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WHAT WORKS IN EDUCATION The George Lucas Educational Foundation

The Eyes Have It: Potent Visuals Promote Academic Richness

Visual Thinking Strategies blazes a path from artistic inquiry to scholastic achievement.
By Fran Smith

A group of students stares intently at a large slide projection of a work of art, until the teacher asks, "What's going on here?" Comments flow -- about the figures, colors, shapes, emotion, story, light, and anything else anyone cares to mention. The teacher paraphrases every answer and continually probes: "What do you see that makes you say that?" Also: "What more can you find?"

This conversation could be taking place at El Verano School, in Sonoma, California, or at Hamilton Central School, in upstate New York, or in K-8 classrooms in cities as diverse as San Francisco, San Antonio, Miami, and dozens of others whose school districts are using an art curriculum called Visual Thinking Strategies to improve critical thinking, language and writing, and academic achievement. This conversation could even be happening at Harvard University, where VTS is studied as a way to make medical students keener observers and ultimately better diagnosticians and doctors.

Today, a Monday in July, the conversation is taking place at the Bronx Museum of the Arts, in New York City. The "students" are forty teachers and museum educators from around the country who use VTS with children and have come for advanced training. They're looking at Diego Rivera's fresco Agrarian Leader Zapata.

There's revolutionary fervor in the room, and it's not only coming from the image onscreen. People talk of VTS as transformational -- for their students and themselves. "It's just like magic," says Audrey Morton Miller, who introduced VTS in her first-grade classroom at Hamilton in fall 2007. "It's an exciting way to get students talking, observing, making inferences, and backing them up. And it's had a big effect on me as a teacher. I've gone from being the expert, the one who always has the knowledge, to being more of a facilitator."

This would be a lot for any curriculum to accomplish. It's remarkable for a program that consists of a mere ten lessons a year, including one at a local museum. Students view art from different cultures, eras, genres, and media -- two or three works in a forty-five-minute session. Then the kids say what they see.

"It's a very powerful tool that can really change how we educate ourselves and each other," says Oren Slozberg, executive director of VTS. "What it basically does is get people to look and think."

No Right or Wrong

On the student side, the discussion seems more free floating than most lessons they will ever have; rather than receive or spout information, students are meant to discover meaning. For the teacher, however, VTS is rigorously structured. The curriculum specifies what images to show, at what age, in what sequence. VTS scripts the teachers' questions, down to the verbs, and spells out what they do -- and must not do -- as a student speaks.

To focus the group's attention, teachers point to whatever children talk about, and paraphrase their comments to elevate articulation, introduce new vocabulary, and convey that they understand and value every response. Teachers link children's comments to deepen the discussion and enable students to learn from one another. Throughout, they are carefully nonjudgmental.

Many teachers say that's the hardest part to master -- perhaps no surprise in an education culture in which the cheer "Good job!" has become a tic. But the dogged neutrality is also what many educators seem to appreciate most about VTS. This, too, is not surprising in an era of high-stakes testing under the No Child Left Behind Act.

"In our school curriculum today, everything is so focused on right and wrong, there's a fear about speaking out and getting the wrong answer," says Maite Iturri, principal of El Verano, an elementary school with 420 students -- about 78 percent of them English-language learners. "With this program, there is no wrong answer. Students who normally sit in the back quietly are now talking. It's a breath of fresh air."

VTS grew out of the research of cognitive psychologist Abigail Housen. After publishing a theory in the early 1980s on stages of aesthetic development, she formulated the idea that children should be taught to make meaning from images, just as they are taught to build meaning from letters in a book. In collaboration with museum educator Philip Yenawine, Housen created a systematic, inquiry-driven method using stage-appropriate art to teach visual literacy. The approach marked a huge departure from the way schools and museums had always taught art: Show kids Starry Night and feed them facts about van Gogh.

"We spent so much time telling kids stories about art, in fact, that we were training them to be good listeners," says Margaret Burchenal, curator of education and public programs at Boston's Isabella Stewart Gardner Museum. "It's as if you always read aloud to kids and never let them read on their own."

Actually, it was as if you always read Tolstoy aloud to kids instead of working up to him over the course of years, starting with Dr. Seuss. A VTS paper describes what happens when teachers stop telling stories about art that children are not developmentally ready for, and students start "reading" art that they have the capacity to understand: "Over time, students grow from casual, random, idiosyncratic viewers to thorough, probing reflective interpreters. They go from finding only personal connections -- which is appropriate when they begin -- to searching out the intentions of artists and dealing with elements of styles."

But growth doesn't stop there. As teachers adopted VTS as an art program, they reported anecdotally that students applied their newfound analytic capabilities to other assignments. Housen and Yenawine began testing VTS as a way to strengthen general learning. In a five-year study in the Bryon, Minnesota, school district, Housen found that VTS developed critical-thinking skills that transferred to other settings -- from group discussions to individual writing, for instance -- and to other subjects. In 1998, when the first class of VTS veterans took the state's eighth-grade achievement test, Bryon scores jumped twenty-three points over the previous year, two and a half times the average state increase, Housen reported.

Small Commitment, Big Impact

An independent evaluation of VTS in a very different district -- in Miami-Dade County -- found similar results. Students in the program for three years showed significantly higher growth rates in visual literacy than a comparison group that didn't receive VTS, and this growth correlated strongly with reading and math gains. The program also promoted cooperation, respect, and tolerance for various viewpoints. The 2005 report further noted that VTS was effective for students with limited English proficiency, helping boost vocabulary and writing skills.

VTS, which started in grades 3-5, now spans K-8, and Housen and Yenawine are developing curricula for prekindergarten and high school. About 80,000 students will participate this year; at a time when the focus on reading and math is squeezing out the arts, VTS is growing.

"It's a minimal commitment, with an amazing impact," says Barbara Young, the recently retired superintendent of the Sonoma Valley Unified School District, in Sonoma, California.

The district piloted VTS in grades K-5 at El Verano last year and plans to expand the program to all elementary schools by 2009. Although hard data on the El Verano experience is still two years off, Principal Maite Iturri says a comparison of pre-VTS and post-VTS writing tests shows striking improvement, both in the use of language and the volume. And VTS skills turn out to be transferable not only for the students. "Teachers now have that inquiry frame of mind," Iturri says. "They're using it in a lot of other subjects."

But for Iturri, the biggest payoffs of VTS may not come from higher test scores -- at least not directly, anyway. El Verano is a struggling school filled with low-income children who live in the shadows of the lush, lavish California wine country. VTS has lifted the spirit of the school, she says, as great art can do. "VTS builds confidence and community. It enhances language, communication, and inquiry skills," Iturri adds. "It levels the playing field. The teacher accepts and celebrates all the answers the students give. Everyone is a winner."

Fran Smith is a contributing editor for Edutopia.

Comments (10)Sign in or register to postSubscribe to comments via RSS

Laurie Jerome-Pertilla's picture
Anonymous (not verified)

Wow- I have been struggling to find a non-hokey way to enrich my 1st Grade curriculum via the arts. I intuitively know that VTS will cause a paradigm shift with positive outcomes- personally and academically for my students. I have an urgent need to know more before my students are unwittingly conditioned to block out their authentic responses to art. I want them to experience the world through their own eyes, not mine. Many thanks

Mary Southard's picture
Anonymous (not verified)

Coming from a small rural area of North Texas I was "a bit of a blank" when it came to recognizing, or understanding art. The VERY BEST class I have EVER taken was an Art History course taught by Dr. Stroud at Levelland Junior College. He taught the entire course through slides he had taken and collected during his lifetime. His visuals, his music of the time period playing at the same time, and my personal connection to literature and history made the whole picture make sense. Ever since then, I think in terms of connections and can far more clearly analyze a time period, an author's approach and can now delightedly help others make that same journey. Thankfully, and appreciatively, I pass on snippets of what I learned every year in my senior English classes in an inner city school. Now, my students can see also.
Mary Southard

Deanna Messinger's picture
Anonymous (not verified)

It's the stuff I am about as an art teacher. Teaching about the "gray" areas in seeing, being and thinking that is not about the black and white nor right and wrong. It is the area where students have little experience, without us, to squirm in the uncertainty of their being no right answer, but active thinking.

My only concern is that it strikes slightly past "art for arts sake" and uses art (once again) as a means to promote and improve other academics (reading and math) and their skill sets.

I'm working toward the day when art is appreciated as a subject unto itself and not a peripheral course of study--a new renaissance (shall we give it a new name?) where we don't have to prove it's significance and importance in our society and culture. After all, art is the pulse of our culture.

Thanks.

Ellen Harris's picture
Anonymous (not verified)

I have used VTS and found it very powerful. I think it is important to reiterate that VTS is NOT an art or art history curriculum. While I think both areas need to be more available, comparing the two is a little bit of apples and oranges. Using art "looking" as a means to developing critical thinking skills is very powerful, but it does not pretend to be teaching art or art history. What it does do, however, is make kids more comfortable looking at art, talking about art and being around art. This is a good thing, and I think it speaks to the issue of getting more art into schools - we want MORE kids and their parents to clamor for art. VTS is a robust and pedagogically sound way of getting kids to talk with each other, to speak up about their own ideas and to learn how to look with care and specificity. Try it!

Louise Bower's picture
Anonymous (not verified)

I am a retired Early Childhood Educator who is currently being exposed to VTS as a docent at the Taft Museum of Art in Cincinnati. What I find most intriguing about this strategy as I learn about it and begin to use it, is that it is so remeniscent of the pedagogical strategies I used as a teacher and then later taught pre-K teachers. Urging children to observe and then verbalize their ideas, respecting all answers, scaffolding (thank you, Vigotsky!) from what children already know - the list is endless. All these are teaching strategies that are the stock in trade of early childhood education. To see them in use in service of a whole new way of looking at and really seeing works of art is a great delight to me.

Currently, I am working with a group of inner-city children at a small charter school. Many of them function well below grade level. I can't wait to see how they respond to this new questioning strategy.

Oh, and one last thing: we always stressed 'teacher wait time' in ECE. When you first say "What is going on here?" take time, a reasonable pause (count if you must!), to give childen time to look and also to get up the courage to answer!

kirsti's picture
Anonymous (not verified)

Wow - we recently wrote a blog on visual literacy (the end goal of the visual thinking strategies discussed in this article) and how it connected with the Da Vincian principle of Sensazione or how Leonardo believed that we needed to refine our senses, especially sight to enliven experience. Our expert podcast with Rhonda Robinson gave some very easy and also inst4ructive ways to encourage these strategies - such as getting the cartoons page out of the newspaper and cutting up the frames and asking students to rework the story and frames.Collage works along the same lines.These practices also help us understand how images are constructed and interpreted and how they can be changed - really important lessons in a digital age! http://blog.madcaplogic.com!

mary agnes pelletieri's picture

We have been using VTS in our school the last three years. Each year we have more grade level involvement and as the Art educator I can't say enough positive things about it. I guess, most importantly, it is the multiple intelligence approach to learning. Also it is a calm, thoughtful process which seems to be lacking in our ever increasing mandated testing schedules.

dickshore's picture

Fran Smith has it right, the learner creates meaning. so where is the work based on the insights of Piaget, Vigotsky and Feuerstein? is anyone aware of their work? and using it?

Natalie Logan's picture
Natalie Logan
Second grade teacher

This is a good strategy to encourage students to become actively engaged in the learning process.

Valentina's picture
Valentina
Mother of a special need kid now teen

Hi Laurie, i think that young people are getting bored of expired ways, these guys think fast and are hyper sensible.
I see it his way, my son sees the world thru his own eyes,cause we have given us the permission to share and experiment life by living it and rather than teach it.
Teachers as parents as judges tent to point (will all my respect)
Visual thinking is a shortcut , it is not art, is the art of a certain quality level of expression applied to: educatation, sales, lots of things,
Thanks thiis only my point of view.

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