Agency…Empowering students to direct their own learning

Originally posted on my personal blog empower2b.

In a world that is constantly changing, how is the education system going to evolve? Senge et al. (2012) suggest it is time to move away from the traditional schooling system that originated from the industrial era. This is an opinion is evident in the movement seen in education recently. According to Holland (2015), “…2016 may be the year of student agency — the ability to act independently within a given environment and assume an amount of control and empowerment” (Holland, 2015, para. 1). In the second half of 2018, this self-directed learning movement is gaining momentum as schools and organisations, such as the International Baccalaureate (IB), make student agency the main focus. Pushing outside comfort zones as educators and looking at how to elevate the learning environment for each individual learner is the first step to innovative teaching. (Couros, 2015)

In order to enhance opportunities for students to develop a skill set to enable them to be successful in employment that may not currently exist, educators need to be risk-takers and push past boundaries of the familiar. It is no longer possible to offer the “same” experience that has always been provided and be satisfied and successful professionally. Classroom diversity is also a realistic norm in today’s schools with class populations offering a range in academic level, cultures, beliefs and the life experiences children have had. This is particularly the case in the international school setting and educators need to cater to class populations that do not fit the one-size-fits-all mould. So how? How do schools encourage their educators to create a learning environment that provides individualised programs to ALL students, no matter their needs? When preparing for lessons, how can students be guided to take more responsibility for their learning journey? The answer is agency!

“Students have a sense of “agency” when they feel in control of things that happen around them; when they feel that they can influence events. This an important sense for learners to develop. They need to be active participants in their learning.” (NZ Ministry of Education, 2016)
Couros (2015) states that students “…must learn to collaborate with others from around the world to develop solutions for problems. Even more importantly, our students must learn how to ask the right questions – questions that will challenge old systems and inspire growth.” (Couros, 2015.) The concept of ‘agency’ is not a new educational term; many may argue that teachers have always been looking for ways to individualise learning for their students. John Dewey talked about the importance of student-directed learning in 1938 when he highlighted “that students should assume an active role in their learning process so as to develop the skills for becoming successful members of their communities.” (Holland, 2016, para. 6)  Agency enables all of this to happen!

The IB is currently releasing a series of enhancements to their Primary Years Programme (PYP), and one of the major changes for the programme is the inclusion, and indeed focus, on student agency. The PYP defines agency as being  “… the power to take meaningful and intentional action, and acknowledges the rights and responsibilities of the individual, supporting voice, choice and ownership for everyone in the learning community.” (IBO, 2017) Stevens (2016) believes that creating opportunities for students to have a voice and choice towards their own learning journey enables them to “…feel that that their opinions and ideas are heard and valued by their peers and teachers, they’re much more likely to be engaged with their education.” (Stevens, 2016, para. 1)

Figure 1. IB PYP enhanced organizing structure. This figure illustrates the structure the PYP will take beginning in 2019.

Through voice and choice students are empowered to have a say in what their learning journey should look like, resulting in them believing that they are in control of their growth. It is difficult to see how you can have agency without empowering the students; in fact, Kearns (2017) suggests that “empowerment is synonymous with agency.” (Kearns, 2017, para. 9)

Levinson (2016) suggests the students of today are using the knowledge and skills that they are developing outside of the classroom to move them forward and often beyond what their teachers are aware of. Enabling a self-directed approach in the classroom allows students to have the agency to use skills to further develop inside the classroom and possibly assisting those they are with.  One goal of agency is student action. Action is an essential element of all IB programmes and can take various forms, such as: social justice lifestyle choices, participation, social entrepreneurship, and advocacy. (IBO, 2017)
Agency can take many different forms and like its purpose with students, enables educators to create an individualised environment in their classrooms. However, in ALL cases where agency is the goal, student-directed learning should always remain the focus. Students will have increased choice and voice throughout their day or in the way they organize their learning. These may include, but are not limited to:

• Personalising learning through individual schedules
• Teacher- and student-led workshops that students can sign up for
• Creating physical learning environments to support the social, physical and emotional well-being
• Creating a culture of respect in the classrooms in which students feel supported to take risks and be accountable, even when they make mistakes.
• Collaborating and co-constructing learning and learning goals.
• Genius Hour / iTime / 20% Time / Passion Projects

Opportunities to create agency in the classroom

When changing the climate of the classroom into one that is focused on being student directed, a fun and empowering place to start is the physical environment. Merrill (2018) states, “Flexible spaces, educators agree, alter the fundamental dynamics of teaching and learning, giving students more control and responsibility, improving academic engagement, and undermining the typical face-forward orientation of the traditional learning environment.” (para.15) When establishing a class climate at the beginning of the year, task the students in the class to “create” their classroom environment (Refer to figure 4 for an example of the classroom environment one class created during a mathematics geometry unit.).

Figure 2. Taylor (2017) Flexible learning space.  This figure illustrates the results of a student-designed classroom during a transdisciplinary mathematics unit.

 

When teachers create a flexible learning environment the students will be empowered with the agency to develop their weekly goals and to sign up for focused teaching groups with the teachers or with students who believe their enhanced level of understanding will enable them to teach their peers. This will assist them in gaining a greater awareness of their strengths and weaknesses academically and also encourage them to be proactive in deepening their understanding. To assist students in gaining a more accurate self-awareness, they reflect on their learning of the literacy and numeracy achievement standards. They explain their decisions of where to place each standard by providing of their evidence of learning.

 

In his presentation at the Learning 2 conference Sam Sherratt (2018) discussed the importance of moving students away from being compliant and, instead, empowering them to take the lead. Stephen Downes (2010) states, “We need to move beyond the idea that an education is something that is provided for us and toward the idea that an education is something that we create for ourselves.” (Couros, 2015, p. 31) In an upper elementary school classroom, students are taught how to create their own weekly schedule.  Using their weekly goals the students decide upon the focused workshops and tasks that they will undertake throughout the week. With guidance from their teacher students focus on ensuring they have a balance of curriculum areas, a range of independent versus group work opportunities, and also meeting their individual needs with focused instruction.

Figure 3. Empowered to create. This figure illustrates the student’s taking responsibility to schedule their weekly lessons and sign up for workshops.
Senge (2012) highlights the importance of students learning by being “alive”, and not compartmentalized into subjects that are looked at in isolation. In the IB PYP the focus is on providing the students with a transdisciplinary curriculum where different subjects are taught and connected simultaneously.  “Understanding a world of interdependency and change rather than memorizing facts and striving for right answers” (Senge et al., 2012, p. 65) is the goal. Through the units of inquiry undertaken throughout the year, the focus on content is overtaken by the importance of teaching concepts and skills. It is through the transdisciplinary inquiry that students get to take true control over their learning and achieve a level of learning that is authentic and connected to the wider world. Through asking questions and making connections between the key concepts and the different curriculum areas, the students can gain a realistic understanding of the unit. Assessments are no longer based purely on the content being addressed but instead a reflection of the learning they had made. This learning could be in literacy or maths but also the skills they developed and the connections they had made.

A real example of how agency can lead to authentic action

As students of the United Nations International School (UNIS), there is a level of responsibility to take action and help make improvements in the wider community.  A culture of student-directed learning and agency helps make this process of taking action a more authentic one. As students set their learning goals for the week, throughout the units of inquiry they set action goals that refer to how they can apply their new understandings practically. With teacher guidance, they are encouraged to look to the broader community, outside of the school, and gain different perspectives on the topics they are looking at.

It is through the transdisciplinary inquiry that students get to take true control over their learning and achieve a level of learning that is authentic and connected to the wider world. Let’s consider a real example. Fourth-grade students are looking at the UN Convention on the Rights of the Child. The teacher introduces the unit and the students ask questions that highlight their wonderings about the topic. Through these discussions and inquiry, the students begin to make connections to the rights of the Vietnamese children that they see outside the school every day. What rights are the local children accessing? What are the different circumstances that affect the rights they have compared to the students at UNIS? Soon the students are exploring a range of different avenues, all connected to the UN convention. They are working individually, in pairs or in small groups. They are emailing the local embassies and UN headquarters asking for information and interviews. They are working with a member of the Vietnamese staff in the school, to organise and attend field trips to the Hanoi Old Quarter to talk with local kids and find out more about them.

All of a sudden their “learning” is real and connected to where they live. They have popped their international school bubble and are seeing the world through a more realistic perspective. Then one day the teacher asks them: “what are you going to do now you have learned all of this?” Brainstorming begins, ideas flow and the excitement levels rise. All of a sudden the question, “As students of the UN, what is my responsibility?” makes sense, and an answer is achievable!

By the end of this unit of inquiry, the students in grade four were taking authentic action! They created social enterprises with a goal of achieving their desired actions towards giving Vietnamese children less fortunate than themselves, access to their rights. The following six weeks, as they worked on their new unit of inquiry, focused on building a small business (in their case, a social enterprise), and keeping in mind their end goal.

Following a successful Grade 4 Market Day, the students jumped straight into planning for their actions. They organised pencil drives for a local charity, went shopping with the school gardener, made gardening kits, and then delivered them to families living on the banks of the Red River; they purchased a Lifestraw water filter and gave it to a small rural community school, and they purchased teddy bears for each of the children in an orphanage in Ho Chi Minh City. The classroom was buzzing and the students were driven!

Upon reflection, students stated that they felt that they had gained more than just an understanding of the content about children’s rights. They stated that their time management skills, communication skills, and collaborative skills developed significantly and allowed them to take more risks. When reflecting on staying with the transdisciplinary, student-directed approach, they unanimously requested to stay with the new classroom approach. The students want to be held accountable for their learning; they want to be in control of their education journey!

For many educators change inevitably brings a sense of loss to those involved and evokes a number of different positive and negative emotions (Fullan, 2001). For innovation to be successful there needs to be collaboration and buy-in from the entire school community. (C. DeLuca, personal communication 2018) By empowering teachers and other members of the school community to have input and a certain degree of voice and choice, more support for the change will be achieved. (A. Richardson, C.Stander, and M.Taylor, personal communication 2018) Transparency and clarity are necessary in order to ensure that students are meeting the requirements that the school asks for. Inviting teachers into those classrooms where the innovation is in operation is a way for them to visualise the reality, see for themselves what it “can look like”, and to give them the opportunity to ask questions and inquire into the possible concerns they may have.

When communicating with parents, an open-door policy is also a strategy that Taylor (2017) suggests is successful. Provide the background and research for the change with an open invitation for them to come and witness the changes for themselves. Ask for feedback prior to the parents coming into the classroom so that you are able to address these areas during the open house. The key is to remember that parents want what is best for their child and their child’s future. Show them the big picture and the evidence of results.

“If innovation is going to be a priority in education, we need to create a culture where trust is the norm.” (Couros, 2015, p. 69) and to do this, educators need to be comfortable playing with the unknown and be ready to make mistakes. As a school community, it is important to value a shared vision that is centered around student learning being current and according to the latest research. The priority should always be on preparing the students for their future, not for a future that is now in the past.

References

Couros, G. (2015). The innovators mindset empower learning, unleash talent, and lead a culture of creativity. San Diego, CA: Dave Burgess Consulting.

Fullan, M. (2001). Leading in a Culture of Change. San Francisco, CA: Jossey-Bass.

Holland, B. (2015, December 9). The Year of Agency. Retrieved from https://www.edutopia.org/blog/the-year-of-agency-beth-holland

International Baccalaureate. (2017, November). The Learner in the enhanced PYP. Retrieved from http://blogs.ibo.org/sharingpyp/files/2017/12/2017-December-The-Learner.pdf.

Kearns, G. (2017, December 11). Why student agency already exists. Retrieved from https://www.renaissance.com/2017/06/01/blog-why-student-agency-already-exists/

Levinson, M. (2016, April 11). Next Generation Learning: Bringing Student Agency Back to Schooling. Retrieved from https://www.edutopia.org/blog/next-generation-learning-student-agency-matt-levinson

Merrill, S. (2018, June 14). Flexible Classrooms: Research Is Scarce, But Promising. Retrieved from https://www.edutopia.org/article/flexible-classrooms-research-scarce-promising

New Zealand Ministry of Education. (2016, November 15). Learner agency. Retrieved from http://nzcurriculum.tki.org.nz/Curriculum-resources/NZC-Online-blog/Learner-agency

Senge, P. M., Cambron-McCabe, N., Lucas, T., Kleiner, A., Smith, B., & Dutton, J. (2012). Schools that learn.: A fifth discipline fieldbook for educators, parents and everyone who cares about education. Knopf Doubleday Publishing Group.

Sherratt, S. (2018, April 09). Already breaking moulds: Studio 5. Retrieved from https://www.youtube.com/watch?v=IcM2Sos091Y&list=PLOkeXFURWAFpzz-uzQ-nG-HTv0kq-iy_x&index=7 L2 Talks Europe

Stevens, K. (2016, April 22). 5-Minute Film Festival: Student Voice and Choice. Retrieved from https://www.edutopia.org/film-fest-student-voice-agency

Taylor, M. (2017, December 15). Exciting, authentic, connected…transdisciplinary learning! Retrieved from http://blogs.unishanoi.org/mtaylor/

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The Science of the Individual and the Case for Agency

“If a teacher tells me what to do, I’m not really thinking” – Third Grade Student

Lately, many educators have been discussing the importance of learner agency and, as many people know, the new enhancements to the International Baccalaureate’s Primary Years Programme (PYP) will be introduced in 2018. The enhancements will offer a deeper focus on agency. I’ve read a lot of exciting blog posts and tweets regarding the upcoming changes. Many educators are naturally asking themselves WHAT these enhancements will mean for their schools and HOW they will implement them. As an educator who runs a choice-based Visual Arts programme in an IB World School, I’m keenly interested in agency. Over the past two years, I’ve spent a lot of time reflecting on and researching the WHY in my classroom and it has transformed my practice. As I anticipate the enhancements to the PYP, I have been curious to go deeper with the WHY for agency and I encourage other educators to reflect on and research the WHY for agency in their own practice.

(IB, 2017)

What is agency? According to the International Baccalaureate,

Agency is the power to take meaningful and intentional action, and acknowledges the rights and responsibilities of the individual, supporting voice, choice and ownership for everyone in the learning community.

Agency is present when students partner with teachers and members of the learning community to take charge of what, where, why, with whom and when they learn. This provides opportunities to demonstrate and reflect on knowledge, approaches to learning and attributes of the learner profile. (IB, 2017)

Why should we focus on Agency?

For an answer to that question, a good place to start is The End of Average – How to Succeed in a World that Values Sameness by Todd Rose (2016).

The Science of the Individual

Rose (2016), in his fascinating book, describes himself as a high school dropout with a D-minus average. By the time he was 21, he was married with children and trying to support his family with a stream of low-wage jobs. One might have thought that he was on a road to a life filled with poverty and struggle. If we fast forward to today, Todd Rose is the director of the Mind, Brain and Education program at the Harvard Graduate School of Education. What he has learned about the Science of the Individual and himself along the way is the secret to his remarkable transformation and the subject of his book.

Designing for No One

In his book, Rose tells how, in 1952, the US Air Force was trying to figure out why they were having so many problems with their fighter jets. At first they blamed the pilots. Then they blamed the technology. Next they blamed the flight instructors. But it turns out that the problem was the cockpit. The cockpit had been designed to fit the average pilot’s body. Lieutenant Gilbert S. Daniels was asked to conduct a new study of the dimensions of the pilots, since the last time the Air Force had conducted such a study was almost three decades prior. Daniels measured over 4,000 pilots on ten physical dimensions. Air Force researchers thought that most of the pilots would fall within the average range on all dimensions. But what Daniels found was that no pilots were within the average range on all dimensions. Not a single pilot. By designing a cockpit for the average pilot, the Air Force had “designed a cockpit for no one”. The Air Force took these findings seriously and made a bold move. They demanded that the cockpits be “designed to the edges” of the dimensions of their pilots. The final results were things like adjustable seats (we use these daily now!) and adjustable instruments. [Rose, 4]

The Average Man and the Averagarian Approach

Rose is a researcher and a specialist in the Science of the Individual. He details the fascinating timelines, historically significant events, scientists, and research findings which led to the first practices of collecting large amounts of data from many individuals and averaging them to look for ways to make sense of society, education, medicine, and industry.

Adolphe Quetelet is one of those early scientists. Born in 1796 in Belgium, Quetelet borrowed the method of averages from astronomy to form his social science and was responsible for promoting the concept of the average man, according to Rose (26-31).

The Impact of the Averagarian Approach on Industry and Education

Rose writes that Frederick Winslow Taylor was responsible for the standardization of the work environment. In the 1890s, Taylor was working at a steelworks company when he began to look for ways to improve the speed of various tasks, standardize them to the “one best way”, and time them for efficiency. Even today, anyone who has worked in a factory or production environment has probably worked within the approaches for standardization that were first introduced by Taylor. (Rose, 40-45)

By the early twentieth century, this “Taylorist” approach of standardization within the industrial world had a profound influence on education in the United States. “The educational Taylorists declared that the new mission of education should be to prepare mass numbers of students to work in the newly Taylorized economy.” (Rose, 50) By 1920, students were provided with one standardized education.

Edward Thornkike advocated for sorting students according to their ability. The fast learners (believed to be the talented students) were identified and had a clear path to college. The average learners were expected to take up jobs within the Taylorized economy. The slow learners were given little support. (Rose, 52-56)

These influences on industry and education are still present in society today in the form of employee rankings, standardized tasks, efficiency ratings, standardized tests in schools, grading systems, standardized text books, bells to signal the end of each class, IQ ratings, personality tests, etc.

The Research and the Three Principles of Individuality

What does the research tell us about things like averages, IQ tests, grades, etc. in relation to the individual? Like the story of the Air Force fighter pilots, over and over again, Rose details how averages can range from uninformative to terribly misleading when it comes to describing or trying to understand any one individual.

If the research is telling us that averages are not adequate in trying to understand the individual, what other approach might work? Rose outlines three principles of individuality: the jaggedness principle, the context principle, and the pathways principle.

The Jaggedness Principle

Rose (81) explains that we often simplify things in our mind to just one dimension. For example, if we think about size, we might think about a person being large, medium or small. However, the reality is that people come in all shapes and sizes, so that their dimensions create a jagged profile. See example below.

(Rose, 2016)

A one-dimensional approach of large, medium or small fails to capture the true nature of human size (Rose, 82). Additionally, looking at the average fails to capture the true nature of size.

The same is true for talent and intelligence, according to Rose. Yet, businesses and schools continue to look at one-dimensional factors mentioned above such as employee ratings, standardized test scores, grades, IQ scores, grade-level textbooks, etc. 

The Jaggedness Principle in the Visual Arts Class

When students partner with members of the community and take charge of “what, where, why, with whom, and when they are learning” (IB, 2017), they are developing across multiple dimensions. The jaggedness principle tells us that each individual is unique across these multiple dimensions. When students approach learning from their own particular dimensions, perspectives and interests, they will grow and develop at the pace that is best for them and in a way that sparks genuine curiosity, as they follow their passions.

For the past 100 years, Visual Arts classes around the world have not changed much (Hathaway, 2013). The practice of introducing adult art to children and having them copy either the paintings or the style has become something that we expect from art programmes (Hathaway, 2013). The results of such lessons are often quite pleasing to the adult eye and we deceive ourselves into thinking that the students have been creative and interested in the learning. I used to approach my classes in the same way. After some honest reflection, I realized that cookie-cutter lessons are neither creative nor interesting for the students. Like the findings from Rose in his book, students come to the Visual Arts class with a variety of interests, passions, knowledge, skills and developmental levels. Their profiles are jagged. Giving the students agency (giving them a choice, voice and ownership of their learning) makes sense because one size does not fit all.

The Context Principle

“…(T)he context principle…asserts that individual behavior cannot be explained or predicted apart from a particular situation, and the influence of a situation cannot be specified without reference to the individual experiencing it.” (Rose, 106). What this means is that personality traits we often use to describe someone are not consistent in all contexts. Rose gives the example of “Jack”.

IF Jack is in the office, THEN he is very extroverted.

If Jack is in a large group of strangers, THEN he is mildly extroverted.

IF Jack is stressed, THEN he is very introverted. (106)

Yet we tend to think of people as either extroverted or introverted; honest or dishonest; aggressive or non-aggressive; or creative or not creative. The context principle illustrates that our traits are influenced by the context in which we find ourselves. Additionally, not all people respond to specific situations in the same way.

The Context Principle in the Visual Arts Class

Through the context principle, we learn that each student reacts to various situations differently. Therefore, as teachers and members of the community are partnering with students, we must understand that part of our responsibility is to create a range of opportunities so that each student will be successful. That means offering students agency to choose options that provide the best context in which the students will thrive.

In my Visual Arts class, I used to decide on the lesson idea, choose the materials and try to scaffold everything in such as way so that there would be little or no failure within the class. However, no matter how much I tried to infuse my own excitement into the class and scaffold the lesson, there were inevitably cries of “I can’t do it!” “Do we have to do this?” “Is this good enough?” Now my approach is radically different. I now use an approach that is similar to the Reading and Writing Workshop Model for children’s literacy (Children’s Literacy Initiative). The concept is simple: IF Jack is reading something that he loves THEN he is likely to read longer and think more deeply about his reading. This will have an obvious effect on his literacy development. Similarly for Art, the approach I use is called Teaching for Artistic Behavior which regards students as artists, supports different needs and interests of students, and creates choices for multiple learning opportunities. (TAB)

Now, my classroom is designed with context in mind. Students are presented with a classroom full of interesting materials to explore (cardboard, sticks, a variety of paints, coloured papers, clay, fabric, wool yarn, glue, scissors, etc.) The art room is a safe space where students are invited to explore materials and express their ideas. Mini lessons offer artists and concepts to think about, skills and tools to practice or reflection time. The rest of the time is spent supporting students to discover contexts in which they thrive. IF Jack is exploring his own passions and curiosity THEN he is likely to be more engaged and take more ownership of his learning. 

What I’ve discovered is that curiosity usually leads to something more challenging. For example, many elementary students love to make paper airplanes. One first grader recently commented to me that learning how to make a paper airplane was one of the highlights of her year. Given the freedom of choice and materials to explore making paper airplanes students might make planes until they are tired of folding papers. What happens next is important. Once they see all of the paper airplanes on the table, someone might have the brilliant idea that they should build an airport. Now a group of students is exploring architectural modeling, all the while developing spatial reasoning and collaboration skills. One second grader recently commented about an airport he built with his classmates, “I didn’t think I could build something that big. It helped my confidence grow.”

Later the same students might decide to build a model of a city or paint a map and develop a story that goes along with it. Yong Zhao said, “When a child has a reason to learn, the basics will be sought after, rather than imposed.” (Zhao, 2012) The context principle explains why the proper context helps students develop their own reasons to learn. This leads us to the next principle: the pathways principle.

The Pathways Principle

Edward Thorndike introduced the idea that “faster equals smarter” into the educational system. (Rose, 130). But, are speed and learning ability really related? In the 1980s, Benjamin Bloom conducted a research study in which two groups of students were taught a subject that they did not already know. The first group (“fixed-pace group’) was taught during fixed periods of instruction that were standard at the time. The second group (‘self-paced group’) was taught the same material over the same total amount of time, but they had a tutor who permitted each individual to go at their own pace (sometimes quickly and sometimes slowly). In the first group, 20 percent of the students achieved “mastery of the material” (a score of 85 percent or higher). In the second group, 90 percent of the students achieved a mastery score. With flexibility in the self-paced group, most of the students performed very well. (Rose, 132) 

If not all students learn at the same pace, what about sequence? Do all students learn in the same sequence? Kurt Fischer is a scientist in the field of the science of the individual. According to Rose, Fischer has studied a wide range of developmental issues, such as how young children learn to read. (137) For example, Fischer discovered that there are three distinct sequences in which a child might progress to learn to read single words. Fischer recognized that two of the sequences have similar results, however, the third sequence results in reading difficulties. As a result, now children who follow the third sequence can be identified and receive the proper support.

From his research, Fischer suggests that we use the metaphor of a “web” to describe the process in which each step we take in our development opens up a range of possibilities (Rose 138).

The Pathways Principle in the Visual Arts Class

The pathways principle teaches us that each student’s learning journey will be a unique path in which the next steps are revealed as the student makes progress in their learning. Giving students opportunities for agency will give them the power to make meaningful and intentional action as a result of their learning and such action will illuminate the path to next steps in the student’s journey as they reflect on their knowledge and approaches to learning.

In the Visual Arts class this year, there is a grade four student who started the year without much confidence in his own art-making skills. After some exploration and discussion, he started making geometric designs with a ruler on paper and then carefully colored them. Next he started a collage project cutting out geometric shapes. He immediately asked permission to abandon the collage project because he had something bigger in mind. Now he’s working on a large poster-size painting of a cityscape (using the skills he learned with the geometric designs). He asked me if I could display his painting in the room and ask students from other classes to offer him some feedback. Recently, he saw me working on two large canvases 2.5 meters tall with the grade five class. He asked if his next project could be on such a large canvas. I suspect that we have an installation artist in the making, as his projects grow larger and more complex with each step.

A third grade student has taken a very different path this year. She started the year making large expressive abstract paintings with bold, bright colors. Lately she has been exploring model making as she collaborates with a classmate to build miniature furniture models. Last week they designed and built a model car together. Two other students in the same third grade class have spent most of the year on a series of elaborately detailed drawings for shoe designs, taking breaks in between designs to do small 3-D modeling projects. “If a teacher tells me what to do, I’m not really thinking,” commented one of the shoe designers. 

All of these students can describe their learning journey in the Visual Arts class this year. Because they were given opportunities to express their agency, they each thrived as they explored different pathways.

It’s Time for Agency

The jaggedness principle, the context principle and the pathways principle provide us with answers to WHY agency is important. Like the one-size-does-not-fit-all lesson the US Air Force learned in 1952, it’s time for educators to respect student agency and partner with the learning community to fit each student’s educational experience to their own individual, multidimensional traits and characteristics. It’s time for educators to present students with opportunities to choose contexts in which they learn best. It’s time for students to be given permission to follow pathways that make sense for each individual. Knowing what we know now, it’s time for a greater focus on agency. As a Visual Arts educator, I want to be committed to helping students, as individuals, develop their learner agency, make choices that are relevant to them, express their own voice, and take ownership of their interests and learning.

Follow me on Twitter: @artwithron    or on my blog: artwithron.com

Resources:

Children’s Literacy Initiative. Reading and Writing Workshop. https://cli.org/resource/reading-writing-workshop/

Hathaway, Nan E. (2013). Smoke and Mirrors: Art Teacher as Magician. Art Education. http://teachingforartisticbehavior.org/wp-content/uploads/ArtEd_May13_Hathaway.pdf.

IB (International Baccalaureate). November 2017. The Learner in the Enhanced PYP. https://resources.ibo.org/pyp/topic/PYP-review-updates/resource/11162-46068/data/p_0_pypxx_amo_1711_1_e.pdf. Accessed 26 May 2018.

Rose, Todd (2016). The End of Average – How to Succeed in a World that Values Sameness, Allen Lane, USA/UK.

TAB (Teaching for Artistic Behavior). http://teachingforartisticbehavior.org/resources/sample-page/about-us/

Zhao, Yong (2012) “World Class Learners: Educating Creative and Entrepreneurial Students.” Corwin.