Inviting school success: Invitational Education and the Art class.

Inviting school success: Invitational Education and the Art class. "Effective teaching may be the hardest job there is"(William Glasser William Glasser, M.D. is an American psychiatrist born in Cleveland, Ohio in 1925, and developer of Reality Therapy and Choice Theory. His ideas, which focus on personal choice, personal responsibility and personal transformation, are considered controversial by mainstream ) It is acknowledged, nationally and internationally, thatInvitational in��vi��ta��tion��al?adj.Restricted to invited participants: an invitational golf tournament.n.An event, especially a sports tournament, restricted to invited participants.Adj. 1. Education is actively practised practisedAdjectiveexpert or skilled because of long experience in a skill or field: the doctor answered with a practised smoothnessAdj. 1. in many schools. However,there is a paucity pau��ci��ty?n.1. Smallness of number; fewness.2. Scarcity; dearth: a paucity of natural resources. of articles describing the relationship betweenInvitational Education and specific disciplines at the elementary andhigh school levels. As such, this article attempts to address thisshortcoming by discussing how and in what manner Invitational Educationis applicable to the Art classroom. Applying the principles ofInvitational Education, the Art classroom can become a classroom thatnot only facilitates students in achieving their potential but, inaddition, create a positive and enhancing learning environment for allstudents and teachers. Introduction Invitational Theory/Education is a student-centred approach to theteaching-learning process. Founded on the ideas and concepts of thePerceptual Tradition (Combs, 1962; Combs, Richards, & Richards,1988), Cognitive-Behavioural Approach (Ellis, 1970; Meichenbaum, 1974)and the Self-Concept Theory (Jourard, 1968, 1971; Rogers, 1969; Purkey,1970), invitational theory affirms the "power of human perceptionand its impact on self-development" (Schmidt, 2004, p. 28). Invitational Education is a theory of practice for communicatingcaring and appropriate messages to facilitate individuals to achieve totheir full potential as well as for identifying and changing thoseforces in schools which would defeat and destroy potential. Invitational education has four main interrelated in��ter��re��late?tr. & intr.v. in��ter��re��lat��ed, in��ter��re��lat��ing, in��ter��re��latesTo place in or come into mutual relationship.in areas which whenworking together and at a balanced level can create an optimallyinviting and positive learning environment and experience for the wholestudent (physical, social, cognitive, emotional, and spiritual). Thefour main areas are the Four Assumptions, Five P's, Levels ofFunctioning, and Four Dimensions. These areas all have an impact on theway in which teachers can enhance the learning process and developmentof their students in a positive way, and in our view is particularlyapplicable and important in an Art room. Invitational Education is applicable particularly to the Arts asthe aim of an Art class is to excite and stimulate curiosity and inquiryinto artworks, as well as self-assessment of their own processes (of artmaking) and ideas. As Maaka (1999) states a major aim of a teacher is to"create classrooms that ex cite curiosity and inquiry, and inviteself-assessment" (p. 6) and an Art room should not only be a placeof art production and theory but a place of inspiration and resource forthe young artist. The aim of an Art room for students is to not only learn thetheories of artists, artworks and the processes, but to experience artfor themselves, learn and discover through practice and experimentation,freedom of choice and expression of opinions and ideas without ridicule.An Art room should be a place where young artists (students) can comeand discover art for themselves, gaining their own independent andindividual meaning from the information presented to them and their ownexperiences of life and art. "Independence, creativity,self-reliance and self-evaluation are all encouraged, and children takeresponsibility for their own learning and development" (McInerney& McInerney, 2006, p. 472). An Art class should be more thanlearning about different artists and artworks, it should be a place ofpersonal discovery, where students can grow and develop their beliefs,opinions and ideas in a caring and supportive environment. The Art Class and the Four Assumptions The four assumptions of invitational theory give a consistent andstructured stance from which teachers can then create and maintain anoptimally inviting environment. The four assumptions are: * Respect; People are able, valuable, and responsible and should betreated accordingly. * Trust; Education should be a cooperative, collaborative activitywhere process is as important as product. * Optimism; People possess untapped potential in all worthwhilehuman endeavours. * Intentionality intentionalityProperty of being directed toward an object. Intentionality is exhibited in various mental phenomena. Thus, if a person experiences an emotion toward an object, he has an intentional attitude toward it. ; Human potential can be realised by creating andmaintaining places, policies, processes and programs, specificallydesigned to invite development, and by people who are intentionally in��ten��tion��al?adj.1. Done deliberately; intended: an intentional slight.See Synonyms at voluntary.2. Having to do with intention. inviting with themselves and others, both personally and professionally(Purkey & Novak, 1996, pp. 50-55). Respect, trust, optimism and intentionality should be a part ofevery school, and important to every teacher in their actions as this isthe basis of a good student-teacher relationship and helps to promotepositive behaviours, self-concepts and environment, consequentlyheightening height��en?v. height��ened, height��en��ing, height��ensv.tr.1. To raise or increase the quantity or degree of; intensify.2. To make high or higher; raise.v.intr. the students achievements (Lawrence, 2006; Purkey &Novak, 1996), as "No aspect of education is more important than thefeeling on the part of the teacher that the individual student isimportant, valuable, and can learn in school" (Purkey, 1970, p.52). An Art room needs to be a place of trust and respect as this is animportant part of an artists work for if they do not feel as though theycan trust or have respect for and of their peers, then they are lesslikely to fully express themselves in their artworks and discussions.Art is about personal expression, a class might all be doing the sametask or painting, but will all end up with a different'answer' by producing a work with an individual style, colour,mood and interpretation. However, before this work can be produced thestudents need to feel as though they can trust and have respect forthose around them. "Research shows that people need to feel astrong sense of trust, in an environment of empathy empathyAbility to imagine oneself in another's place and understand the other's feelings, desires, ideas, and actions. The empathic actor or singer is one who genuinely feels the part he or she is performing. and understanding toself disclose" (Gregory as cited in Jarvis, 2006, pp. 138-139).This can be reinforced and lead by the teacher through talking abouttheir own personal art practices and experiences, showing their own workand presenting their opinions and ideas, inviting the students tocomment, critique, discuss and debate these. "Teachers must make anextra effort to communicate to these young people a feeling of trust,positive regard and respect" (Purkey, 1970, p. 53). By showingoneself to the students demonstrates trust and respect for them, itopens an avenue for them to do the same. It is important to reinforce that art is not about your ability orlack of ability to draw things realistically, but it is about personalexpression of opinions and ideas in a creative or imaginative way-expression is an ability of all. This can be demonstrated to thestudents by presenting them with a range of artworks from the'child-like' and 'pop-art' to the 'highart' of the Renaissance, as well as through art theory and history.As teachers we need to place equal or in some cases more emphasis on theprocesses used, developed, or discovered, as well as the effort put asthis is just as important as the product produced (Jarvis, 2006; Maaka,1999; Purkey, 1970). Intentionality is a key to art, this is an environment where youare invited to express yourself in a personal, unique and creative way.This can be assisted or denied by the scope of the task, the layout oftables and chairs, artworks around the room, the tone of voice used,body language, and many other factors. However, by intentionallyconducting ourselves in a positive and optimistic op��ti��mist?n.1. One who usually expects a favorable outcome.2. A believer in philosophical optimism.op way, setting up theroom to fit the task as required, and being able to adapt the task andallow for individual interpretation promotes the growth and discovery ofpotential and consequently a work of art. Cogan (as cited in Purkey,1970) states, "students with warm and considerate con��sid��er��ate?adj.1. Having or marked by regard for the needs or feelings of others. See Synonyms at thoughtful.2. Characterized by careful thought; deliberate. teachers producedunusual amounts or original poetry and art" (p. 53). The Art Class and the Five Ps Invitational education has identified five key areas that exist inevery environment and contribute to either the success or failure ofeach individual. The five areas are: * People; People are an integral and important factor to life andexperiences. People create a respectful re��spect��ful?adj.Showing or marked by proper respect.re��spectful��ly adv. , optimistic, trusting andintentional in��ten��tion��al?adj.1. Done deliberately; intended: an intentional slight.See Synonyms at voluntary.2. Having to do with intention. society. * Places; Physical environment, classrooms, offices, hallways,common rooms, libraries, playing fields, etc, all have an impact on usand how we feel. Making changes to the physical environment offersopportunity for immediate improvement. * Policies; Codes, rules or procedures, written or unwritten LAW, UNWRITTEN, or lex non scripta. All the laws which do not come under the definition of written law; it is composed, principally, of the law of nature, the law of nations, the common law, and customs. usedto regulate the ongoing function of individuals and/or organisations.They communicate a strong message regarding the value, ability andresponsibility of both groups and individuals. * Programs; Maintain a wider scope of the needs of people byensuring that programs are monitored and achieve the goals for whichthey were designed without negative labelling and stereotyping. * Processes; Focuses on the way in which the other four P'sare conducted. The manner in which things are done and the atmospherecreated (Purkey & Novak, 1996, pp. 6-7). The Five P's are a combination of elements that work togetherto democratically and ethically invite the realisation of humanpotential (Purkey & Novak, 1996). People is the most critical of thefive P's as the dynamics of a whole group or individual can beinfluenced by just one person (be it students, teachers or parents). People can influence in either positive or negative ways and it isthe teacher who is the role model to their class of the standards ofbehaviour and treatment they expect. As Purkey (1970) notes "thatthe teachers beliefs in himself and his students are crucial factors indetermining his effectiveness in the classroom ... those who are moreaccepting of themselves tend to be more accepting of others and perceiveothers as more accepting" (pp. 45-46). By believing anddemonstrating a positive, accepting and open-minded attitude through ouractions and interactions to and with others, it will consequentlyinfluence those around us in a positive way, and this is critical forany classroom, particularly those that require personal expression, likeart. This can also take the form of the way in which we speak to thestudents, as well as our nonverbal non��ver��bal?adj.1. Being other than verbal; not involving words: nonverbal communication.2. Involving little use of language: a nonverbal intelligence test. actions (body language and facialexpressions) as "the effect of the teacher's non-verbalbehaviour is a particularly powerful influence" (Lawrence, 2006, p.74) and can often contradict con��tra��dict?v. con��tra��dict��ed, con��tra��dict��ing, con��tra��dictsv.tr.1. To assert or express the opposite of (a statement).2. To deny the statement of. See Synonyms at deny. our verbal messages. There is a strong needfor teachers to be consciously aware of this mixed message as "thestyle of teacher in that interaction helps develop children'sunderstandings" (Jarvis, 2006, p. 34). However, people are not only influenced by others, but by theirphysical environments. The classroom "environment can be used togive reality, relevance and practical experience to learning"(Jarvis, 2006, p. 65). The classroom is the easiest thing to change togive a positive influence. An Art room should be a place of inspirationand resource for the young artist. This can be created through fillingthe room with natural light, posters of key art terms (such as theelements and principle of design) and artists of a variety of periodsand styles, student's work of all grades and ability levels, aswell as having some resources and equipment out on benches or tables atall times. By having a bright and warm environment it invites those whoenter it to share in the experiences of the class and others by beingable to view work produced and have the access to materials reinforcesthe positive messages, such as 'you are welcome in my class, feelfree to pick a pencil or paint brush and express yourself'. This environment is not possible without policies to reinforce andmonitor these ideas. The policies employed in a class can be written orunwritten, and contribute to the running of the class and the overallatmosphere in a positive or negative way. As Bill Rogers notes (as citedin McInerney & McInerney, 2006) that "the classroom andschool-wide rules should not be imposed arbitrarily from above, butshould evolve from commonly held values" (p. 265). By maintainingpositive policies and including students in the creation of policiesabout the operation of the class, such as getting out equipment ormaterials and their purpose or use, treatment of others, responding andasking for help and so on, it makes those involved feel as though theyare respected and have a sense of personal 'ownership' which"will help develop a positive classroom climate and that peerencouragement to uphold up��hold?tr.v. up��held , up��hold��ing, up��holds1. To hold aloft; raise: upheld the banner proudly.2. To prevent from falling or sinking; support.3. them is preferable to teacher enforcementalone" (McInerney & McInerney, 2006, p. 267). The policiesemployed in an Art room need to allow and invite the student to expresstheir opinions free from fear of judgement or ridicule, as well asexperiment with the different materials and resources in new ways, whilemaintaining a safe environment. The programs that we introduce into our classrooms or haveestablished are often influenced by polices of academic achievementlevels, or for those with 'special needs'. This can impact onthe way in which we teach students who are apart of these programs, aswell as the way in which they view themselves and others. Maintainingand making sure that programs that are introduced within the class donot discriminate dis��crim��i��nate?v. dis��crim��i��nat��ed, dis��crim��i��nat��ing, dis��crim��i��natesv.intr.1. a. or label the students in a negative way, as studentssee it as "more humiliating hu��mil��i��ate?tr.v. hu��mil��i��at��ed, hu��mil��i��at��ing, hu��mil��i��atesTo lower the pride, dignity, or self-respect of. See Synonyms at degrade. to be placed in 'specialclasses' then to remain in the regular class and receive lowgrades" (Purkey, 1970, p. 41). Art is a class in which the programtopics and artworks need to be sensitively chosen as some artworks canreinforce negative messages and stereotypes and others can reinforcepositive messages and stereotypes. The works or periods chosen to studyneed to be sensitive to the needs of the class in regards toself-concepts, religion, stereotyping, meaning, images/ representation(too shocking or age inappropriate) and any other known factors of theindividuals of the class. The processes by which we monitor and maintain the other fourP's functioning is crucial. By maintaining a positive attitude,cooperative, caring and respectful environment, with programs andpolicies to suit the needs of the students the teacher is "in amuch better position to build positive and realistic self-concepts intheir students" (Purkey, 1970, p. 46) and consequently increasetheir levels of involvement and achievement (Jarvis, 2006; Kleinig,1982; Purkey, 1970). The Art Class and the Levels of Functioning Invitational theory not only focuses on the people, places,policies, programs and processes it identifies four levels offunctioning in both personal and professional living. This provides away to monitor the five P's and assist in applying InvitationalEducation by allowing the teacher to consciously asses their ownbehaviour and the influences that this is having on their students andself-correct this behaviour or attitude. The four levels of functioningare: * Intentionally Disinviting; A negative and toxic attitude designedto demean de��mean?1?tr.v. de��meaned, de��mean��ing, de��meansTo conduct or behave (oneself) in a particular manner: demeaned themselves well in class. , defeat and dishearten dis��heart��en?tr.v. dis��heart��ened, dis��heart��en��ing, dis��heart��ensTo shake or destroy the courage or resolution of; dispirit. See Synonyms at discourage. , both verbally and nonverbally Adv. 1. nonverbally - without words; "they communicated nonverbally"non-verbally . * Unintentionally Disinviting; Accidental discouragement andundermining of others, both verbally and non-verbally. * Unintentionally Inviting; Accidental support and encouragement.Generally function in effective ways, however cannot explain ordetermine why it is effective. * Intentionally Inviting; Seek to consistently display theassumptions of Invitational Education. (Purkey & Novak, 1996, pp.55-60) The invitational stance determines the level of personal andprofessional functioning. By being aware of the different levels offunctioning we are able to self-asses how we are projecting ourselves toothers, and have the means by which to change. Being intentionally inviting involves consciously maintaining theFour Assumptions and the Five P's in such a positive andintentional way to create an environment to which each individual isgraciously gra��cious?adj.1. Characterized by kindness and warm courtesy.2. Characterized by tact and propriety: responded to the insult with gracious humor.3. called upon to develop physically, intellectually, socially,spiritually, and emotionally (Lawrence, 2006; Purkey & Novak, 1996;Purkey, 1970). This requires constant re-evaluation of the way theenvironment and in which the people, programs and policies interact,assessing their positive influences and potential negative influence inthe teaching-learning environment. The Art Class and the Four Dimensions The main goal of Invitational Education is to encourage individualsto better their lives both personally and professionally. The fourdimensions are: * Being Personally Inviting with Oneself; Need to invite ourselvesbefore we invite others. Need to view ourselves as able, valuable,responsible and open to experience. It also means taking care ofone's health (mental and physical). * Being Personally Inviting with Others; Requires that the feeling,wishes, and aspirations aspirationsnpl → aspiraciones fpl(= ambition); ambici��n faspirationsnpl (= hopes, ambition) → aspirations fplof others be taken into account. * Being Professionally Inviting with Oneself; This begins withethical awareness and a clear and efficient perception of situations andoneself. It is important to maintain and continue to expand yourknowledge base. * Being Professionally Inviting with Others; Requires carefulattention to the policies introduced, programs established, placescreated, processes manifested and the behaviours exhibited. It involveshonesty and treating each person as an individual. (Purkey & Novak,1996, pp. 104-111) The four dimensions focus on the both the personal and professionalaspects of people's lives and maintaining a positive and invitingstance in all of our endeavours. As Rosenthal and Jacobson (as cited inPurkey, 1970) noted from their research that "the teacher, throughhis facial expressions, postures, and touch, through what, how and whenhe spoke, subtly helped the children to learn" (p. 48). This isinfluenced by what the teacher believes about himself and his students,both from personal and professional experiences and knowledge, andexpressed in verbal and non verbal ways (Moss, English, Ferguson,Godinho, & Hay, 2004). As a teacher, we need to be constantlyconscious of our attitude and things that might influence our behaviouron a particular day or in a particular situation or context as we canunintentionally disinvite dis��in��vite?tr.v. dis��in��vit��ed, dis��in��vit��ing, dis��in��vitesTo rescind an invitation to: disinvited our friends for dinner because of an emergency. rather than intentionally invite (personallyand professionally). Through being personally and professionally inviting with oneselfwe open ourselves to new ideas, opinions, processes, procedures andexperiences which help to shape and develop our own self-concept andbeliefs which is reflected to those around us by both verbal andnon-verbal actions. Being personally and professionally inviting withothers, not only allows them to get to know you on both a personal andprofessional level, but also creates an op portunity for others toaccept and become personally and professionally inviting with you. Inthe words of Sidney Jourard (1964): You can know me truly only if I let you, only if I want you to know me. If you want me to reveal myself, just demonstrate your good will ... your will to employ your powers for my good, and not for my destruction. (p. 5) Conclusion Invitational Educational is a promising basis for any school orclassroom as it focuses on the development of the student as a whole(physical, social, cognitive, emotional, and spiritual), rather thanpure academic achievement and conformity to a set of rules. The Artclass is a place where this is highly applicable as creating art is apersonal journey, and a discovery of individual and personal opinionsand ideas, and without an inviting, trusting, and caring environmentthis is unattainable, and therefore students creativity and work will beinhibited. Learning can only be done by the student and it is theteacher's role to create the conditions for a productive,interpersonal in��ter��per��son��al?adj.1. Of or relating to the interactions between individuals: interpersonal skills.2. and free learning environment. "The more weunderstand ourselves, the more likely we are to understand those whom weare privileged to teach" (Jarvis, 2006, p. 37) and consequently areable to create an environment that not only promotes learning in apositive way, but develops the students self-concept and ideas in apositive and constant manner. This requires the teacher to be constantlyreassessing their personal beliefs and views, being conscious of theirverbal and non-verbal cues, the layout of the class, the styles ofactivities, kinds of rules established, the types of feedback andassessments given, as well as the time they spend with each student. Bycreating an environment that is positive and inviting to all who enterit can result in higher attainment and achievement levels among studentsand teachers (Lawrence, 2006; Purkey, 1970), and as Lawrence (2006)notes "that where the interaction is positive the child achievesmore and is better behaved" (p. 67). It is our jobs as Art teachersto make this class an inviting and caring environment in which studentscan find comfort and inspiration (which is a key to self-expression andrealisation) and by practicing Invitational Education we can achievethis and help our students develop as a whole person. References Combs, A. (Ed.) (1962). Perceiving, behaving, becoming. Washington,DC: Yearbook of the Association for Supervision and CurriculumDevelopment The Association for Supervision and Curriculum Development, or ASCD, is a membership-based nonprofit organization founded in 1943. 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Smith Australian Catholic University Melanie Hunter is a graduate student in visual communication andDr. Kenneth Smith is an associate professor of education at AustralianCatholic University in Victoria, Australia. Correspondence about thisarticle may be sent to mjhunt002@student.acu.edu.au orken.smith@acu.edu.au