Third Edition

Stirring the
Head, Heart
Soul
AND

H. LYNN ERICKSON
 Contents

Preface vii
Acknowledgments ix
About the Author xi

1. Making Change in a Changing World 1

The State of Educational Change 1
Pressure Groups 3
Sharing the Job of Quality Education 10
A National Model for Concept-Based Curricula 13
Making Change the Systems Way 16
Overcoming Obstacles: Over, Under, Through, and Around 20
Summary 20
Extending Thought 21
2. Concept-Based Curriculum 23
Traditional Curriculum 23
Concept-Based Curriculum 28
Historical Perspective: Hilda Taba 28
Conceptual Organizers 30
Generalizations 38
Summary 41
Extending Thought 42
3. State Academic Standards and Local Curriculum Frameworks 43
State Standards 43
The Tripartite Model of Curriculum Design 45
Scope and Sequence Charts for Processes and Skills 50
Summary 66
Extending Thought 67

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4. Designing Interdisciplinary, Integrated Curricula 69
Defining Interdisciplinary, Integrated Curricula 70
The Integrated, Intradisciplinary Curriculum Model 71
Designing Concept-Based Teaching Units 74
Unit Design Steps: Questions and Answers 85
Lesson-Planning Pages 102
Summary 102
Extending Thought 102
5. Concept-Based Units: Samples and Questions 105
From Coordinated to Integrated Units 105
Multiage Classrooms and Concept-Based Curriculum 124
Questions and Answers: Elementary Schools 138
Questions and Answers: Secondary Schools 141
The International Baccalaureate Programme 150
Career and Technical Education Programs 151
Summary 156
Extending Thought 157
6. Assessing and Reporting Student Progress 159
A Brief Review: Form and Function 160
The Implications of Process Assessment 162
Reporting Process Development 166
Assessing Critical Thinking Developmentally 166
Standards for Thinking 169
Scoring Guides for Performance Tasks 174
Questions and Answers 179
Summary 181
Extending Thought 182
7. Concept-Based Instruction 185
Instructional Strategies 186
Learning Experiences 194
Adapting Activities 211
Teacher Reflections on Concept-Based Instruction 213
Summary 214
Extending Thought 214
8. Stirring the Head, Heart, and Soul: Creating a Love of Learning 217
Stirring the Head 217
Stirring the Heart and Soul 224
Loving to Learn 227
Summary 230

Resource A: Alternative Unit Formats 231

Resource B: Key Concepts in Different Disciplines 235

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Resource C: What Work Requires of Schools 241
Resource D: Sample Unit Planner 243
Glossary 249
References 251
Index 255

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 Concept-Based Curriculum 37

learning to a higher cognitive plane. In the following examples, consider the

effects on instruction and learning when the conceptual lens is focused on the
topics under study:

Topic Example Possible Conceptual Lens

Polar bears Habitat/survival

Global warming Sustainability

Why Should Curriculum Documents

Provide a Conceptual Structure for
the Content of Different Subject Areas?
A conceptual structure for curriculum is important because conceptual
understanding requires content knowledge, but the reverse is not necessarily true.
National and state standards include the statement, Students will understand the
concepts and principles of mathematics, science, social studies, and so on. It is
recognized that an understanding of concepts and principles signifies a deeper
understanding of content knowledge.
A conceptual structure is efficient for handling the growing body of infor-
mation. Concepts focus and streamline the breadth of content.
A conceptual structure forces students to think about topics and facts in
terms of their transferable significance.
A conceptual structure allows kindergarten teachers through postsecondary
professors to become a team as they systematically build conceptual understand-
ing and develop student intellect.
A conceptual structure provides an instructional model that is idea centered,
rigorous, and engaging for both students and teachers.
A conceptual structure ensures that teachers are clear on the concepts and
generalizations that students must understand at each level of schooling. It is not
assumed that students and teachers will reach deeper understanding of ideas by
covering the course objectives.

Why Are Concepts Better Than Topics

Alone as Curricular Organizers?
Curriculum design in the United States today is flawed in most subject areas
because it relies on topics alone to organize content. If we are to truly raise stan-
dards, then a conceptual overlay for the topics and facts is critical.

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46 Stirring the Head, Heart and Soul

Figure 3.1 Tripartite Model

Written Curriculum

ch s nt es
a ept nte ess
Te Co
nc Co Pro
c

Emotional
Physical
Social
Language and
Test

Conceptual Critical Cognitive

Understanding Content Process
Development

In the traditional model of curriculum, the focus for teaching and learning is
on the fact base. The facts are organized by topics. As the world information base
expands, more topics are added to the bulging curriculum. We lack a rational plan
for reducing content, and teaching becomes a skim of surface information.
In the tripartite model, content topics are set within a conceptual framework.
When an educator teaches conceptually, the focus shifts from memorizing isolated
facts as the end game to using facts as a tool for understanding the deeper, transfer-
able concepts and principles. The aim is to develop conceptual understanding and
to build brain schemata to intellectually manage the expanding information base.
Figure 3.1 shows the balance between conceptual understanding, critical con-
tent knowledge, and process development. If we are to increase the development
of critical content knowledge, conceptual understanding, and process and skill
abilities, then we must find more instructional time in the school day. This can
only be accomplished by systematically reducing and focusing the factual content
load. The standards movement can conceivably make this task more difficult. If
teachers view standards as a set of objectives that they have to check off and race
through, then learning will be shallow.
The move toward a more balanced curriculum of concept, content, and process
development is really a move toward greater depth in teaching and learning as well
as a focus on higher-level thinking. If we want all children to be successful in
developing the conceptual understanding implied in many standards documents
across the country, then we will need to design curriculum that moves from topic-
based to concept-based curricula, from lower-order to higher-order process skills,
and from meaningless activities to meaningful learning experiences.

How Can Curriculum Developers and Committees

Organize Content Related to the Major Concepts?
In Chapter 2, I advocated the creation of national (or state-level) concept-
based models for classroom units. But the precedent of local control of curriculum
2008 Hawker Brownlow Education CO5150
 Figure 3.4b Curriculum Content for Solving Problems Using the Visual Arts: Drawing 2 (Continued)

Drawing 2
Essential Learning 1 + Essential Learnings 24 Assessments = Teaching/Learning

Sample Questions/Problems to Life Applications Assessment Instructional

SolveGeneralizations Strategies Strategies
Student uses drawing knowledge, skills,
1. How can lines be created on a dark value? and techniques draw representationally Selected Response  Direct instruction
G1: Using a subtractive process can and abstractly. Constructed Response  Activity-based instruction
create LINES. Student uses drawing knowledge and  Checklist  Modeling/demonstration
2. How can lines make an object or figure skills in design.  Student journal entry  Guided instruction
 Portfolio entry  Group collaboration
seem to recede into space?
 Teacher anecdote  Group critique
G2: Thick and thin LINES appear to Essential Learnings 24  Artist-in-residence
 Performance-based
advance or recede. art production
2.1. Evaluates the sensory environment in
3. How can texture become an expression relation to rendered imagery.  Photo/slide/video
of personal style? 2.2. Uses preliminary sketches to analyze
G3: TEXTURAL qualities can be and produce solutions before drawing Creative Process
represented by a variety of stylistic a resolved image. Sample Target Learnings and  Gathers information
approaches. 2.3. Critiques formal considerations of work. Assessment Criteria  Generates solutions
4. What is the relationship between 3.1. Selects mark making and tools for a  Uses arts criteria
specific purpose: subtractive, The student
manipulative drawing and drawing on  Manipulative exercises
architectural, mechanical TL1 makes LINES using a
the computer? subtractive process.  Process drawing
3.2. Reflects and responds critically to the

2008 Hawker Brownlow Education CO5150

G4: Custom LINES, pattern, and brushes use of drawing technical areas. C1 makes LINES on a dark ground.  Preliminary composition
parallel qualities of manipulative art work. 3.3. Combines drawing knowledge and skills TL2 makes an object or figure  Direct use of materials
5. How can a shape be transformed? in use of computer graphic imagery. recede into space.  Redraft and elimination
G5: Simplification and exaggeration 4.1. Uses knowledge and skills in drawing C2 uses thicker LINES in the  Resolution
transforms SHAPES. to support mechanical subjects. foreground and thinner lines
6. How can a sectional view be represented? 4.2. Selects personal content for drawings. as the object or figure recedes.
TL3 uses personal mark making Art Products For Learning
G6: A sectional view relates to fictional 4.3. Uses drawing to plan and support
school or community decision-making. and patterning to create  Drawings  Prints
layers of SPACE. TEXTURE. Paintings Textiles
4.4. Recognizes the influence of drawings  
7. How can different points of view be in culture and history. C3 adopts a distinct approach  Collages  Computer imagery
represented? 4.5. Uses drawings to broaden the to making TEXTURES.  Sculptures  Photographs
G7: Changing the point of observation representation of work in a portfolio. TL4 uses computer to draw.
changes the representation of the C4 replicates qualities of the
object or figure. Resources and Examples
viewpoint. Realistic Focus
8. How does light affect perception of forms? TL5 transforms a SHAPE. Personal textures: Dubuffet, Van
Architecture
C5 alters form through Gogh, Guiseppe Archimboldo,
G8: The representation of VALUE gives Abstract Focus simplification or exaggeration. Paul Taylor
forms the illusion of 3D. Fantasy TL6 represents a sectional view. Transformational shape: Dall,
C6 represents portions of an object. Roger Kutz
Interdisciplinary Connections TL7 represents different elevations. Sectional views: Haas
C7 shows a variety of elevations Points of view: Rubens
Conceptual Connections Contextual Connections between drawings. Value and light: Benion, Ruscha
Biology: Botanical illustration Psychology: Dreams TL8 represents a 3D form.
Geology/Architecture: Cross sections/elevations C8 varies value in relationship to
the amount of light and the
source of the light.
State Academic Standards and Local Curriculum Frameworks

SOURCE: Tacoma School District No. 10, Visual Arts Curriculum, Tacoma, Washington. Used with permission.
65
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Figure 4.4e Scoring Guide Planner

Performance:

Scoring Guide Planner

Mode(s) Criteria Descriptors

Stirring the Head, Heart and Soul

Scoring Guide Mode: ________________

Criteria Excellent Highly Competent Competent Novice

Copyright 2008 by Hawker Brownlow Education, www.hbe.com.au. Reproduction authorised only for use in the classroom or by any school or nonprofit organisation

2008 Hawker Brownlow Education CO5150

that has purchased the book.