Design in education: how to make it happen
In this piece we take you through the adventure of entering a new education ecosystem. Srishti Manipal Institute of Art, Design and Technology serves as the Knowledge Partner for Visual Arts to the Delhi Government for their Dr. B R Ambedkar Schools of Specialised Excellence (ASoSE). With this piece we give our readers a sneak peek into what we set out to do and what happened in the classroom. This article composes streams of thoughts from a creative practitioner who entered the ASoSE classroom to teach for the first time. The thoughts are disparate and reveal different strategies, processes, and experiences from the classroom.
Our intention with this piece is to share what it means to operationalize a new educational paradigm. While we may all be convinced to integrate design in education, but what would it take to make it happen?
Srishti Manipal Institute of Art, Design and Technology is a knowledge partner with the Department of Education, Delhi to develop the visual arts curriculum for grades 9, 10, 11, and 12. This is a part of the Delhi government’s ASoSE (Dr. B R Ambedkar Schools of Specialised Excellence) program The various categories of the ASoSE programs are: STEM, Humanities, High End 21st Century Skills, Performing and Visual Arts, and Armed Forces Preparatory Schools. The B R Ambedkar Schools of Specialised Excellence of Performing and Visual Arts (ASoSE PVA) focus on identifying, honing, and developing students’ creative and artistic awareness.
The ASoSe program allows for a student to gain specialized creative learning (music/visual art/filmmaking) along with other subjects such as mathematics, science, languages, and social science. For two hours every day, students can learn and grow in their chosen field of specialization. Initially, the program had two established centres in Dwarka and Rohini, but it has now expanded to four schools that include I.P Extension and Andrews Ganj. With about 3500+ students applying for 140 seats across the four centres, the program has come to attract the aspiration and attention of many government school students.[1]
The curriculum structure of the ASoSE visual arts stream is to build a pathway to creative thinking and inculcate creative confidence amongst students who enrol in this program. At the core, it is to celebrate the creative process as a playground to absorb various aspects of life and the process of learning itself. In this regard, the value proposition here is not to limit the scope of trajectory of learning to a few job-oriented skill-sets. The thrust is to build an enabling skill-set and cognitive ability to operate within the larger gamut of visual arts as a field that involves fine arts, design, craft practices, and education. The expansion of creative thinking in multidisciplinary mode of operation is another aspect that will be explored later in the curriculum.
The vision here is to instil creative thinking, build a tactile knowledge around art and design tools, techniques, and methods, the ability to problem solve, innovate, build one’s own viewpoint by considering the larger worldview, collaboration, exploring multidisciplinarity, and developing an entrepreneurial skill-set.
| Grade | Semester 1 | Semester 2 |
| 9 | See, Think, Wonder | Explore, Experiment, Express |
| 10 | Sensing and Sense Making | Amalgamate and Assimilate |
| 11 | Build and Expand | Connect and Collaborate |
| 12 | Seek and Innovate | Amalgamate and Assimilate |
For grades 9 and 10, the visual arts curriculum has been divided into two subjects, Creative Expression & Analytical Thinking and Visual Art Development & Practice. The units under each subject are as follows:[2]
| Visual Arts Curriculum for Grades 9 And 10 | |
| Visual Arts & Development Practice | Creative Expression & Analytical Thinking |
| Fundamentals of visual making | Fundamentals of visual thinking |
| Explore line, form, shape | Understand art and design history |
| Observe light, tone, texture | Develop research practice 1 |
| Perceive material, structure, space, volume | Foster presentation praxis 1 |
| Engage in visualization tools & techniques | Express through story |
| Employ visual journaling methods | Inculcate visual language & techniques |
| Experiment with medium and material | Develop research practice 2 |
| Build documentation as tool 1 | Foster presentation praxis 2 |
| Exercise mapping as a tool | Cultivate lateral thinking |
| Hone communication skills | Develop research practice 3 |
| Engage in production techniques | Foster presentation praxis 3 |
| Build documentation as tool 2 | Imbibe creative thinking methods |
| Explore digital platforms | Envision project building |
| Develop portfolio | Foster presentation praxis 4 |
“My journey with the ASoSE project[3] began as a freshly graduated visual arts student from MSU Baroda in 2022. I was at a stage in my practice where I knew I wanted to get involved in the educational sector but was unsure as to how to articulate my ideas.”
The role that was initially offered to me had been to teach the meticulously crafted curriculum for visual arts students in one of the participating schools. My assigned class was a cohort of 35 students in grade 10 in ASoSE Rohini sec-21, many of who had little understanding of design as a practice. There was also very little existing familiarity with contemporary visual art practitioners. Combined with upscaling infrastructure, visual arts wished to introduce to students design thinking tools and methods that would allow them to come into their own in the field of visual arts practice. It promoted critical thinking, articulation, and reflection.
My previous experience with teaching had only included one-on-one tutoring and organizing creative thinking workshops for children under the age of 10. I had been intimidated, to say the least, to be facing such a large group of teenagers for two hours a day with whom, on the surface, I had little in common. But it only took a few sessions to recognize how equally curious and enthused my students and I were. It was also a testament to how welcome I was made to feel, both in classrooms and the schools, so much so that despite reservations regarding the content of the curriculum, I was able to experiment and explore many ideas through my teaching.
HTML Table
| S.No. | Name of Session | Number of Sessions | Activity |
|---|---|---|---|
| 1. | What is a map? | 1 | This session is to introduce the map both as an idea as well as a form that has had a long history. The map, first as a form of visual representation of locational information and then more broadly as a form of visual diagram that has a spatial or time-based aspect, can take up a wide variety of forms. This session is to create the ground for the students to approach maps not just as functional objects but also as something that tells stories through a specific visual language. |
| 2. | Components of a map | 4 | This series of four sessions takes a closer look at the different components that go into a map. Through the step-by-step process of creating a map, we introduce learners to the ways in which these components work together and the different visual principles that are connected to each component. |
| 3. | Discussion, reflection | 2 | These two sessions can be used to complete the works from the previous session. At the end of this session, a discussion summarizing the key learnings from the four preceding sessions on the different components of a map can be facilitated. |
| 4. | Maps & narratives | 5 | This cluster of sessions explores the intersections between narratives and maps. Along with an introduction to different kinds of visual narratives, it also explores how maps tell stories even when they don’t seem to be an explicit ‘storytelling’ mode. What this cluster of sessions also wants to highlight is that often the larger subtext of these stories told through maps must be perceptively coaxed out of them which might otherwise keep a very reserved ‘objective’ stance as befits a visual artefact that is often understood as ‘raw data’. |
| 5. | Form and Shape of Mapping | 3 | This cluster of sessions explored the various forms of mapping. This will help students to identify nods and strands of thinking. The art and design process involves looking at the content/scenario one is dealing with from multiple perspectives and from the point of view of different stakeholders. This set of mapping helps students to understand that the process of mapping encourages one to list, categorize, synthesize, and plan the thinking and making process. |
| 6. | Mapping Neighborhood | 3 | Students visit a local market where they are encouraged to gather as much information as possible through conversation, listing, mapping, drawing, photographing (with permission), interviewing, etc. They would need to get details such as number of shops, number of products on display, different kinds of materials used for the products, number of costumers, where the products are made, how long they take to make a given product, pricing of the products, etc. Students will be asked to make: • Mind map • User journey map • Process map • Narrative map |
The second unit of the year was titled Exercise Mapping as a Tool, which was centred around mapping as a narrative device and exploring the elements of a map using design thinking methods. For many reasons it had been an extremely daunting unit to consider. To start with, the unit plan I received had been designed to account for every minute of the scheduled two hours. It was difficult to implement, as often discussions or reflections would require more time, throwing us off schedule. It was also challenging to get students to engage with certain activities, as they struggled to understand the learning objectives.
A consistent theme in the curriculum was task based learning. In many of the activities of Exercise Mapping as a Tool, discussions post activities had to be veered more towards reflecting on the creative process over giving feedback on the final output. As part of their portfolio, students were also allowed to submit sketches and notes from their research, giving them a space to introspect their learning.4
“However, with the units that followed Exercise Mapping as a Tool, I began sharing learning objectives from the start, which acted as a successful motivator for the students.”
In my sessions, I would share learning objectives of the unit through reflection and feedback at the end of the activities. However, with units that followed Exercise Mapping as a Tool, I began sharing learning objectives at the start, which acted as a successful motivator for the students. This enabled students to contextualize their learning process through the output they were producing. The correlation between student engagement and learning objectives became more apparent with succeeding units. One could gauge how much of the objectives students had comprehended by the level of enthusiasm shown for the activities.
“A major modification was the freedom the teacher was given in session planning for forthcoming units.”
During our internal reflection of Exercise Mapping as a Tool, the visual arts team considered changes that could be made to take into account the challenges that presented themselves in terms of student engagement. A major modification was the freedom the teacher was given in session planning for forthcoming units. Using the overall structure developed for the unit, we were asked to design each session around specific classroom concerns. The unit plans provided clarity in the learning objectives, while the session plans allowed flexibility to explore different routes to present them in the classroom.[4]
“Brainstorming method was the most useful tool I incorporated, both as part of addressing student concerns and in my attempts at session planning.”
A popular technique among students was mind mapping, which was initially introduced in Exercise Mapping as a Tool. In the units that followed, I began incorporating them at the start of sessions as a collective exercise. It had been very exciting to note how students began to adapt the method in their own ways in later projects. Collective brainstorming methods are not only modes to encourage creative thinking but also a space to get students to reflect critically. It allowed a framework to form where they could provide feedback to each other, and more importantly, themselves. Reflection was essential in creating these systems of learning that students could apply in their creative practice outside the classroom.
“My role as a teacher went beyond activities in the classroom, as I became an active participant in the learning process.”
An additional concern was the practice of sketchbooks. Throughout my own art practice and education, the sketchbook was the heart of every project. It was where I was free to pursue ideas. However, it was extremely difficult to facilitate this with my students. Keeping in mind that sketching as a practice was meant for students to undertake in their time outside the classroom, it was complicated to instil this consistent exploration. Multiple strategies were attempted, including providing regular prompts for students to work on. However, this was unsuccessful as it led to students treating sketchbooks as submissions rather than a space for free flowing ideas. One of the later units in the year introduced the concept of journaling. Initially, it was approached as a brainstorming method, however as classroom projects and activities became more complex, students began to really explore it as a creative thinking process. Zine making and techniques of Lynda Barry, who I was introduced to by a lovely fellow practitioner, were brought forward in class. At the peak of its exploration, journaling became a space for students to be uninhibited with their articulation.
Vision boards and mood boards with sketches and visuals of the planning stages, were set up regularly at the start of long task based units for students to refer to collectively throughout sessions. Writing as a reflective habit was still harder to foster. I began relying heavily on student presentations, where they could articulate their thinking process and reflect critically. It was also a process where they felt less conscious about themselves, allowing them to be more relaxed and receptive to feedback and discussions.
Observing and collaborating with students in such creative modes lent a space for me to develop an understanding of the different possibilities of a session plan. My own participation in activities encouraged curiosity in learning, but it also allowed me to reflect continuously as a creative practitioner. My role as a teacher went beyond activities in the classroom, as I became an active participant in the learning process.
Exercise Mapping as a Tool was also the first unit to introduce activities that extended beyond the classroom, where students explored visual and narrative representations of various spaces of the school. To encourage critical reflection through practice, this was an essential part of their creative learning.
The most collaboration was required in approaching possibilities where students could engage in projects and spaces outside the classroom. This included building systems of communication between knowledge partners and school management and the various teachers. Since my personal experience of relationships in educational institutions has mostly been hierarchical, I was constantly aware of the dynamics between teachers and students in the school. By stepping into the role of the teacher, I was challenging myself to participate as a co-learner and collaborator with the students in the process of knowledge creation.
A final reflection
In the two years I worked on the ASoSE project, I had multiple conversations with art teachers across the schools. Many had common reservations regarding curriculum content and teaching methods that were being introduced at the time. My own approach to visual arts and design had changed as I tried to contextualize the learning objectives of the curriculum to the students. The gaps in my understanding were explored through application of design thinking methods and systems, and I’d like to think that this followed in my students’ learning as well.
As the world around us complicates, our students need to be able to put creative thought into understanding and restructuring ecosystems. For students to better contextualize their learning, there needs to be more engagement with industry experts and contemporary practitioners. School systems need to foster an environment of entrepreneurial spirit, research, and community engagement while the focus on curriculum development can be built on ideas like critical thinking, reflection, and agency.
It is important for me to acknowledge how vital the support from the visual arts team was, not just in the freedom they lent me for my explorations, but also how much that boosted my confidence in the classroom. Many of the conversations I had, with both teachers and students, are still ongoing. While considering the implications of AI in contemporary classrooms and the importance of image making today, teachers also question if students are equipped for further practises through higher education. Moreover, despite the increase in design opportunities in institutions, financial challenges still persist.[5]
[1] As Knowledge Partners the intention and operational reality of ASoSE became our brief. While SMI has a 25 year legacy in visual arts education as a higher education institution, ASoSE was a new context with its own hopes and aspirations.
[2] As SMI, we are active agents in how we run our classes, the curriculum, the students, the larger vision is in interaction day in and day out. For the ASoSE program we were two steps away from the field. The ecosystem, the program, the curriculum, the students were all new. The curriculum we had developed for ASoSE was sent to teachers in a template designed by DBSE. These templates were extended versions of the brief. They included a subject guide which was a zoomed out purview of the curriculum, unit plans which laid out details of sections of the curriculum, and session plans where we detailed the curriculum for a day-to-day transaction.
[3] Along with the cohort of government school teachers who were visual arts experts in their own rights, we also had two Specialised Resources Persons (SRPs) hired by SMI to run the curriculum on the field with the teachers. The SRPs became our bridge between the curriculum and the field and communicated with us regularly. As a multi stakeholder project, while we reflected and questioned ourselves, we were held accountable by the Heads of schools, teachers, learners, and SRPs at different stages as well. This prodding made visible the many dimensions of designing a curriculum that hopes to cultivate creativity. SMI, the government school teachers, our SRPs, and the students were sometimes on very different pages about what constitutes visual arts education.
[4]We have used our unit Mapping as a Tool deliberately to illustrate and deconstruct the nuances of our work with the ASoSE program. It’s a unit that uses mapping as a tool to make sense of what is around us. It is an unusual unit in a visual arts curriculum and makes explicit our position and perspective on visual arts as knowledge partners. We slowly and steadily learnt that while we are learners in this exercise, so are our teachers and SRPs. We were not designing curriculum for just our learners. We also realized that this curriculum would live its own life that was out of our control. It would morph, mutate, and be modified by learners, SRPs, and teachers.
[5] The idea of good design is highly debatable. But we are sure that most designers will agree that good design is rooted in its context. As Knowledge Partners understanding the ASoSE context has been deeply rewarding. As excited as we are about the opportunity of learning visual arts as a specialization starting from grade 9, we are aware that it opens larger questions about art and design education at all levels. As educators and creative practitioners, this experience has made us closely examine the persona of those who teach visual arts. How does teaching become a form of creative practice? How does teaching visual arts inform your creative practice? Above all, we have questioned and reflected upon why we need to learn visual arts at all and what the nuts and bolts that will make this why materializes are. We have realized this ‘why’ is different for different people and even more different is the ‘how’. And it is important for disciplines such as visual arts to welcome, accept, and celebrate these differences.
The ASoSE team is formed of faculty members from SMI plus our team on the field in Delhi. The musings and responses to the curriculum are written by Parvati Amrith Sindhu. Raised in a home surrounded by literary and artistic practices, Parvati was always interested in the intersection between text and visuals, especially in the areas where pedagogical methods intervene with image making. During her course at MSU Baroda, her practice focused heavily on the storytelling tradition, exploring various narrative methods and archival practices in visual culture. After her graduation in 2022, she worked on the ASoSE project for two years. She has also travelled extensively across India, working with various community projects.
Currently, she is pursuing her masters in education at the University of East Anglia, Norwich.
