Revista Nebrija de Lingüística Aplicada a la Enseñanz=
a de
Lenguas =
ISSN
1699-6569 Vol. 18 Núm.=
36
(2024) =
doi: 10.26378/rnlael1836564 Recibido:14/=
08/2023
/ Aprobado: 20/03/2024 Publi=
cado
bajo licencia de Creative Commons Reconocimiento Sin Obra Derivada 4.0
Internacional
When in doubt, art it out!
Employing feminist art to enhance transformative engagement in EFL classrooms
“When in doubt, art it out!” Arte con
perspectiva feminista para promover el compromiso transformativo en el aula=
de
ILE
Margarida
Castellano-Sanz
Universitat de Valè=
ncia
margarida.castellano@uv.es
<= o:p>
ABSTRACT
This article
outlines some of the "Literacy, Gender and Diversity
(LITGENDI)" (UV-SFPIE_PIEE-2732068) project outcomes, coordinated by the University of
València’s Faculty of Teacher Training (2022-24). Integrating a feminist po=
int
of view towards art into English as a Foreign Language (EFL) classrooms, th=
is
project aimed to deepen learning through critical engagement with social is=
sues
and celebrate female artistic figures, enhancing students’ critical
consciousness. Implemented in a Valencian artistic baccalaureate, this
multimodal approach proved to significantly boost student motivation and
engagement by adopting arts from a feminist viewpoint. Despite its limited
timeframe and sample size, the project showcases the impactful role of arts=
in
fostering inclusivity and addressing gender inequality in education. It
advocates for an academic shift towards transformative learning and curricu=
lum
innovation, emphasizing the importance of content selection to prepare stud=
ents
for global challenges. LITGENDI exemplifies art's power in revitalizing EFL
multimodal education and promoting transformative student engagement.
Keywords: critical ELT, feminism, motivati=
on,
social justice, transformative learning.
RESUMEN=
E=
ste
artículo resume algunos de los resultados del proyecto "Literacidad,
Género y Diversidad (LITGENDI)" (UV-SFPIE_PIEE-2732068), coordinado de=
sde
la Facultad de Magisterio de la Universitat de
València (2022-24). Mediante la integración del arte con perspectiva femini=
sta
en las aulas de Inglés como Lengua Extranjera (ILE) se buscaba profundizar =
en
el aprendizaje a través de la participación crítica en problemas sociales y
visibilizar la obras de mujeres artistas, para mejorar la conciencia crític=
a de
los y las estudiantes. Implementado en un bachillerato valenciano en la
modalidad de artes, este enfoque multimodal demostró aumentar
significativamente la motivación y el compromiso del estudiantado adoptando=
el
arte desde una perspectiva feminista. A pesar de su limitado marco temporal=
y
tamaño de muestra, el proyecto destaca el papel impactante del arte al fome=
ntar
la inclusión, la coeducación y por abordar la desigualdad de género en la
educación. Aboga por un cambio académico hacia el aprendizaje transformador=
y
la innovación curricular, enfatizando la importancia de la selección de
contenidos para preparar a los y las estudiantes para los desafíos globales.
LITGENDI ejemplifica el poder del arte para revitalizar una educación ILE
multimodal y promover un compromiso educativo transformador.
<= o:p>
Palabras clave: ELT críti=
co,
feminismo, motivación, justicia social, aprendizaje transformativo.
In high school
settings, engaging the multifaceted nature of students becomes pivotal for =
an
enriching learning journey. Reflecting on Hagay=
and
Baram Tsabari's (2015) insights, it is apparent=
that
curricula often feel disconnected from students' lived experiences, leading=
to
a widespread disengagement. On the one hand, some scholars affirm that this=
is
particularly evident in English as a Foreign Language (EFL) classrooms, whe=
re
the traditional approach can fail to spark curiosity or relevance (Dörnyei
& Ushioda, 2011; Suescún-Giraldo, 2015;
The fostering=
of
a critical perspective in additional language teaching is still an emerging
field, as criticality often suffers from epistemological confusion due to i=
ts
polysemic nature (Dervin, 2012). This paper argues for a clarified
understanding of criticality and interculturality, drawing on Atienza (2020)
and Dervin’s (2012, 2023) work, to inform pedagogical practices that avoid
reductionism and contradiction. In doing so, this research stems from the
observed disconnection in an Artistic Baccalaureate setting. Inspired by
transformative actions such as those by Guerrilla Girls in the 1980s, ArtActivistBarbie, and Femme.sap=
iens
in the 2020s, this study employs feminist critical pedagogy and responds to
LOMLOE's precepts of social justice and the Sustainable Development Goals
(SDGs) through an interdisciplinary lens. The res=
earch
explores the use of art, specifically the underrepresented voices of female
artists, as a stimulus for motivation and critical thinking in the EFL
classroom, aiming to redefine EFL education through a critical viewpoint and
challenging students to engage with issues of identity, power, and
representation.
The research
aligns with the call for a critical perspective in language teaching, exami=
ning
how language education shapes and is shaped by sociopolitical ideologies
(Kubota & Austin, 2007). It adheres to the challenges posed by fosterin=
g a
critical mindset in language learning while integrating the transformative
potential of arts (Bori, 2022). The paper unfolds in several sections,
beginning with a theoretical framework that situates motivation within EFL
learning, incorporating critical pedagogical approaches as underscored by
authors such as Correa (2011, 2018), and applying a feminist approach to art
education (Alarcón-Arana, 2023). The methodology details the classroom
intervention, analysed for its impact on student engagement and critical
consciousness. The results and discussion explore the potential of art to
bridge curricular gaps and foreground gender disparities, resonating with C=
ots
(2006) and Gray’s (2010) critical examination of educational materials. In =
the
final analysis, this article will examine the transformative impact of femi=
nist
art in EFL education, exploring how it can foster not only language profici=
ency
but also a deeper understanding of cultural narratives and gender roles,
informed by critical pedagogical approaches.
2. THEORETICAL FRAMEWORK
2.1 Motivation and education
Motivation is=
a
key element in any learning scenario, and it is of the utmost necessity to
attempt to increase and maintain it so as to ens=
ure
that students learn in a meaningful and productive manner, achieving their
goals (Anjomshoa & Sadighi, 2015) while also
improving their academic results (Saeed & Zyngier<=
/span>,
2012).
Research on
motivation within educational contexts, particularly in second language (L2)
acquisition, remains a pertinent field of study. Consequently, its explorat=
ion
has persisted, evolving and adapting to the dema=
nds of
contemporary society. In fact, researchers who have dedicated decades to st=
udy
motivation in learning continue to do so and new debates keep arising and n=
ew
challenges keep being posited and faced. As an example, Dörnyei (2001) has
acknowledged the significance of context in the study of motivation, while
emphasising the importance of long-term motivation and persistence, vision,=
and
unconscious motivation, the investigation of which would be enormously
beneficial to further the understanding of motivation in the L2 world in
addition to potential applications of said knowledge (=
Košinaga,
2020).
Motivation,
despite its critical role across various fields of study and in all facets =
of
life, remains a challenging concept to pin down. The significance it holds =
and
the curiosity it sparks have led to extensive scholarly attention, resultin=
g in
a plethora of theories. These theories endeavor=
to
delineate and elucidate both the nature of motivation and its underlying
components. One definition of motivation is given by Dörnyei and Ottó (1998=
),
who explain that:
in a general sense, motivation can be defined as the dynamically
changing cumulative arousal in a person that initiates, directs, coordinate=
s,
amplifies, terminates and evaluates the cognitiv=
e and
motor processes whereby initial wishes and desires are selected, prioritise=
d,
operationalised and (successfully or unsuccessfully) acted out (1998: 65)
Starting from=
the
classic definition of motivation by Gardner and Lambert (1972), we follow
Dörnyei’s addition of three components: integrativenes=
s
(interest toward the L2); attitudes toward the learning scenario and
motivational intensity (2001). Thus, the role of both the teacher and the
course is pivotal in fostering motivation for L2 learning. Among the myriad=
of
strategies available, ensuring the lesson content's relevance to students is
paramount (Dörnyei, 2001). By tailoring the curriculum to resonate more clo=
sely
with students' interests, educators delve into a transformative teaching.
Opting for less conventional topics in the English classroom, such as the a=
rts,
aligns well with this approach. This is further bolstered by the growing
momentum behind art education, increasingly recognised as an indispensable
facet of holistic education (Acaso & Megías, 2017). Furthermore, contextualising the conte=
nts
taught in class can be of help regarding the lowering of the affective filt=
er,
as stated in Krashen’s Affective Filter hypothesis (1982). Thus, low
motivation, low self-esteem, and debilitating anxiety can combine to 'raise'
the affective filter and form a 'mental block' that prevents comprehensible
input from being used for acquisition.
Contextualizi=
ng
lesson content is a powerful strategy to engage students, especially in hel=
ping
lower their affective filter (Berhó & Defferding, 2005). When considering the profound impa=
ct of
self-esteem on a student's affective filter, it becomes clear that utilizing
topics where students feel competent can significantly mitigate this filter=
. By
boosting their confidence in their own knowledge and abilities, students are
more likely to approach challenges with optimism, fostering greater
participation in class and in proposed activities. The positive implication=
s of
employing the arts as a lesson topic in this context will be further explor=
ed
later in our discussion.
2.2 Art education and multimodal perspective in L2 Education
It is essenti=
al
to scrutinize the role of art and art education within the broader context =
of
general education. Historically, language teaching and the arts were seen as
separate domains without much intersection. Yet, this perspective has shift=
ed
in recent years, with art's integration into the EFL classroom gaining
momentum. Schander et al. (2013) observed that these two fields are not
inherently isolated. Their synergistic benefits can stimulate profound
motivation, leading to heightened participation and, notably, to substantial
text production. This sentiment further underscores the effectiveness of
leveraging art as a tool in language instruction. Furthermore, they defend =
that
the arts can be taken to the EFL classroom “as a valuable teaching resource,
enabling teachers and learners to engage in more meaningful and memorable
learning experiences” (Schander et. al, 2013: 411), following the line of
thought that defends that learning should be meaningful and that the learni=
ng
linked to emotions, especially positive ones is richer. Moreover, it should=
be
highlighted that the use of art in class does not require for the teacher n=
or
the students to be experts so that they can uncover the historical and cult=
ural
context and content of an artwork (Schander et. al, 2013), which will be at=
the
centre of this research.
Even more, art
education should be central in any Arts Baccalaureate group or, as Acaso and Megías defend (=
2017),
in any general education. Furthermore, both authors argue that, nowadays, w=
hen
people are constantly bombarded and surrounded by images, while also being
constantly creating them, it is necessary to re-evaluate artistic education=
at
school. The teaching methodology of the arts requires contemporary rejuvena=
tion
to better align with current educational needs, inviting a thoughtful re-ev=
aluation
and innovative redesign to ensure its relevance and inclusivity. Therefore,=
Art education is asking of us to rethink it in a moment in time when
visual worlds do not stop growing and becoming more complex, while the
experiences by means of which processes of critical alphabetisation regardi=
ng
those visual worlds can be carried out are disappearing from educational
contexts whose mission is to develop it (Acaso =
& Megías, 2017: 29)
In line with
that, the researchers argue that to reach that goal, and thus, reach studen=
ts,
“art education should be adapted to the social reality where it is inscribe=
d” (Acaso & Megías, 2017:=
31),
which supports the idea of the importance of contextualisation of the conte=
nts
that has already been commented upon. Not only that, but, as it happens with
motivation, this process is actually a two-way r=
oute,
and the aim should be to “connect art education with reality and connect
general education with reality by means of art education” (Acaso
& Megías, 2017: 32). This idea is also supp=
orted
by Izadi and Baltagi (2019) who defend the use =
of art
to incorporate culture into the EFL classroom, as “teaching culture through=
art
is not only relevant but also a realistic and practical way to stream the
classroom with the outside world” (Izadi and Baltagi,
2019: 56). Following this line of thought, Engh (2013) further defends this
practice, since it increases the intrinsic motivation towards the target
language, as it fosters a positive learning environment (as cited in Izadi
& Baltagi, 2019). Usually, the use of art to
introduce culture is done with the focus of teaching about the culture link=
ed
to the target language, which ends up helping create connections between the
target culture and the students’ own (Byram, et al., 2002, as cited in Izadi
& Baltagi, 2019) and “allows students to ex=
amine
not only values and themes of the target cultures but their own cultural bi=
ases
and beliefs as well” (Omaggio Hadley, 2000, as cited in Berhó
& Defferding, 2005: 2). Nonetheless, this
approach can be altered, and the art used in EFL classroom can belong to the
learners’ culture, which is what has been done in the study at hand. As
if the teachers are able to incorporate a=
rt
from where they live, or where their students come from then the lesson
become[s] all that more relevant to the students. Once the students feel a
connection to what they are learning then they will immediately become more
engaged and interested because it will no longer seem so random or far-fetc=
hed
(Badard, 2016: 6)
Hence, the us=
e of
art to introduce culture into the EFL classroom can be used to engage stude=
nts
to a higher extent if one uses art from their culture, as it contextualizes=
the
lesson and makes it relevant, increasing their interest. Additionally, the =
benefits
linked to the questioning and reflection upon the learners’ culture are even
more relevant if the culture directly dealt with in class is their own, sin=
ce
allows them to ponder and debate about one’s own culture in a critical mann=
er,
and it can become an opportunity to create a debate in the classroom regard=
ing
topics such as values or the status quo. This idea is also defended by Badard, who expresses that “arts are a great way of
nurturing open-mindedness, which is one of the most important lessons we ne=
ed
to teach young children” (2016: 6), which also applies to high school stude=
nts.
Regarding the=
contextualization
of the topics or language by means of using the arts, it is important not o=
nly
because of the effect it has on the motivation of the students but also bec=
ause
of the new context and learning opportunities it provides. These effects ar=
e behind
the project Developing English Language Literacy through the Arts (hereinaf=
ter,
DELLTA). This project has been created by the non-profit organisation ArtsConnection, a partnership founded through a
collaboration between several departments of the New York City government in
the 70’s that provides “innovative arts programming to millions of students=
in
the New York City public school system, enhancing children’s intellectual,
personal and social growth, while developing award-winning educational mode=
ls”
(ArtsConnection, About Us section). The DELLTA
project defends that using arts in the classroom influences second language
acquisition in emergent bilingual students in a positive manner. One of the
ways to use art is in collaborative discussions, which is the kind of conte=
xt
that this project is based on, and it is in this context that contextualiza=
tion
shows its importance. Morgan and Stengel-Mohr (2014), in their research as =
part
of and with DELLTA mention that Walqui (2002)
explains that “most of the language that students are exposed to in the
classroom is decontextualised: in order to comprehend it, the learner must =
rely
on language alone.” (as cited in Morgan & Stengel-Mohr, 2014: 93). They
further explain that “collaborative spaces allow for rich, authentic, and
contextualized language exchange; in addition, true language learning is
evidenced when learners can create novel phrases and manipulations of the
language” (Morgan & Stengel- Mohr, 2014: 93). In other words, providing
students with a learning situation where they use language applied to a real
context and use helps them achieve true language learning and often leads t=
o a
fruitful exchange among students, which is most probably boosted if the top=
ic
being tackled is of their interest.
Moreover,
This pedagogi=
cal
approach aligns with the critical development goals by fostering a classroom
environment that not only values emotional engagement but also prioritizes =
the
visibility and critical appraisal of female referents in art. Such an
environment encourages students to interrogate societal norms, challenge
historical omissions, and embrace a more inclusive and critical perspective=
on
the narratives that shape our understanding of art, cul=
ture
and society.
2.3 Gender critical perspective in education
Discourse and
debate on gender issues are ubiquitous and of the utmost currency in nowada=
ys
society. Indeed, “gender mainstreaming is an international strategy in Euro=
pe
relating to gender equality using an intersectional approach” (Venegas et a=
l.,
2020: 137). This intersectional approach includes, obviously, education.
Education is a tool to help young members of any society to develop their
critical thinking skills, helping them inform their own vision of the world
that surrounds them. In fact, “these skills are very important for young
adolescents as they are starting to reflect on moral and political judgment=
s to
integrate themselves into society” (Moreira et al., 2015, as cited in
Moreno-Vera and Cruz, 2023: 143). In other words, “the goals of education
include more than mere cognitive and intellectual development of individual=
s.
Education has also been a major institution shaping individuals’ attitudes,
values, and beliefs” (Du et al., 2020: 476). Therefore, gender perspective
should be applied to education as a way to ensure
gender equality. Being quoted in Shih and Wang (2020), Tasi (2008) explains=
:
one of the most important objectives of gender-equal education is the
achievement of dual educational effects socially, culturally, and at the le=
vel
of school and family through education. Gender-equal education seeks to red=
uce
the negative aspects of gender bias and to eliminate gender discrimination =
and
oppression and promotes the positive aspects of gender equality and gender
diversity. The goal of this education is to establish a society that is not
restricted by any gender roles, gender expectations, or gender stereotypes
(Tasi, 2008, as cited in Shih & Wang, 2020: 47)
Incorporating
gender discussions into education, reflecting on the United Nations'
Sustainable Development Goals (hereinafter, SDGs), is a global initiative a=
lso
echoed in the Spanish current Education Law's curricular design. This appro=
ach
is also mirrored in EFL classrooms worldwide. For instance, in Japan, criti=
cal
explorations of gender have been integrated into English language teaching.
Researchers have examined gendered language, addressed issues such as sexual
harassment and domestic violence, and critiqued representations in media and
educational materials (Sakui & Gaies, 1999; Sunderland, 1992; 2000). These studies
highlight the pedagogical value of fostering a critical gender awareness am=
ong
language learners. For this research, gender was considered with a double
motive: first, to participate in the students’ education regarding gender by
raising awareness of gender disparity in the art world and, second, to use =
this
raising of their awareness as a way to motivate =
them
and increase their engagement in the English classroom. It is in this conte=
xt
of introducing discussion about gender and gender equality in the curriculum
and the classroom that feminist pedagogy gains importance. According to Whi=
te:
methods for teaching from the perspective of feminist modes of thoug=
ht
and inquiry are regarded as feminist pedagogy. Forms of education rooted in
this ideological perspective are complex, unorthodox
and difficult to define. Art Education in general shares this multiplicity =
of
definition and approach with feminist pedagogy (2019: 22-23)
Thus, feminist
pedagogy and Art Education can concur, being implemented together in the
classroom with the objective of giving students the opportunity to reflect =
on
and question society and the general beliefs being transmitted. Art history=
has
followed patriarchal societal rules, leading to the canon being conformed in
its majority by white male artists. Thus, art students are mostly exposed to
male artists, with almost no exposure to female ones, even if this tendency=
has
been changing to different extents in the last decades. The dissimilar expo=
sure
that students experience concerning art made by men and art made by women c=
an,
and does, affect students’ knowledge and attitudes (White, 2019). Hence, the
classroom offers an opportunity for the teacher to defy the perspective of =
art
history and offer a more egalitarian view, introducing students to as many
women artists as men ones. As Keifer-Boyd (2003: 317) explains, “feminist
pedagogy… is enacted from the feminist educator’s particular feminist values
and theoretical orientation adjusted according to and within a specific
context”, in this case, the EFL classroom dealing with art history topics. =
“In
art education, this causes a re-evaluation and re-assessment of didactic
critique and addresses the potential for collaboration and a
community-oriented, art-pedagogical experience” or, in other words,
“feminist-based critique as a pedagogical approach is useful in the creatio=
n of
a more inclusive society in which people are not limited based on their
gender/s” (White, 2019: 2).
It is,
nonetheless, necessary to question the interest this approach may have for
students. Even if it is not a topic widely researched, some studies defend =
that
students are interested in and value diverse representation in the curricul=
um
and that they do not receive an equilibrated education in the arts regarding
gender representation (White, 2019). This claim was proved in this study, as
the disparity in the representation of artists of different genders was use=
d as
a shock factor that proved to be of utility to engage the students.
3. METHODOLOGY
3.1 Research design
This study
follows a qualitative research methodology (Creswell, 2009) with interpreti=
ve
data (Stake, 2010). More specifically, a multiple case study design (Stake,
1999) was employed to analyse the motivation and engagement in English lang=
uage
learning when dealing with a current topic related to social justice, with a
starting point in the academic interests of the students: the gender gap in
art. All participants were from a group of 1st Baccalaureate in =
Arts
from a state high school in València and a level of English B1-B2 CEFR. They responded to a pre and post questionnaire, whose
questions required responses in both Likert scale format and short text.
The 15 questions of the questionnaire were structured into four different
sections: I. Previous knowledge and awareness on gender gap in art (3 short
answers); II. Aspects related to art mediation and
women artists representation (4 Likert scale questions); III. Aspects relat=
ed
to linguistic competence and specific uses of English (3 Likert scale
questions) and IV. Perception of the sessions (5 Likert scale questions). <=
/a>Finally,
an oral general discussion took place in the classroom, following an ethnog=
raphic
approach to research (Goetz & LeCompte, 1988; Angr=
osino,
2012), through which the researcher could take notes on the contribution of=
a
multimodal linguistic work to the development of the concept of social just=
ice
(Fraser, 1996; Weissler, 2022), gender gap awareness (Butler, 1990, 2004;
hooks, 1994; Fraser & Honneth, 2003) and ri=
ght of
membership (Benhabib, 2004). With the aim of
implementing and evaluating a learning situation that helps motivating arti=
stic
baccalaureate students into the learning of English while engaging them with
social justice and feminist art, different sessions designed following LOML=
OE’s
precepts have been created. This pedagogical background justifies the selec=
tion
of multimodal texts and the scaffolding being used to guide students’
productions.
3.2. Participants, con=
text
and research design
This research=
was
carried out during the academic year 2022-23 in a group of 1st
of Baccalaureate in Arts with 25 students (N=3D25) in a state high school i=
n the
outskirts of València. A total of six sessions (50 minutes each) were
conducted. The age of the students ranged from 16 to 18 years old. Regarding
gender, fifteen of them identified themselves as women, five of them as
non-binary, and five as men. Culturally, the class represents nowadays
diversity, with 6 students being born in other countries, mainly from South
America and Eastern Europe. With respect to the class atmosphere, there exi=
sted
a high level of demotivation, with a high rate of failing grades in a big
proportion of the subjects. Students’ attitudes varied, nonetheless, but mo=
stly
matched their motivation. The entry profile of 1st of Baccalaureate is a B1,
according to the Common European Framework of Reference (CEFR).
3.2 From innovation to research: design &a=
mp;
implementation of a learning path
As a result of
the evolution of the concept of literacy and the interest in the learning
process as a meaning-making process, in 1996 a group of scholars known as t=
he
New London Group (hereinafter, NLG) coined the term Multiliteracies. Their =
aim
was to establish a more contemporary vision of literacy that would also ref=
lect
the multiple forms of communication and the diverse linguistic contexts in a
globalized society. Hence, Pilgrim and Martínez (2013: 62) point out that t=
he
NLG defines multiliteracies as "the multiple ways of communicating and
making meaning, including visual, audio, spatial, behavioural, and gestural
formats".
The Pedagogy of Multiliteracies not only
incorporates the concept of Learning by Design but also the Framework for
Knowledge Processes, which involves the implementation of four pedagogical
acts: 1. Experiencing; 2. Conceptualising; 3. Analysing; and 4. Applying. W=
hile
the elements characterizing each act can occur at any time during the learn=
ing
process, Kalantzis et al. (2016) and Menke and Paesani (2019) emphasize that
teachers must reflect in advance on how to combine and when to apply these
processes according to their own goals. Next, in Figu=
re
1, we present the pattern designed (based on Castellano-Sanz, 2023;
Reyes-Torres & Castellano-Sanz, 2023) to include multimodal resources to
actively engage and motivate students in their process of learning an
additional language and develop critical literacy. Non-fiction picturebooks and graphic novels, such as those by Hod=
ge
(2016), Grande and Rosetti (2021), or Sotoca Ga=
rcía
(2022), were introduced. Additionally, other multimodal texts by Guerrilla
Girls and @femme.sapiens and long overshadowed w=
orks
by local and contextual women artists, such as Manuela Ballesteros, María <=
span
class=3DSpellE>Sorolla, Elena Carabia or
surrealist Remedios Varo, among others, were incorporated to discuss and en=
rich
the learning experience.
Figure 1. S=
tructure
of the Learning Path based on Multiliteracies Pedagogy. Source: Created by =
the
author.
3.2 Data
collection
Students were
asked to complete Likert scale questionnaires both before and after the
intervention sessions. These questionnaires were chosen for their ability to
solicit responses in a non-evaluative manner, as there are no 'correct' or
'incorrect' answers, thus minimizing any potential bias related to students'
concern for academic evaluation (Dörnyei, 2007). Efforts were made to ensure
the anonymity of responses and clarify that results would not influence the=
ir
grades, aiming to encourage honest participation. The Likert scale format w=
as
selected for its ease of use and the straightforward nature of translating
responses into numerical data for comparison, which is crucial for
scientifically measuring attitudes (Joshi et al., 2015). Additionally, the =
decision
to use closed-ended questions helped avoid biases linked to varying levels =
of
English proficiency among students. Questionnaires were distributed via Goo=
gle
Forms, and students accessed them in class using their personal mobile phon=
es
through a QR code. On the qualitat=
ive
side, data were collected from the results of a final task and continuous
direct observations. The final task required students to create art labels =
for
selected artworks, fostering engagement with content and allowing for the
expression of critical thought. These tasks were evaluated using a B1 CEFR
level rubric. The focus of this research was on enhancing students' motivat=
ion
and reducing their affective filter, thus fostering a more confident and
involved approach to English language learning.
In parallel, =
the
teacher and researcher’s direct observations provided insights into the
students' participation, responses, and reflections during activities. This
non-disruptive method was chosen for its ability to capture data without
students feeling evaluated, aligning with the principles of qualitative
research that values flexibility and sensitivity to the social context (Mas=
on,
2002). Recognising that a researcher's neutrality is unattainable, the emph=
asis
was placed on understanding the researcher's role in the process and select=
ing
methods that minimized any inhibitive influence on the students (Mason, 200=
2).
By doing so, the study aimed to eliminate negative factors and accurately
ascertain the students' interest and motivation levels, thereby validating =
the
hypothesis that changes in classroom elements could serve as a catalyst for
heightened student motivation. Regarding the class discussion, the students’
interactions were transcribed into Word format using a naturalized
transcription (Bucholtz, 2000) in a document for working on and analysing t=
he
information. Once the questionnaires were analysed and the interviews
transcribed, a thematic content analysis was conducted using NVivo 11 softw=
are,
which specializes in processing qualitative data (Lopezosa, 2020). An initi=
al
coding was carried out through an inductive categorization process, as
indicated in the specialized literature (Strauss & Corbin, 2002). This
categorization, which involved not only identifying repeated patterns and
common elements but also the uniqueness of each interaction, has helped to
establish the benefits for social topics to develop critical literacy provi=
ded
by female artist productions in a multimodal format. Subsequently, an
analytical induction process was undertaken, which, as authors such as Goetz
and LeCompte (1988) or Martínez (2006) suggest, consisted of deriving
categories from the entire set of data. For this purpose, groups of textual
units were associated around categories that emerged from the interpretatio=
n of
the data provided by the students, both from the questionnaire and the focus
group interviews. Once all the information was organized (categorization and
analysis of results), a realistic narrative approach to presenting results =
was
chosen (Sparkes & Devís, 2007), in which
references and comments to some direct quotations from the interviews were
incorporated, serving as support for the set of reflections and interpretat=
ions
that are presented below.
|
Categories |
Codes |
|
Multimodal Materials |
·&=
nbsp;
The=
opportunity
presented by addressing linguistic issues through authentic literary texts
and artworks by female artists. ·&=
nbsp;
Nee=
d to
introduce other multimodal resources that assist in visual literacy and
intertextual connections, celebrating the contributions of female artists=
. |
|
Linguistic =
and
artistic mediation |
· &=
nbsp;
Exposure to artistic works on lesser-kno=
wn
female experiences to understand within a broader historical context. · &=
nbsp;
Learning specific vocabulary to elaborat=
e an
exhibition label with gender perspective. · &=
nbsp;
Opportunity to conduct controlled oral
debates on current interest topics: gender equality, social sustainabilit=
y,
artistic representation and recognition. |
|
Concept of Social Justice, f=
eminism
and SDGs |
·&=
nbsp;
Nee=
d to
update and contextualise debate topics in additional language classes. ·&=
nbsp;
Nee=
d to
provide themes that stem from students' interests, such as the study of
female artists' impact on social issues. ·&=
nbsp;
Nee=
d to
supply arguments for acquiring a critical viewpoint on how female artists'
work challenges and shapes social narratives. ·&=
nbsp;
Nee=
d to
emphasize and make visible the societal challenges addressed through the =
work
of female artists, using them as case studies for promoting social justice
and achieving the SDGs (No. 4, 10 & 16). |
Table 1.
Categories and units of meaning resulting from qualitative analysis. Source:
created by the author.
4. RESULTS
The research =
main
goal was to evaluate the effectiveness of pedagogical strategies aimed at
enhancing motivation and critical perspective development through the
integration of female artists' productions in an Artistic Baccalaureate Eng=
lish
language learning environment. The sample size of the study was N=3D25 stud=
ents,
which included a diverse representation of gender identities. This section
presents the findings from the initial questionnaire, subsequent activities,
and the final questionnaire.
The initial
questionnaire, completed prior to any intervention, aimed to capture the
students' attitudes and opinions regarding the English subject. Utilizing s=
hort
answers and a Likert scale ranging from 1 (Strongly Disagree) to 5 (Strongly
Agree), the questionnaire revealed a spectrum of responses. For instance, w=
hen
students were asked if they liked English as a subject (block III), 36% of =
them
expressed a positive stance (28% Agree, 8% Strongly Agree), 24% neutral, and
40% negative (20% Disagree, 20% Strongly Disagree). When inquired about the
subject's difficulty, 44% of students did not find English challenging,
suggesting a readiness to engage with the language learning process. The
interest in learning English was notably high, with 55% of students indicat=
ing
interest or strong interest. This suggests that disengagement from the subj=
ect
might not stem from disinterest in the language itself but perhaps from the
teaching approach or content.
The analysis =
of
activities focused on the role of women in the arts demonstrated a pre-exis=
ting
critical engagement, with 48% of students having contemplated women's role =
in
the arts before the study. However, recognition of women in art history was
contentious, with only 52% acknowledging the underrepresentation of female
artists. Regarding the previous knowledge on gender gap in art (blocks I &a=
mp;
II), students were shocked by their little knowledge of female artists,
beyond the most canonical names. In fact, no student had ever visited the Museu de =
Belles
Arts de València (MUBAV), despite living just a few kilometers away =
from
it, nor were they aware of the works of Valencian authors such as Manuela
Ballester, Elena Carabia, or María Sorolla. Among the written responses in block I (short
answers), are worth mentioning: “
|
Initial
Questionnaire |
Strongly
disagree/dislike (1 & 2)=
|
Neutral (3) |
Strongly ag=
ree/ like (4 & 5)=
|
|
Opinion about English =
as a
subject |
40% |
24% |
36% |
|
Is it a challenging subject? |
44% |
44% |
12% |
|
Are you interested in
learning English? |
12% |
32% |
56% |
Table 2. Extr=
act
of answers to the Initial Questionnaire (block III). Source: created by the
author
Post-interven=
tion,
the final questionnaire assessed any shifts in attitudes and perceptions. An
encouraging finding was that 64% of students expressed a preference for
activities related to the arts over traditional textbook content. This sugg=
ests
a potential for increased engagement through curriculum content that aligns
with students' interests. Questions related to women artists in the art wor=
ld
revealed that a significant portion of students (72%) would be on the looko=
ut
for women artists in future exhibition visits, suggesting a positive shift =
in
awareness. Moreover, there was a notable increase in optimism regarding the
status of women in the art world, with 68% of students believing that things
are changing for the better.
|
Post Questi=
onnaire |
Strongly
disagree/dislike (1 & 2)=
|
Neutral (3) |
Strongly
agree/like (4 & 5)=
|
|
Opinion about English =
as a
subject |
20% |
20% |
60% |
|
Is it a challenging subject? |
28% |
60% |
12% |
|
Are you now more
interested in learning English? |
8% |
8% |
84% |
|
Interest of multimodal texts & realia regarding Arts |
|
36% |
64% |
|
Will you attend and be
aware of future women artists’ exhibitions? |
|
28% |
72% |
|
Regarding Museum’s exhibitions, are they adopting a gender perspect=
ive? |
24% |
8% |
68% |
Table 3. Extr=
act
of answers to the post questionnaire. Source: created by the author
The final
discussion in the classroom not only highlighted the immediate outcomes of =
the
study, but it also paved the way for future research directions. By integra=
ting
discussions around gender inequality and relating them to the international
advocacy campaigns #NosQueremosVivas or #MeToo, this research echoes Fraser=
’s
call for recognizing and addressing injustices that span across the economi=
c,
cultural, and political spheres of society (Fraser, 1996; Fraser & Honneth, 2003). This approach underscores the importa=
nce of
incorporating feminist perspectives into educational content as a means of
fostering a comprehensive understanding of social justice. Moreover, this
dialogue directly ties into the SDGs, particularly goals 5, 10 and 16.
Following an ethnographic approach to data gathering (Goetz & LeCompte, 1988; Angrosino, 2012), the researcher recorded and took no=
tes of
the students’ oral interventions, in order to de=
velop
the discussion. Among the students’ post interventions, these concerns were
showed: Student 4:=
“I
would like to further analy=
se the other side of mythology, to be able to approach the universal
paintings with a gender perspective (...) for example: why has Medusa come =
to
occupy the role of the villain, when we are talking about a rape?”.
Student 3
asserted that “All museums should have purple glasses at t=
he
entrance, to be able to make a visit with a gender perspective. Only then c=
an
we understand paintings like 'The Satyr' by Antoni Fil=
lol,
which are also framed within the current #metoo movement”; or Student 5 agreed that “it has been insightful to work with th=
is
topic. The life stories of Manuela Ballester or Maria =
Sorolla
were very interesting and I have adopted now a c=
ritic
point of view towards exhibition. I think I will count =
now
the number of works by women artists being exposed in the Museums I visit”.
The gathered =
data
indicate that integrating subjects of personal interest, such as the works =
of
female artists, can positively influence student engagement and contribute =
to
the development of a critical perspective. The findings support the hypothe=
sis
that content related to students' artistic interests can lead to higher
motivation and a more profound engagement with the English language. Future research could thus explore the
effectiveness of curriculum designs that incorporate these global social ju=
stice
issues, assessing their impact on student engagement and their understandin=
g of
their role in societal change.
5. CONCLUSION=
In the
culmination of the LITGENDI project, the integration of feminist art into t=
he EFL
classes has been thoroughly examined as a method to invigorate the academic
landscape. The initiative, rooted in the soils of multimodal learning and
critical pedagogy, sought to draw upon the power of visible female figures =
in
art to foster a critical consciousness among students. This foray into the
artistic tapestry of the language classroom has unveiled the potential for a
profound reorientation in teaching methods and content delivery.
The results
unequivocally suggest that the arts, especially when channelled through a
feminist lens, can dramatically boost student engagement and motivation. The
initiative has highlighted the unique opportunity that the arts provide for
exploring civic issues such as gender inequality, thereby promoting a more
equitable and inclusive educational experience. The active participation and
input from students signal a keen interest in the subject matter, challengi=
ng
the traditional confines of curriculum design. However, this study is not without its limitations. The constrained
timeframe and modest sample size necessitate a cautious interpretation of t=
he
findings, which may not be universally applicable. The nature of observatio=
nal
research, too, carries its inherent challenges, demanding a thoughtful cons=
ideration
of context in application and analysis. Despite these limitations, the
implications of this research are far-reaching. It lays the groundwork for
future explorations into the intersection of language learning with social
justice and the arts. It beckons for continued innovation in curriculum
development, teacher roles, and, critically, the content that we bring into=
our
classrooms, all in pursuit of a holistic learning experience that resonates
with students and prepares them to navigate and transform the world around
them. The LITGENDI project, therefore, stands as both a testament and a bea=
con
to the transformative power of education when it dares to embrace the arts =
as a
vehicle for change.
NOTES
1
This research has been
founded by the Innovative Project of the Universitat
de València “Literacy, Gender and Diversity (LITGENDI): Multimodal Readings=
to
Work on Intersectionality and Social Justice in English Teacher Training&qu=
ot;
(UV-SFPIE_PIEE-2732068), coordinated by the Faculty of Teacher Training dur=
ing
the 2022-23 and 2023-24 academic years and with the participation of the
Training, Innovation, and Resources Centres for Teachers specialising in
multilingualism and artistic-expressive subjects.
2
All excerpts from
3
Student interventions
have been transcribed verbatim, with only grammatical errors corrected.
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