{"id":2663,"date":"2022-02-05T06:06:39","date_gmt":"2022-02-05T12:06:39","guid":{"rendered":"https:\/\/educationalrenaissance.com\/?p=2663"},"modified":"2023-04-29T22:28:49","modified_gmt":"2023-04-30T03:28:49","slug":"apprenticeship-in-the-arts-part-3-crafting-lessons-in-artistry","status":"publish","type":"post","link":"https:\/\/educationalrenaissance.com\/2022\/02\/05\/apprenticeship-in-the-arts-part-3-crafting-lessons-in-artistry\/","title":{"rendered":"Apprenticeship in the Arts, Part 3: Crafting Lessons in Artistry"},"content":{"rendered":"\n

In the previous two articles in this series exploring Aristotle\u2019s intellectual virtues, I laid out a fivefold division of the arts<\/a> and a teaching method for training in artistry<\/a>. My guiding hypothesis is that rethinking education through the Aristotelian paradigm of intellectual virtues will combat some of the typical problems of modern education. Bloom\u2019s Taxonomy of educational objectives<\/a> misses the traditional nature of the arts in its abstract goals in the \u201ccognitive domain.\u201d It also obscures the beauty of how Aristotle\u2019s virtue of techne<\/em>, which I define as \u2018artistry\u2019 or \u2018craftsmanship,\u2019 involves the head, heart and body<\/a> in a holistic educational experience. <\/p>\n\n\n\n

In addition, my five fold division of the arts is careful to situate various forms of artistry in time and place, their historical traditions, so that we can avoid modernism\u2019s totalizing fallacy. <\/p>\n\n\n\n

Techne \u2014 Artistry or craftsmanship<\/h4>\n\n\n\n
  1. Athletics, games and sports<\/li>
  2. Common and domestic arts<\/li>
  3. Professions and trades<\/li>
  4. Fine and performing arts<\/li>
  5. The liberal arts of language and number<\/li><\/ol>\n\n\n\n

    The important takeaway here is the need to train students in embodied and culturally situated skills, rather than reducing the liberal arts, for instance, to general studies<\/a>. Students should be able to produce something in the world because of their training in artistry, not just know random facts.<\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    This led me to propose a pedagogy or training method for artistry, drawing primarily from John Amos Comenius, the famous Reformation educator. We distilled from Comenius a set of basic steps<\/strong> that all arts have in common:<\/p>\n\n\n\n

    1. Students are given a general acquaintance with the works produced, the end-products of the art.<\/li>
    2. Students respond with a natural desire to imitate through producing works of their own.<\/li>
    3. The master provides the students with the proper tools and models their use, showing them examples of the techniques.<\/li>
    4. The master corrects the students through both examples and advice, sharing the theories and precepts while correcting students.<\/li><\/ol>\n\n\n\n

      These steps follow the classical principle of mimesis<\/em> or imitation that the CiRCE Institute<\/a> has popularized among classical educators. In many cases, however, the focus among CiRCE folk sometimes edges toward knowledge to be learned or understood rather than a complex skill to be mastered. Aristotle\u2019s terminology<\/a> helps us to make a crisper distinction between these two teaching tasks. Knowing a truth is different from know-how. Artistry, for Aristotle, is clearly know-how, while nous<\/em>, or intuition, would correspond with the understanding of ideas or first principles. <\/p>\n\n\n\n

      To be sure, the student must understand several things in order to develop in artistry: the purpose of the art he is learning, how to use the tools, how to avoid common mistakes, etc. So a student of an art does develop a certain intuition about quality artistry through an art, but that is not the primary goal. His understanding serves his practice and not the other way around. (Were the budding artist to shift gears and become a critic of the art, as retired football players sometimes become sportscasters or former politicians become political commentators, then the artist\u2019s developed intuition would come to the fore as the intellectual virtue on which he would depend for his new rhetorical product.)<\/p>\n\n\n\n

      Developing a Lesson in Craft<\/h2>\n\n\n\n

      The basic process outlined above can serve as the springboard for a more fully articulated lesson in artistry. In other contexts, I have advocated for a Narration-Trivium lesson structure<\/a> aimed at training students in the Trivium arts, while teaching them the sciences, what we might call general content knowledge in various areas. In laying out an alternative lesson structure for training a student in the arts<\/a>, I am not abandoning this earlier approach, but adding a very necessary complement to it. Let me explain.<\/p>\n\n\n\n

      \"\"<\/a><\/figure>\n\n\n\n

      One way of viewing the nature of good teaching is to isolate the main goal that such an act of teaching has, as in its own way Bloom\u2019s Taxonomy<\/a> is careful to do. John Milton Gregory\u2019s The Seven Laws of Teaching<\/em><\/a> highlights the act of teaching as one of conveying knowledge or some truth. This sees teaching as primarily focused on content that a student absorbs into herself and makes her own. On the other hand, Gregory is careful to note in his introduction that there is another branch of the educational art, which he calls training and describes as \u201cthe systematic development and cultivation of the powers of mind and body\u201d (10). Gregory even goes so far as to say, <\/p>\n\n\n\n

      These two great branches of educational art\u2013training and teaching\u2013though separable in thought, are not separable in practice. We can only train by teaching, and we teach best when we train best. Training implies the exercise of the powers to be trained; but the proper exercise of the intellectual powers is found in the acquisition, the elaboration, and the application of knowledge. (11)<\/p><\/blockquote>\n\n\n\n

      Gregory\u2019s insight here is profound, but it does not quite make up for the fact that he has neglected the art of training by centering his whole work on the act of teaching.<\/p>\n\n\n\n

      In my view, the problem with Gregory\u2019s attempt to merge training and teaching is one and the same with the totalizing impulse of modernism<\/a> (in which Gregory participated). At some times, we are focused on training students in a skill, while at others we are endeavoring to teach them content knowledge. To operate as teachers with only one type of lesson, despite the differences between the intellectual virtues we are aiming to cultivate, is to court disaster at worst, and to confuse the issue at best. <\/p>\n\n\n\n

      Thoughtful teachers do, in fact, operate very differently when they are training vs teaching. Aristotle\u2019s distinctions between the intellectual virtues of artistry and scientific knowledge, intuition or prudence would have kept us more in line with common sense, if we had retained them. In Gregory\u2019s favor I do think that we can maximize our content-based lessons, by also affording our students with practice in the trivium arts (see Narration-Trivium Lesson<\/a>). In the same way, I believe that the Apprenticeship Lesson<\/a> that I am proposing now can and should help students gain general knowledge. But I believe it is more helpful to teachers to set a primary goal for a lesson, and then allow subsidiary goals to fall in line to support. The Apprenticeship Lesson<\/a> recognizes the development of artistry or skill as the primary goal, thus avoiding the knowledge-transfer default of much modern education.<\/p>\n\n\n\n

      \"\"<\/a><\/figure>\n\n\n\n

      The Apprenticeship Movement (I-We-You)<\/h2>\n\n\n\n

      In his book Teach Like a Champion 2.0<\/a> <\/em>Doug Lemov coined the phrase I-We-You to convey the movement in a practice-based lesson from modeling a new skill or process, to involving students together in the process, before releasing students to work on their own. In his most recent update (3.0) he uses the terms Direct Instruction\/Knowledge Assimilation, Guided Practice\/Guided Questioning, and Independent Practice (241-245). We can see the dichotomy even here between a focus on content and skills. \u2018Practice\u2019 seems to accord better with training in skills, while \u2018instruction,\u2019 \u2018knowledge\u2019 and \u2018questioning\u2019 gesture toward teaching content.<\/p>\n\n\n\n

      (Wondering how Doug Lemov\u2019s Teach Like a Champion <\/em>can be appropriated by classical Christian educators? Check out Kolby Atchison\u2019s free eBook, \u201cThe Craft of Teaching for Classical Educators.\u201d<\/a>)<\/p>\n\n\n\n

      In any case, the movement from modeling with examples (I), to holding the hands of students as they work (We), to releasing them to accountable independent practice (You) provides a handy application of Comenius\u2019 steps. Its flexibility for artistic skills as different as proper form when shooting a basket or solving an algebraic equation make it a promising foundation for our Apprenticeship Lesson format. <\/p>\n\n\n\n

      Do Now<\/strong> is another valuable teaching technique for an Apprenticeship Lesson<\/a> that is described by Doug Lemov in Teach Like a Champion<\/a> <\/em>(see 3.0 p. 187ff.). The reason for this is the importance of immediately engaging students in productive activity when we are training them in an art. A key danger for trainers is to hinder a student\u2019s progress by over-explanation of rules and precepts, when action should be the name of the game. As Comenius says in his Analytical Didactic<\/em>, <\/p>\n\n\n\n

      Doing cannot be learned except by doing. Hence the saying, \u2018We create by creating.\u2019 One becomes a writer by writing, a painter by painting, a singer by singing, a speaker by speaking; and so it is with all external acts. (155)<\/p><\/blockquote>\n\n\n\n

      Therefore he goes on to express it as a principle that \u201cin every art there should be more practice than theory\u201d (157). <\/p>\n\n\n\n

      Lemov describes the cultural rationale that supports starting a lesson with a \u201cquality task\u201d that students can practice independently:<\/p>\n\n\n\n

      We want students to engage in productive and high-quality work that interests and challenges them right away, and over time we want to make a habit of this, so they expect to be actively and meaningfully engaged any time they enter our classrooms. We want them to know we are prepared and value their learning. They will not be passive; there will be very little downtime. (187)<\/p><\/blockquote>\n\n\n\n

      \"\"<\/figure>\n\n\n\n

      We can imagine starting an Apprenticeship Lesson<\/a> in a sport with a consistent drill that rehearses a set of core or fundamental skills; in a musical instrument, with scales or warm up exercises; in liberal art, with practice problems, exercises or a short writing task. The Do Now step of an Apprenticeship Lesson may not be strictly required, based on classical principles, but it remains a valuable default to be departed from only with good reason. <\/p>\n\n\n\n

      Lastly, Lemov also articulates the value of checking for understanding (see ch. 3 of 3.0, pp. 75ff.; see also Kolby\u2019s article on the topic). I have placed this as a step following guided practice (We) in the Apprenticeship Lesson<\/a>, because of the danger of setting students\u2019 free to independent practice too soon. Classical educators have long recognized the need to hasten slowly (festina lente<\/em>) by ensuring the foundation is well laid, before building upon it. Comenius reflects on this fact for a pedagogy of artistry<\/a> in The Great Didactic<\/em> through the classical example of Timotheus the musician:<\/p>\n\n\n\n

      For this reason Timotheus the musician used to demand twice as large a fee from those pupils who had learned the rudiments of their art elsewhere, saying that his labour was twofold, as he had first to get them out of the bad habits that they had acquired, and then to teach them correctly. Those, therefore, who are learning any art should take care to make themselves masters of the rudiments by imitating their copies accurately. This difficulty once overcome, the rest follows of itself, just as a city lies at the mercy of foes when its gates are broken in. All haste should be avoided, lest we proceed to advanced work before the elementary stages have been mastered. He goes fast enough who never quits the road, and a delay which is caused by obtaining a thorough grip of first principles is really no delay, but an advance toward mastering what follows with ease, speed, and accuracy. (200)<\/p><\/blockquote>\n\n\n\n

      Therefore it is prudent for the trainer of an art to check for students\u2019 understanding before letting them practice independently, and then during independent practice, to circulate and actively correct students\u2019 errors, as Comenius also states in his 9th canon, \u201cErrors must be corrected by the master on the spot; but precepts, that is to say the rules, and the exceptions to the rules, must be given at the same time.\u201d (200)<\/p>\n\n\n\n

      \"\"<\/a><\/figure>\n\n\n\n

      The Inspirational Coach<\/h2>\n\n\n\n
      \"\"<\/a><\/figure>\n\n\n\n

      The various pieces of the puzzle for an Apprenticeship Lesson<\/a> are almost interlocked. One final contribution comes from Daniel Coyle\u2019s The Talent Code<\/em><\/a>, which we have drawn from before to discuss the role of myelin (the white fatty substance that wraps around neural networks to increase speed and accuracy of firing) in the development of complex skill. Drawing from the research of Anders Ericsson, who coined the terms deliberate and purposeful practice, Coyle has painted a stunning picture of the \u201ccoaches\u201d behind the training of world class athletes and performers. <\/p>\n\n\n\n

      Aside from the core skill-set of providing the targeted feedback day in and day out, \u201clike farmers: careful, deliberate cultivators of myelin\u201d (Coyle, The Talent Code<\/em>, 165), these Talent Whisperers, as Coyle calls them, are actually coaching their students to love the art. As he explains, <\/p>\n\n\n\n

      They succeed because they are tapping into the second element of the talent code: ignition. They are creating and sustaining motivation; they are teaching love. As Bloom\u2019s study [of world class performers\u2019 first teachers] summed up, \u2018The effect of this first phase of learning seemed to be to get the learner involved, captivated, hooked, and to get the learner to need and want more information and expertise.\u2019 (175)<\/p><\/blockquote>\n\n\n\n

      There must be a place for joy and inspiration, meaningfully conveyed from the coach to the artist-in-training. That is why I have placed an Inspirational Idea as a step in the Apprenticeship Lesson<\/a>, even if this feature might not always be very long or strictly necessary. Speaking warmly about the beauty of the end product or the value of discipline, even for only 30 seconds, can help the average teacher pause long enough to consider the cultivation of her students\u2019 motivation and love for the art, as opposed to just getting down to work and possibly losing them in drudgery.<\/p>\n\n\n\n

      The Apprenticeship Lesson<\/h2>\n\n\n\n

      At this point I would invite you to visit a new webpage on Educational Renaissance that offers the Apprenticeship Lesson<\/a> as a free downloadable resource. By sharing your email, you\u2019ll receive our weekly blog in your inbox. If you haven\u2019t already, I\u2019d also encourage you to access my free resource on \u201cCharlotte Mason and the Trivium\u201d<\/a> that details how to plan lessons with the Narration-Trivium Lesson structure. <\/p>\n\n\n\n

      These two types of lessons complement one another by focusing either on training in artistry or skill (Apprenticeship) or on teaching new content knowledge (Narration-Trivium). In other words, the primary aim of the teacher is either for the student to acquire particular content knowledge in an inspirational subject area (Bible, history, literature, etc.), or the primary aim is for the student to acquire and hone particular skills in a discipline (writing, grammar, art, music, etc.). Actual lessons fall on a spectrum, with some focus placed on new knowledge and some focus placed on the students’ performance of a complex activity or creation of some product. The question of which lesson structure to use depends not on the subject, but the focus of this particular lesson within a broader unit plan. Is the main purpose of this lesson for students to assimilate content or develop and hone new skills?<\/p>\n\n\n\n

      \"\"<\/a><\/figure>\n\n\n\n

      When you download the Apprenticeship Lesson<\/a>, you\u2019ll be able to copy and paste a template with instructions that you can then use for planning lessons that train students in an art. Between the Apprenticeship Lesson and the Narration-Trivium Lesson<\/a>, you should have all that you need to plan lessons that embody a classical pedagogy in any subject, with only minor modifications. I believe the process of lesson planning should be inspiring and enriching because of how it assists teachers in embodying classical principles in their teaching. In addition to preparing the teacher with the knowledge and materials necessary to help students learn most effectively, lesson planning should contribute to teachers\u2019 long-term development.<\/p>\n\n\n\n

      Please reach out to me with questions as you try out the Apprenticeship Lesson<\/a>, so that I can continue to refine and improve it for teachers!<\/p>\n\n\n\n

      Earlier Articles in this series:<\/p>\n\n\n\n

      1. Bloom\u2019s Taxonomy and the Purpose of Education<\/a><\/li><\/ol>\n\n\n\n

        2. Bloom\u2019s Taxonomy and the Importance of Objectives: 3 Blessings of Bloom\u2019s<\/a><\/p>\n\n\n\n

        3. Breaking Down the Bad of Bloom\u2019s: The False Objectivity of Education as a Modern Social Science<\/a><\/p>\n\n\n\n

        4. When Bloom\u2019s Gets Ugly: Cutting the Heart Out of Education<\/a><\/p>\n\n\n\n

        5. What Bloom\u2019s Left Out: A Comparison with Aristotle\u2019s Intellectual Virtues<\/a><\/p>\n\n\n\n

        6. Aristotle\u2019s Virtue Theory and a Christian Purpose of Education<\/a><\/p>\n\n\n\n

        7. Moral Virtue and the Intellectual Virtue of Artistry or Craftsmanship<\/a><\/p>\n\n\n\n

        8. Practicing in the Dark or the Day: Well-worn Paths or Bushwalking, Artistry and Moral Virtue Continued<\/a><\/p>\n\n\n\n

        9. Apprenticeship in the Arts, Part 1: Traditions and Divisions<\/a><\/p>\n\n\n\n

        10.\u00a0Apprenticeship in the Arts, Part 2: A Pedagogy of Craft<\/a><\/p>\n\n\n\n

        Later articles in this series:<\/p>\n\n\n\n

        12. Apprenticeship in the Arts, Part 4: Artistry, the Academy and the Working World<\/a><\/p>\n\n\n\n

        13. Apprenticeship in the Arts, Part 5: Structuring the Academy for Christian Artistry<\/a><\/p>\n\n\n\n

        14. Apprenticeship in the Arts, Part 6: The Transcendence and Limitations of Artistry<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

        In the previous two articles in this series exploring Aristotle\u2019s intellectual virtues, I laid out a fivefold division of the arts and a teaching method for training in artistry. My guiding hypothesis is that rethinking education through the Aristotelian paradigm of intellectual virtues will combat some of the typical problems of modern education. 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My guiding hypothesis is that rethinking education through the Aristotelian paradigm of intellectual virtues will combat some of the typical problems of modern education. 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After the last two posts it is perhaps worth reaffirming the value of Bloom\u2019s project. While I ultimately believe that Bloom and his colleagues may have done more harm\u2026","rel":"","context":"In "Classical Tradition"","block_context":{"text":"Classical Tradition","link":"https:\/\/educationalrenaissance.com\/category\/classical-tradition\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2021\/03\/Untitled-design-2.png?fit=1200%2C783&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2021\/03\/Untitled-design-2.png?fit=1200%2C783&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2021\/03\/Untitled-design-2.png?fit=1200%2C783&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2021\/03\/Untitled-design-2.png?fit=1200%2C783&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2021\/03\/Untitled-design-2.png?fit=1200%2C783&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2988,"url":"https:\/\/educationalrenaissance.com\/2022\/05\/21\/apprenticeship-in-the-arts-part-5-structuring-the-academy-for-christian-artistry\/","url_meta":{"origin":2663,"position":5},"title":"Apprenticeship in the Arts, Part 5: Structuring the Academy for Christian Artistry","author":"Jason Barney","date":"May 21, 2022","format":false,"excerpt":"In the previous article we explored the need to counter the passion mindset of our current career counseling by replacing it with a craftsman mindset drawn from a proper understanding of apprenticeship in the arts. Apprenticing students in various forms of artistry (including the liberal arts) constitutes the role of\u2026","rel":"","context":"In "Classical Tradition"","block_context":{"text":"Classical Tradition","link":"https:\/\/educationalrenaissance.com\/category\/classical-tradition\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/educationalrenaissance.com\/wp-content\/uploads\/2022\/05\/Untitled-design-15.png?fit=518%2C346&ssl=1&resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/posts\/2663","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/comments?post=2663"}],"version-history":[{"count":4,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/posts\/2663\/revisions"}],"predecessor-version":[{"id":3370,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/posts\/2663\/revisions\/3370"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/media\/2669"}],"wp:attachment":[{"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/media?parent=2663"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/categories?post=2663"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/educationalrenaissance.com\/wp-json\/wp\/v2\/tags?post=2663"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}