My teaching philosophy, belief, is based on teaching experience, research and theories in art education, and my art practice. All of the following come into my classroom at some point, however, Teaching for Artistic Behaviours is the foundation of the classroom.
Studio Thinking (@project zero, createquity), or Teaching for Artistic Behaviours (TAB), is based on the combination of common studio structures, Demonstration/Lecture, Student-work-in-progress, and Feedback/Critique, and 8 Habits of Mind or dispositions based on research in successful art classrooms across America. I was also introduced, recently, to the Reggio classroom and keeping it in mind.
I completed the Teaching Aboriginal Students course in Ontario, Canada, 2010, which I carry with me as I travel and teach in different places. Culturally inclusive and responsive practices make the school, classroom, and learning welcome to students. I am able to adapt lessons, adjust, change, and respond to cultural specific identity, and local community. On reserve, in the north of Ontario, Canada, for instance, the topic of subjects were rethought altogether and met the understanding for curricullum. Including Powwow Dance and Drumming into our Grade 6 curriculum met cultural specific needs and curriculum requirements in History and Art. Community leaders were invited into class to celebrate customs specific to the area, environment,and cultural traditions.
Making or creating art works and experiential learning practices, I believe, are very much alike. The experiential educational model focuses on process and problem solving on the actions and skills required, the stages through thinking how to do what is needed next on any project, and reflection (critical thinking), as individuals and/or in groups. It provides students with a way to gain deep knowledge of subject matter, concepts, technical skills, etc.
I taught with Mastery Learning concepts and curriculum at the QSI International School of Bratislava, Slovakia, for 3.5 years.
I continue to read about research and theories in Art Education: Studio Thinking, by Lois Hetland, Ellen Winner, Shirley Veenema, Kimberly M. Sheridan; Artful Scribbles, by Howard Gardner; Creative and Mental Growth, by Lowenfeld and Brittain; Experiential Learning in the Classroom, by Scott D. Wurdlinger.
As a continuing exhibiting artist, I also bring with me experience from the professional art world. A few of my reference books are: Passion and Pedagogy, edited by Elijah Mirochnik, Debora Claiborne Sherman; On Not Being Able to Paint, by Marion Milner.
I have participated in professional development art workshops that are provided by schools, school boards, and education associations, such as, making ink from plants (Budapest, Hungary, CEESA), Anishnaabe traditional arts (e.g. leather craft, and storytelling, Great Moon Gathering in Matheson, Ont.), Poser Software in the Art Classroom (Durham District School Board, Oshawa, Ont.), are just a few. My own interests and research have resulted in web sites in the use of the Sketchbook, Art Brut, and Modern Art Surveys, for teachers and students. I 2014, I provided the PD workshop to Teachers, Art for Multiple Subject Elementary Classrooms, at the QSI Eastern Europe PD days, (Bratislava, Slovakia).
My classes are engaged and, with integrating the use of technology, enrich students learning.
I am certified by the Ontario College of Teachers, Canada, and have met the Province of Ontario standards in the Visual Arts. I have also found them to be an excellent guide for my international teaching placement.
Lesa Moriarity, OCT
BFA, Emily Carr Institute of Art & Design, 2000
BEd, Queen's University, 2007
MFA, University of Leeds, 2003