Science and the arts might seem very different, but the processes that both fields use are very similar. The scientific method is a way to explore a problem, form and test a hypothesis, and answer questions. The creative process creates, interprets, and expresses art. Inquiry is at the heart of both of these methods. The purpose of this article is to show how the arts and sciences can be taught together by using their similar processes which might improve student engagement. Arts-integration research from the literature is discussed. Both the scientific method and the creative process are described through examples of scientists and artists in different areas. Detailed learning activities are presented that demonstrate how both the scientific method and the creative process can be implemented into the classroom. Two activities are appropriate for elementary-aged children, grades K-3, while the other activities are geared for intermediate school-aged students, grades 4-6. All activities are written where either a science educator or arts educator could utilize the lessons.
{"title":"The Scientific Method and the Creative Process: Implications for the K-6 Classroom.","authors":"A. J. Nichols, April Stephens","doi":"10.21977/D99112599","DOIUrl":"https://doi.org/10.21977/D99112599","url":null,"abstract":"Science and the arts might seem very different, but the processes that both fields use are very similar. The scientific method is a way to explore a problem, form and test a hypothesis, and answer questions. The creative process creates, interprets, and expresses art. Inquiry is at the heart of both of these methods. The purpose of this article is to show how the arts and sciences can be taught together by using their similar processes which might improve student engagement. Arts-integration research from the literature is discussed. Both the scientific method and the creative process are described through examples of scientists and artists in different areas. Detailed learning activities are presented that demonstrate how both the scientific method and the creative process can be implemented into the classroom. Two activities are appropriate for elementary-aged children, grades K-3, while the other activities are geared for intermediate school-aged students, grades 4-6. All activities are written where either a science educator or arts educator could utilize the lessons.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.21977/D99112599","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68510588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Traditionally, general skills and personal growth have been developed through cognitive processes within academic contexts. Development based on experience may be an alternative route to achieve cognitive knowledge. Enact-learning is based on the biunivocal relationship between knowledge and action. Action is movement. Participants interact with their environment through movement. When participants are aware of this interaction, knowledge is created. First interactions in personal development with the environment are non-verbal. Returning to this concept, we propose work based on creative movement and non- verbal communication. This approach takes into account the multiple intelligences paradigm in order to generate knowledge. This paper seeks to explain a movement development program that has been applied to freshman students studying in different academic areas. The program design is explained in detail. The article demonstrates how the program has helped to develop the participants' body consciousness. The students' reflections are analyzed using a qualitative methodology. A questionnaire focused on the students' perceptions of the connections between general skills and the program rounds out the research results.
{"title":"Can We Use Creativity to Improve Generic Skills in Our Higher Education Students? A Proposal Based on Non-Verbal Communication and Creative Movement.","authors":"R. Rodriquez, G. Castilla","doi":"10.21977/D9912639","DOIUrl":"https://doi.org/10.21977/D9912639","url":null,"abstract":"Traditionally, general skills and personal growth have been developed through cognitive processes within academic contexts. Development based on experience may be an alternative route to achieve cognitive knowledge. Enact-learning is based on the biunivocal relationship between knowledge and action. Action is movement. Participants interact with their environment through movement. When participants are aware of this interaction, knowledge is created. First interactions in personal development with the environment are non-verbal. Returning to this concept, we propose work based on creative movement and non- verbal communication. This approach takes into account the multiple intelligences paradigm in order to generate knowledge. This paper seeks to explain a movement development program that has been applied to freshman students studying in different academic areas. The program design is explained in detail. The article demonstrates how the program has helped to develop the participants' body consciousness. The students' reflections are analyzed using a qualitative methodology. A questionnaire focused on the students' perceptions of the connections between general skills and the program rounds out the research results.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.21977/D9912639","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68510961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Sarasota County School Building Program 1955-1960 is revisited through a detailed examination of how architects and educators collaborated to design an innovative group of public schools that provided opportunities for the transformation of learning space. This multi-dimensioned examination is grounded in an historical contextualization of the school building program; in visual and discursive archival analysis related to four of the schools considered especially notable; and in the integration of contemporary voices of some of the teachers, students, and educational employees who worked in these schools. A concluding section discusses four key lessons of this artistic-educational collaboration that might be fruitful for educators to ponder as they seek to create the kinds of learning environments that optimize students’ educational experience.
{"title":"Can Architects Help Transform Public Education? What the Sarasota County Civic School Building Program (1955-1960) Teaches Us.","authors":"N. Paley","doi":"10.21977/D9912643","DOIUrl":"https://doi.org/10.21977/D9912643","url":null,"abstract":"The Sarasota County School Building Program 1955-1960 is revisited through a detailed examination of how architects and educators collaborated to design an innovative group of public schools that provided opportunities for the transformation of learning space. This multi-dimensioned examination is grounded in an historical contextualization of the school building program; in visual and discursive archival analysis related to four of the schools considered especially notable; and in the integration of contemporary voices of some of the teachers, students, and educational employees who worked in these schools. A concluding section discusses four key lessons of this artistic-educational collaboration that might be fruitful for educators to ponder as they seek to create the kinds of learning environments that optimize students’ educational experience.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68511006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The most up-to-date validations of educational praxis propose that teachers and learners should engage together in a process of understanding life and the world, should share their anxieties and their problematic issues, look for solutions, make plans for action, express themselves creatively and take a critical stance toward every new datum before accepting it as knowledge. For many years, the dominant view was that the study of certain subject areas--and nothing else--was sufficient to promote students’ critical thinking skills. This conviction was overturned by John Dewey, who pointed out that any school subject may promote critical thinking if teachers base their teaching on challenges and issues presented for investigation, as well as encouraging reflection. As music offers the repeated challenge of situations in which there is no standard or approved answer, it can promote critical thinking. This article presents a review of the literature on the definition of critical thinking, points out the importance of the promotion of critical thinking in general education as well as in art and music education, and, finally, proposes for the teaching and learning of music a framework of applications within which critical thinking skills may be developed.
{"title":"Critical Thinking and School Music Education: Literature Review, Research Findings, and Perspectives.","authors":"May Kokkidou","doi":"10.21977/D9912644","DOIUrl":"https://doi.org/10.21977/D9912644","url":null,"abstract":"The most up-to-date validations of educational praxis propose that teachers and learners should engage together in a process of understanding life and the world, should share their anxieties and their problematic issues, look for solutions, make plans for action, express themselves creatively and take a critical stance toward every new datum before accepting it as knowledge. For many years, the dominant view was that the study of certain subject areas--and nothing else--was sufficient to promote students’ critical thinking skills. This conviction was overturned by John Dewey, who pointed out that any school subject may promote critical thinking if teachers base their teaching on challenges and issues presented for investigation, as well as encouraging reflection. As music offers the repeated challenge of situations in which there is no standard or approved answer, it can promote critical thinking. This article presents a review of the literature on the definition of critical thinking, points out the importance of the promotion of critical thinking in general education as well as in art and music education, and, finally, proposes for the teaching and learning of music a framework of applications within which critical thinking skills may be developed.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68511082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Author(s): Winter, Robin O | Abstract: Resident physicians are particularly susceptible to burnout due to the stresses of residency training. They also experience the added pressures of multitasking because of the increased use of computers and mobile devices while delivering patient care. Our Family Medicine residency program addresses these problems by teaching residents about the mindful practice of medicine. We utilize A. A. Milne’s classic children’s books, Winnie-the-Pooh and The House at Pooh Corner, along with Benjamin Hoff’s The Tao of Pooh to explain Dr. Ron Epstein’s four habits of mindfulness: attentive observation, critical curiosity, beginner’s mind, and presence. We also use video clips from two Disney movies, The Many Adventures of Winnie-the-Pooh and A Day for Eeyore as well as Kenny Loggins’ song, House at Pooh Corner. With Winnie-the-Pooh’s help, residents learn how to become more mindful physicians by incorporating Epstein’s four habits of mindfulness into their daily practice.
{"title":"The Mindful Physician and Pooh","authors":"R. Winter","doi":"10.21977/D99116252","DOIUrl":"https://doi.org/10.21977/D99116252","url":null,"abstract":"Author(s): Winter, Robin O | Abstract: Resident physicians are particularly susceptible to burnout due to the stresses of residency training. They also experience the added pressures of multitasking because of the increased use of computers and mobile devices while delivering patient care. Our Family Medicine residency program addresses these problems by teaching residents about the mindful practice of medicine. We utilize A. A. Milne’s classic children’s books, Winnie-the-Pooh and The House at Pooh Corner, along with Benjamin Hoff’s The Tao of Pooh to explain Dr. Ron Epstein’s four habits of mindfulness: attentive observation, critical curiosity, beginner’s mind, and presence. We also use video clips from two Disney movies, The Many Adventures of Winnie-the-Pooh and A Day for Eeyore as well as Kenny Loggins’ song, House at Pooh Corner. With Winnie-the-Pooh’s help, residents learn how to become more mindful physicians by incorporating Epstein’s four habits of mindfulness into their daily practice.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.21977/D99116252","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68511371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Author(s): Love, Katie I. | Abstract: Theater of the Oppressed (TO) is used in a variety of setting and communities to explore ways of recognizing and overcoming oppressions. The main purposes of TO is to become more critically aware of oppressions and power relationships, to rehearse alternative solutions for real life, and to ultimately to be able to make change for social justice. This article describes the use of TO in a baccalaureate nursing education classroom as a way to rehearse for real life situations, confronting the status quo, experience positive communication techniques for empowered thinking, and practice their role as change agents within the healthcare arena. The methods of "cops in the head," "forum theater," and "image theater" will be described along with a discussion of how these methods were used in a community health nursing course. Although the examples provided here are specifically for a nursing class, they could be used in any health related field with potential to transform healthcare and ultimately to improve the care experience of patients from the most vulnerable populations.
摘要:《被压迫者的剧场》(theatre of the压迫者，简称TO)在各种情境和群体中被用来探索认识和克服压迫的方式。TO的主要目的是更加批判性地意识到压迫和权力关系，为现实生活排练替代解决方案，并最终能够为社会正义做出改变。本文描述了在本科护理教育课堂中使用TO，作为一种为现实生活情况进行排练的方式，面对现状，体验积极的沟通技巧，以增强思考能力，并在医疗保健领域实践他们作为变革推动者的角色。本文将描述“头脑中的警察”、“论坛剧场”和“形象剧场”的方法，并讨论如何在社区卫生护理课程中使用这些方法。虽然这里提供的例子是专门针对护理课程的，但它们可以用于任何与健康相关的领域，有可能改变医疗保健，并最终改善最弱势群体患者的护理体验。
{"title":"Using Theater of the Oppressed in Nursing Education: Rehearsing to Be Change Agents.","authors":"K. Love","doi":"10.21977/D9812650","DOIUrl":"https://doi.org/10.21977/D9812650","url":null,"abstract":"Author(s): Love, Katie I. | Abstract: Theater of the Oppressed (TO) is used in a variety of setting and communities to explore ways of recognizing and overcoming oppressions. The main purposes of TO is to become more critically aware of oppressions and power relationships, to rehearse alternative solutions for real life, and to ultimately to be able to make change for social justice. This article describes the use of TO in a baccalaureate nursing education classroom as a way to rehearse for real life situations, confronting the status quo, experience positive communication techniques for empowered thinking, and practice their role as change agents within the healthcare arena. The methods of \"cops in the head,\" \"forum theater,\" and \"image theater\" will be described along with a discussion of how these methods were used in a community health nursing course. Although the examples provided here are specifically for a nursing class, they could be used in any health related field with potential to transform healthcare and ultimately to improve the care experience of patients from the most vulnerable populations.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68510237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
J. Reilly, Janet L. Trial, Debra E. Piver, P. Schaff
Author(s): Reilly, Jo Marie; Trial, Janet; Piver, Debra E.; Schaff, Pamela B. | Abstract: Abstract: Developing and nurturing empathy in medical trainees has been recognized as an essential element of medical education. Theater may be a unique instructional modality to increase empathy training.Methods: A multi-disciplinary team developed a theater workshop for first year medical students. Through the use of theater games, art images and reflective writing, the workshop was designed to enable students to: 1) consider the concept of empathy within the context of theater; 2) experience art, theater and narrative as reflective tools to build empathy /self-reflection. The workshop was evaluated by students through a written questionnaire. It was evaluated by faculty and actors though narrative dialogue. The faculty and actors shared their perceptions about 1) students’ ability to demonstrate empathy through a written narrative based on an art image; 2) students’ use of reflection as part of empathy awareness; 3) students’ ability to demonstrate awareness of body language and emotion as diagnostic and clinical tools. The student questionnaire surveyed the 1) overall quality of the session; 2) ability of the session to help students understand the importance of body language in the doctor-patient relationship; 3) the effectiveness of actors in stimulating discussion about empathy, body language and communication in the doctor-patient relationship.Results: A description of the workshop’s content is described at length. Medical faculty and actors’ narrative comments reflect their positive perceptions of the workshop’s ability to promote empathy through the use of theater /narrative. Medical students evaluated, with less enthusiasm, the effectiveness of the actors in stimulating discussion on the role of empathy, body language and communication.Discussion: The workshop provided an innovative method to foster empathy in medical students. Faculty and actors’ narrative comments were positive overall, as they commented on the importance of helping learners build skills in self-reflection and empathic communication. Mixed student feedback indicates the challenges in teaching clinical empathy and the diversity of students’ personalities and learning styles. Inadequate faculty development and the number of activities included in the session may have contributed to the discrepancy between faculty and student perceptions of the workshop.
作者:Reilly, Jo Marie;试验中,珍妮特;Debra E. Piver;摘要摘要:培养和培养医学学员的共情能力是医学教育的重要组成部分。戏剧可能是一种独特的教学方式，以增加移情训练。方法:一个多学科团队为一年级医学生开发了一个戏剧工作坊。通过使用戏剧游戏、艺术图像和反思性写作，工作坊旨在使学生能够:1)在戏剧的背景下考虑移情的概念;2)体验艺术、戏剧和叙事作为建立同理心/自我反思的反思工具。学生们通过一份书面问卷对研讨会进行了评估。教师和演员通过叙事对话对其进行评价。教师和演员分享了他们的看法:1)学生通过基于艺术形象的书面叙述来表达同理心的能力;2)学生将反思作为移情意识的一部分;3)学生将肢体语言和情绪作为诊断和临床工具的能力。学生问卷调查了1)课程的整体质量;2)帮助学生理解肢体语言在医患关系中的重要性;3)行为者在医患关系中激发共情、肢体语言和沟通讨论的有效性。结果:详细描述了研讨会的内容。医学教师和演员的叙事评论反映了他们对研讨会通过使用戏剧/叙事促进同理心的能力的积极看法。医学生对演员在激发关于共情、肢体语言和沟通作用的讨论方面的有效性进行了不那么热情的评估。讨论:工作坊提供了一种创新的方法来培养医学生的同理心。教师和演员的叙事评论总体上是积极的，因为他们评论了帮助学习者建立自我反思和移情沟通技能的重要性。不同的学生反馈表明了临床共情教学的挑战，以及学生个性和学习风格的多样性。教师发展不足和会议中包括的活动数量可能导致教师和学生对讲习班的看法存在差异。
{"title":"Using Theater to Increase Empathy Training in Medical Students","authors":"J. Reilly, Janet L. Trial, Debra E. Piver, P. Schaff","doi":"10.21977/D9812646","DOIUrl":"https://doi.org/10.21977/D9812646","url":null,"abstract":"Author(s): Reilly, Jo Marie; Trial, Janet; Piver, Debra E.; Schaff, Pamela B. | Abstract: Abstract: Developing and nurturing empathy in medical trainees has been recognized as an essential element of medical education. Theater may be a unique instructional modality to increase empathy training.Methods: A multi-disciplinary team developed a theater workshop for first year medical students. Through the use of theater games, art images and reflective writing, the workshop was designed to enable students to: 1) consider the concept of empathy within the context of theater; 2) experience art, theater and narrative as reflective tools to build empathy /self-reflection. The workshop was evaluated by students through a written questionnaire. It was evaluated by faculty and actors though narrative dialogue. The faculty and actors shared their perceptions about 1) students’ ability to demonstrate empathy through a written narrative based on an art image; 2) students’ use of reflection as part of empathy awareness; 3) students’ ability to demonstrate awareness of body language and emotion as diagnostic and clinical tools. The student questionnaire surveyed the 1) overall quality of the session; 2) ability of the session to help students understand the importance of body language in the doctor-patient relationship; 3) the effectiveness of actors in stimulating discussion about empathy, body language and communication in the doctor-patient relationship.Results: A description of the workshop’s content is described at length. Medical faculty and actors’ narrative comments reflect their positive perceptions of the workshop’s ability to promote empathy through the use of theater /narrative. Medical students evaluated, with less enthusiasm, the effectiveness of the actors in stimulating discussion on the role of empathy, body language and communication.Discussion: The workshop provided an innovative method to foster empathy in medical students. Faculty and actors’ narrative comments were positive overall, as they commented on the importance of helping learners build skills in self-reflection and empathic communication. Mixed student feedback indicates the challenges in teaching clinical empathy and the diversity of students’ personalities and learning styles. Inadequate faculty development and the number of activities included in the session may have contributed to the discrepancy between faculty and student perceptions of the workshop.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.21977/D9812646","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68510313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
According to the American Board of Family Medicine, “The scope of family medicine encompasses all ages, both sexes, each organ system and every disease entity.” What makes the seemingly daunting task of practicing family medicine possible is that family physicians learn to utilize similar clinical reasoning for all of their patients regardless of age, and that they care for patients in the context of their families. In our work with residents, we utilize a multimedia presentation that incorporates poetry by Shel Silverstein, the song, He Was Walking Her Home, by Mark Schultz, and the Pixar/Disney movie, Up, to help teach these concepts and demonstrate how caring for multiple generations simultaneously enriches the care of each generation.
{"title":"Generation to Generation: The Heart of Family Medicine.","authors":"R. Winter","doi":"10.21977/D9812652","DOIUrl":"https://doi.org/10.21977/D9812652","url":null,"abstract":"According to the American Board of Family Medicine, “The scope of family medicine encompasses all ages, both sexes, each organ system and every disease entity.” What makes the seemingly daunting task of practicing family medicine possible is that family physicians learn to utilize similar clinical reasoning for all of their patients regardless of age, and that they care for patients in the context of their families. In our work with residents, we utilize a multimedia presentation that incorporates poetry by Shel Silverstein, the song, He Was Walking Her Home, by Mark Schultz, and the Pixar/Disney movie, Up, to help teach these concepts and demonstrate how caring for multiple generations simultaneously enriches the care of each generation.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68510361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A vast literature exists on teaching reflection and reflective practice to trainees in small groups, yet with few exceptions the literature does not address the benefits of these interactions to faculty. Like multiculturalism or cultural competency, the literature assumes that faculty have themselves “achieved” these propensities and that trainees are the only recipients of the benefits of such inquiry. One of the noticeable exceptions is Arno Kumagai and colleagues’ article, “The Impact of Facilitation of Small Group Discussions on Psychosocial Topics in Medicine on Faculty Growth and Development,” which found that small group teaching stimulated not only students’ personal and professional growth, but also that of the faculty themselves. Our intent is to continue and enlarge the questions posed in this important article. Specifically, this inquiry focuses on the meanings that clinical faculty derive from teaching medical students in discussion- and reflection-driven small group formats. Why do faculty leave the comfort zone of clinical teaching and take time away from income-generating patient care activities? What is it about this teaching experience that calls them back each year? In answering these questions, we conducted a qualitative study consisting of interviews and focus groups with 11 clinical faculty participants who teach in Reflections on Doctoring, a required, longitudinal course for medical students. The data of our study provides insight into the thoughts, attitudes, and motives of our faculty who not only view themselves as teachers and mentors, but also as co-learners who engage personally with the medical humanities content being taught. They confront, reveal and resolve challenges presented by literary perspectives and find enjoyment and sense of purpose in teaching non-jaded medical students. Furthermore, what emerged from our study was a deeper understanding of what inspires our faculty to sacrifice their time and effort to facilitate medical humanities discussions with young medical students and how this experience contributes to the ongoing development of their own professional identities.
{"title":"Teaching Softly in Hard Environments: Meanings of Small-Group Reflective Teaching to Clinical Faculty.","authors":"Ellen Whiting, D. Wear, J. Aultman, L. Zupp","doi":"10.21977/D9812654","DOIUrl":"https://doi.org/10.21977/D9812654","url":null,"abstract":"A vast literature exists on teaching reflection and reflective practice to trainees in small groups, yet with few exceptions the literature does not address the benefits of these interactions to faculty. Like multiculturalism or cultural competency, the literature assumes that faculty have themselves “achieved” these propensities and that trainees are the only recipients of the benefits of such inquiry. One of the noticeable exceptions is Arno Kumagai and colleagues’ article, “The Impact of Facilitation of Small Group Discussions on Psychosocial Topics in Medicine on Faculty Growth and Development,” which found that small group teaching stimulated not only students’ personal and professional growth, but also that of the faculty themselves. Our intent is to continue and enlarge the questions posed in this important article. Specifically, this inquiry focuses on the meanings that clinical faculty derive from teaching medical students in discussion- and reflection-driven small group formats. Why do faculty leave the comfort zone of clinical teaching and take time away from income-generating patient care activities? What is it about this teaching experience that calls them back each year? In answering these questions, we conducted a qualitative study consisting of interviews and focus groups with 11 clinical faculty participants who teach in Reflections on Doctoring, a required, longitudinal course for medical students. The data of our study provides insight into the thoughts, attitudes, and motives of our faculty who not only view themselves as teachers and mentors, but also as co-learners who engage personally with the medical humanities content being taught. They confront, reveal and resolve challenges presented by literary perspectives and find enjoyment and sense of purpose in teaching non-jaded medical students. Furthermore, what emerged from our study was a deeper understanding of what inspires our faculty to sacrifice their time and effort to facilitate medical humanities discussions with young medical students and how this experience contributes to the ongoing development of their own professional identities.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68510441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Practicing medicine and creating art are both informed by observation and perception, yet how artists and doctors view the world and their place in it might be quite different. By bringing two populations together – RISD students and Warren Alpert Medical School students – into one experimental course, “No Innocent Eye: Knowledge and Interpretation in Art and Medicine,” art and medical students were asked to engage in topics and work with skills and processes that might not be considered typical fare in art and medical school curriculums, but which we hope gave doctors-in-training creative ways of rethinking medical practice and patient care, and presented art students with new conceptual and material tools to push their art-making.
{"title":"Beyond Comfort Zones: An Experiment in Medical and Art Education.","authors":"K. Auerbach, Jay M. Baruch","doi":"10.21977/D9812653","DOIUrl":"https://doi.org/10.21977/D9812653","url":null,"abstract":"Practicing medicine and creating art are both informed by observation and perception, yet how artists and doctors view the world and their place in it might be quite different. By bringing two populations together – RISD students and Warren Alpert Medical School students – into one experimental course, “No Innocent Eye: Knowledge and Interpretation in Art and Medicine,” art and medical students were asked to engage in topics and work with skills and processes that might not be considered typical fare in art and medical school curriculums, but which we hope gave doctors-in-training creative ways of rethinking medical practice and patient care, and presented art students with new conceptual and material tools to push their art-making.","PeriodicalId":30083,"journal":{"name":"Journal for Learning through the Arts","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68510799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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