Teaching visual arts as an approach to moral education : An autoethnographic account of my research project

Abstract

This doctoral dissertation, composed of five peer-reviewed articles along with a Kappa, details an intervention study designed by the author and carried out in collaboration with three visual arts teachers during art classes at an elementary school in the capital area of Iceland. The research focused on exploring the potential for enhancing moral education through discussions about visual art and art-making, based on selected virtues. The theoretical foundation is rooted in Aristotle’s virtue ethics and its modern adaptations, particularly Neo-Aristotelianism and Aristotelian Character Education. The author also draws on John Dewey’s educational and aesthetic philosophy, Rudolf Arnheim’s theories on the interaction of perception and thinking, Susanne Langer’s writings on art and inner life, and Maxine Greene’s views on the role of art and imagination in education and the teacher’s role within that context. The ontological basis of the study is pragmatic, and the author employed a mixed- methods research approach, including focus group interviews, thematic analysis of student texts, observation of their artworks, and action research, wherein the author holistically reflected on the research process. The work weaves together two distinct dimensions: an exploration of the role and potential of visual arts education in fostering moral development, and an autoethnographic study of the author’s own development as an artist, teacher, and researcher, particularly in light of the value of educational research and the role of the teacher. At the outset, the author intended to investigate how visual arts education might contribute to moral development, especially in terms of what is called “virtue literacy”— a construct developed by the Jubilee Centre for Character and Virtues at the University of Birmingham in the UK. The research aimed to develop new methods and educational materials for moral education where the arts, especially visual arts, would play a central role. The intervention, lasting eight weeks, involved creative projects in art classes that emphasised virtues such as courage and friendship. Students also regularly engaged in philosophical discussions about selected artworks that the author believed contained moral undertones or content. Before and after the intervention, questionnaires were administered to both the participating students and a control group. Statistical analysis of the survey data indicated that the intervention did not have a statistically significant effect on students’ moral vocabulary. However, this finding contrasted with impressive student artworks and their written reflections, which indicated meaningful contemplation and insights. This constitutes the first dimension of the study. This outcome led the author to recognise more clearly his own inseparable role as artist, teacher, and researcher, highlighting that the organic whole of human interaction in the classroom cannot be detached from the technical aspects of curriculum, teaching methods, interventions, and assessment. To better understand his role in this context, the author undertook an action research project, forming the second dimension of the study. The main findings of the research underscore the importance of giving students opportunities to reflect on artworks and discuss their thoughts and emotions in relation to those works and their own lives. The results also show that elementary school students can grapple with complex moral questions and articulate their thoughts about them, even if they have not fully developed linguistic mastery. It can be inferred that reflection on artworks and participation in discussions about them may be a valuable complement to traditional curriculum content in elementary education. Furthermore, the results highlight the crucial role of the teacher in creating a safe and trusting classroom environment that enables meaningful learning. On the other hand, the findings also indicate that due to traditions and expectations about the content and focus of visual arts education, teachers might expect to face challenges, though these can be met with patience, reflection, care, and respect