not repeated. While most art teachers do not have

professional training in art therapy or psychoanalysis, there are ways in which we can engage
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with student creativity that will encourage positive emotional development. Brunick (1999) says,

“Being heard is the beginning of healing” (p. 16). By offering students opportunities to make

choices about how they choose to express themselves with various art media, many will learn to

work through their memories and experiences. This is a learned practice and one that must be

fostered over time.

Students who are using art as a way to increase mindfulness should approach it with

seriousness. They should work to look for inner clarity up front, as opposed to allowing it to

follow. Wexler (2002) asserts that students who are involved in an artistic community will:

Work through their losses, take ownership of their health and, as often depicted in

their paintings, envision a better life than the one that has been offered thus far.

With the support and encouragement of adult mentors, they build a peer

community with other young artists that supplements their often impoverished

family and social lives. (p. 340)

By helping students to feel empowered within the context of creation, they will seek their own

solutions to problems. For example, open ended prompts and freedom with art supplies and

media, will help students to create in a way that makes sense to them as opposed to trying to fit

an expectation. A significant amount of anxiety in both teachers and students often comes from

performance expectations (Riley, 2012). It is encouraged that teachers shift their focus on

educating solely for the test, portfolio review, or audition, towards a holistic model. Riley (2012)

states, “Students must learn to achieve balance not only in their performing but also in their self-

concept, goals, expectations, and performances” (p. 66). Within a framework of mindfulness in

creative education, the teacher must learn to accept the student for their entire personality and

experiences, not just the successful parts.

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Roman (1968) compares successful therapeutic art making to the environments of mental

institutions in regards to the ways that deviant thinking and expression are addressed. Each party

must be open and willing to hear the thoughts of others, without judgement. He suggests that

students and teachers who engage with the arts can become agents for social change both within

the classroom and beyond it. Likewise, D’Amico’s (1943) philosophy about the importance of an

environment that values art as a prohibitive way to channel anxiety and other emotional issues is

the “responsibility of modern education” (p. 10). Thus, it is of the utmost importance that schools

provide opportunities above and beyond the school day. If our schools are to provide

environments that educate the whole learner, we must not forget about the emotional

development of testing-aged students, as well as the stress levels of its teachers.

Action Plan

Space will operate as an afterschool activity allowing for practice in mindfulness,

creativity, and expression. Teachers from other disciplines are encouraged to work alongside the

students to create an opportunity for dialogue, discussion and mentoring/listening. Set up and

materials will be simple so that teachers and students can both participate.

Middle school students will be the primary population targeted to join Space due to the

fact that student ability to work independently is important in creating an opportunity for an

authentic experience that exists without academic pressures or strain. It is suggested that Space

be organized around school breaks and state testing, as those times of year are often more

stressful than others. In the event of a national or local traumatic situation, Space could function

as an environment for student and teacher processing. Students will be encouraged to help with

set up and tear down, as the space and time exists for them and student leadership will be

encouraged.
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Scope of Expressive Opportunities

A variety of creative environments will be provided so that students and teachers have

ample ways to work. Some participants may choose to visit one area/station, or may work in one

space for a bit and transition to another when it suits them. The key will be in providing

organization, direction, and directions for etiquette in order to ensure success for all involved.

Visual Arts. Participants will have the opportunity to work with simple visual arts

materials. Projects will be loosely directed, but will allow students to engage with the materials

in a way that is meaningful to them. Artwork which bears resemblance to popular imagery, or

copying, will not be prevented or denounced. Suggestions for materials may include, but are not

limited to: watercolors, water-soluble graphite, acrylic, or ceramics (depending on the level of

students). It may be helpful to have some materials present at all events, but have a highlighted

media switch out.

Writing. Creative writing and journaling is another way in which students can express

themselves. It is suggested that English teachers volunteer to help with this portion of the

experience. Perhaps, prompts or other writing starters be provided. However, it is important to

remember that students should not feel limited by their opportunities, but should be able to write

and express in whatever ways suit them. Due to the nature of the creative space, some students

may want to collaborate. For example, one might write a story and another might illustrate it.

Movement. If there is a movement teacher (dance, yoga, theater), who is willing to lead a

group through movement, encourage them to participate in Space. Some students process anxiety

through action and movement (Nikitina, 2003). By teaching students how to breathe deeply and
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to move intentionally, it may help to quell some of the anxiety or concerns students have, as well

as provide them with coping skills for the future.

Timing and Format

Space should last for two hours. Find a safe space, free from excessive noise and

distractions. Such as, the art room, the cafeteria, or a performance space. Depending on the range

of options, some groups may split up. For example, art and writing could be located in the art

room, whereas movement could take place in the cafeteria.

Schedule. It is suggested that students are welcomed to a central location for the

beginning portion of Space. At this point, a teacher or student leader can greet and thank students

and teachers for joining, present a guiding theme for the day, and go over expressive

opportunities. Greenland (2016) suggests some of the following themes:

- Acceptance

- Compassion

- Empathy

- Joy

Once introductions have concluded, students may split up into their groups and the leader of the

group (either student or teacher) can introduce the materials, writing prompts, or movement

premise for the day. The expectations for appropriate behavior should be stressed. Students

should be given the freedom to work in a position that they feel comfortable. This may include:

standing, sitting, laying on the ground, or walking around the space.

Work time should last for one hour, with cleanup dependent on each type of work

environment. Students should be responsible for cleanup and return of supplies. The group can
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then return to its original central meeting location for sharing. Students and teachers may feel

like they would like to share their expressions for the day, but will not be pressured to do so. In

the event that someone chooses to share their work, refrain from criticisms or judgement. If

students would like to have a teacher share for them, they may. At the end of the event, the

opening teacher or student leader might ask a closing question, such as what have we learned

about the guiding question today? Or, make observations about the group’s collective

reflections. Finally, the group leader will identify the next date of Space and thank everyone for

joining.

Community Impact

The expected outcome is that Space will become a continuous environment for students

and teachers to gain self-regulation and stress management techniques through mindfulness

practice. By allowing students and teachers to share about their own experiences with the

topic(s), students in the program should feel empowered to make a conscious effort to recognize

their own strength indicators. Students should be allowed to find a voice and to take on

leadership roles within the group; eventually functioning as a peer-directed experience.

Towards the end of the year, it would be rewarding to allow students and teachers to

share their work. This could be done in the form of a gallery opening, art show, or online gallery.

Parent and Family Involvement. Organizers of Space should send out information

regarding mindfulness techniques and updates about the events to parents and family. Students

and teachers should be encouraged to discuss their learning with friends and family members. A

Saturday morning event could be added so that family members could join for a day.
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Long Term Goals. Space has the potential to act as more than a club. Ideally, it could

become a vital part of school planning and scheduling. Events under the banner of Space could

be sponsored by the school such as club yoga, gardening, city and garden walks, etc. Once

mindfulness and its importance in the lives of students and teachers is acknowledged, it will be

easier to prepare opportunities for the community to join. Space as a way to enrich lives and to

creative positive outcomes.

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References

Boisseau, C. (2017, May 1). How does stress affect middle schoolers with emotional and

behavior problems? Retrieved from https://education.ufl.edu/news/2017/05/01/how-does-

stress-effect-middle-schoolers-with-emotional-and-behavioral-problems/

Brunick, L. L. (1999). Listen to My Picture: Art as a Survival Tool for Immigrant and Refugee

Students. Art Education, 52(4), 12-17.

Chuck, E. (2019, March 24). Spate of suicides puts spotlight on survivor's guilt. Retrieved from

https://www.nbcnews.com/news/us-news/parkland-newtown-apparent-suicides-put-

spotlight-survivor-s-guilt-n987011

Cuypers, K., Krokstad, S., Holmen, T. L., Knudtsen, M. S., Bygren, O. L., & Holmen, J. (2012).

Patterns of receptive and creative cultural activities and their association with perceived

health, anxiety, depression and satisfaction with life among adults: the HUNT study.

Journal of Epidemiology and Community Health, 66(8), 698-703.

D’Amico, V. (1943). Art Therapy in Education. The Bulletin of the Museum of Modern Art,

10(3), 9-12.

Greenland, S. K. (2016). Universal Themes. Retrieved from

https://www.susankaisergreenland.com/themes

McSilver Institute for Poverty Policy and Research. (n.d.) Child Food Insecurity and Mental

Health [Brochure]. Retrieved from http://www.mcsilver.nyu.edu

Nikitina, S. (2003). Movement Class as an Integrative Experience: Academic, Cognitive, and

Social Effects. The Journal of Aesthetic Education, 37 (1), 54-63.

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Riley, J. M. (2012). Reducing anxiety: Studio strategies for performing salvation. Music

Educators Journal, 98 (3), 65-70.

Schnonert-Reichl, K. A. (2017). Social and emotional learning and teachers. The Future of

Children, 27 (1), 137-155.

Wexler, A. (2002). Painting Their Way Out: Profiles of Adolescent Art Practice at the Harlem

Hospital Horizon Art Studio. Studies in Art Education, 43 (4), 339-353.