Different Groups Think And Learn Differently For Example Som

Different Groups Think And Learn Differently For Example Some Artist

Different groups think and learn differently. For example, some artists are more liberal and tend to respond better to creativity. Executives are more concerned with how the learning relates to the bottom line. Some say there are differences with how men and women learn. Begin by choosing a particular group of adult learners for your project. i.e. sales staff, administrative staff, executives, artists, engineers, nurses, etc. You will work with this group of learners from the rest of your project deliverables, so choose wisely. Please develop a 1-2 pages minimum response to the following. Be sure to include references. Summarize your understanding of how your group learns. Based on your own experiences, how would you best reach this group? How would you teach this group differently than other types of groups? Include a reflection of your own personal learning style compared to that group. Which group do you identify with most? Be sure to write with conviction as if you are the expert here. APA format, correct spelling.

Paper For Above instruction

Understanding How Artists Learn and Effective Teaching Strategies

Artisans, creators, and visual artists represent a distinctive group of adult learners characterized by their unique cognitive, emotional, and motivational traits. As visual thinkers and emotionally driven individuals, artists often favor experiential, hands-on, and creative approaches to learning. My understanding of how artists learn is rooted in their preference for visual representation, innovation, and personal expression, which aligns with Kolb's experiential learning theory emphasizing concrete experience and active experimentation (Kolb, 1984). Artists tend to thrive in environments that stimulate their imagination and allow for artistic exploration, making traditional lecture-based methods ineffective for their large-scale development.

Based on my experiences with artists, the most effective way to reach this group is through interactive, creative workshops that provide opportunities for visual experimentation and self-expression. Incorporating multimedia tools such as digital art platforms, physical materials like paints and clay, and opportunities for collaborative projects can significantly enhance learner engagement. For example, engaging artists in project-based learning tasks that connect their craft to real-world applications, such as branding or community projects, fosters motivation and retention (Shin et al., 2020). Furthermore, fostering a learning environment that values personal storytelling and peer critiques can deepen understanding and skill development among artists.

Teaching artists requires a departure from conventional pedagogies that emphasize rote memorization or standardized assessments. Instead, a participatory pedagogical approach focusing on inquiry, experimentation, and reflection is more suitable. For instance, integrating inquiry-based learning where artists explore new techniques and reflect on their process aligns well with their intrinsic motivation for discovery (Falk & Dierking, 2018). Moreover, providing flexibility in learning pathways and allowing artists to set personal goals can enhance their intrinsic motivation, leading to more meaningful engagement (Deci & Ryan, 2000).

Reflecting on my personal learning style, I identify most with a combination of visual and kinesthetic learning, which resonates with the artistic approach of hands-on, sensory-rich experiences. This personal affinity influences my teaching strategies, as I prioritize visual aids, physical activities, and experiential tasks. Comparing this to the learning preferences of artists, my approach aligns with their tendency to learn through doing and visual interaction, though I recognize that artists often require greater freedom for personal expression than I might typically incorporate.

Overall, understanding the learning preferences of artists guides the development of customized instructional strategies that harness their creative potential. As an advocate for experiential learning, I assert that fostering an environment of exploration, collaboration, and artistic risk-taking is essential for effective engagement. By embracing the unique cognitive and emotional attributes of artists, educators can facilitate meaningful learning experiences that prepare these learners to excel in their artistic and professional pursuits.

References

• Deci, E. L., & Ryan, R. M. (2000). The "what" and "why" of goal pursuits: Human needs and the self-determination of behavior. Psychological Inquiry, 11(4), 227-268.
• Falk, J., & Dierking, L. D. (2018). Learning From Museums: Visitor Experiences and Education. Routledge.
• Kolb, D. A. (1984). Experiential Learning: Experience as the Source of Learning and Development. Prentice Hall.
• Shin, H., Lee, S., & Lee, J. (2020). Art-based learning approaches: Connecting creativity and education. International Journal of Education & the Arts, 21(2).
• Gardner, H. (1983). Frames of Mind: The Theory of Multiple Intelligences. Basic Books.
• Moon, J. A. (2013). Learning Journals: A Handbook for Reflective Practice and Professional Development. Routledge.
• Bransford, J., Brown, A. L., & Cocking, R. R. (2000). How People Learn: Brain, Mind, Experience, and School. National Academies Press.
• Smith, M. K. (2010). Experiential learning. In E. K. Kellough & M. J. Kellough (Eds.), Theoretical Perspectives in Education (pp. 210-213). Pearson.
• Fleming, N. D. (2001). Teaching and learning styles: VARK strategies. VARK Learning Ltd.
• Reiff, R., & Magee, R. (2018). Teaching art: Developing a creative mindset in learners. Journal of Arts Education, 49(4), 205-218.