Creating meaningful learning experiences with Misty Paterson and the Pop Up Studio approach

The intersection of arts, technology, inquiry in education: how to create meaningful learning experiences

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The Live It Earth Pro D podcast for teachers where creative ideas and innovations are shared by teachers from a variety of backgrounds.

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Hi, my name is blue. And I'm the host of this new podcast, the 21st century teacher with livid Earth. And my job is to ensure that our teachers and students get the most out of our programmes. This new podcast series is just one of the ways I'm going to be supporting our community of educators with a monthly conversation with a special guest educator discussing a different aspect of 21st century teaching and learning. So today, I would just like to start by sharing where I am in the world, and that is the Slocum Valley just north of Nelson BC. And I would like to acknowledge that I'm incredibly grateful to be live, to be living and working in playing here, raising my three sons on what is traditionally the unceded territory of the sunlight, the silk and the tanawha. And it's also home actually, as well to around 5000 for the Matey nation. So I just want to start by that incredibly grateful to be able to live work and play here. Today, we're talking with Misty Patterson. And I'm incredibly grateful that you've taken the time out of your busy schedule to talk to me today.
I am incredibly grateful to be here and to to meet with you and also to connect with anyone who's listening to this episode, I hope that they reach out and share their takeaways and their musings on this and like you I'm very grateful as well to live in British Columbia. I'm in the North Vancouver area, and I'm on the unseeded and traditional territories of the Squamish Musqueam and Sliwa tooth nations. And the more I learned from friends in the nation, the more I realise what it means to say unseeded what it means to be a Canadian, what it means to be an educator and our responsibilities to truth and reconciliation. So I'm also very, very grateful to be where I am here today and to be with you.
Thank you so much, Misty, I appreciate you sharing that. So let's dive into the first question. So you have developed an approach to inquiry, that is called the pop up studio. And I will say that I've already downloaded the mini guide that you have, which I really appreciated. I was sharing with you just before we hit record here. So can you describe what it's all about?
I can and I was sharing with you earlier that the question of what it's all about, or what is it about at its core is always a bit of a stressful one for me to answer because truly, as a designer and a facilitator of learning experiences, I'm interested in creating conditions that awaken learners to transformative possibilities that might occur at all levels and dimensions of our being from perception to action. So at its core, I can say at this point in time, but maybe I can come back, you know, in another year. And another year after that. And my my response will evolve over time as my practice does. But I would like to use the word encounter, that it's all about encounters of and with and through relationships and possibilities about educational possibilities, specifically, if we just want to look at that one sort of avenue of this work. And I would say renewal and renovation are very important to my work. I'm curious about how we can trouble the inherited ideas and practices that we all we all have, regardless of where we've come from, how we relate to one another, people to people, people to ideas to materials, and to them more than human world just to name a few. So
is there a way that we can imagine this for people that have not heard of the pop up studio? In terms of like, can we put it in a box and sort of like physically imagine what it would look like? It sounds to me that it's collaborative, and art based? Like is that? What are some of the elements so that we can sort of picture that in our minds? Nice.
Yeah. So if we think about studio, it makes some associations with that word. You mentioned art, as an as an example an art studio. We might think about a yoga studio, we might think of a creative studio, your podcast studio, you know, all those kinds of things. Right? So it to me, it generates this idea of a creative space, a space of making something of experimenting of tinkering with and that's the sentiment at the spirit of the work. That's how I want it to feel. The reason why it's called pop up Studio. If we think about pop up as being, like a pop up shop, you know, like at a market or something like that it exists for a period of time it goes away, the physical structure goes away. It's like that because for me, when I left my administrative position, when I had my daughter and I went and was seconded to the university, I had a shared office space, but I didn't have a classroom space, and I was in other people's classroom. And when I returned back to work in the school district, I if I did have a space, it was always a shared space. So I, as I got more into consultancy work and responding to BC teachers initially and IB teachers who wanted some Pro D around inquiry. I was thinking okay, well, you know, as an inquiry practitioner myself, and having gone through that very complex journey, I'm still going through it, I really appreciated the question of well, what what can it look like? Well, usually the question is, what does it look like? Which has this does sort of sounds like there's one way, right, what does it look like? And traditionally, PD days have been, at least in my experience has had been about mastery. So it's been about I'm going to show you how to do something, you're going to replicate it with mastery into your classroom. It's very rooted in application, right? So I recognised with our, at that point, new or redefined or redesigned curriculum, that it's really not about one way, it's about multiplicity. So I'm thinking, well, how can I show that you know, and so then I thought about pictures of practice. And here's this example, this example, etc. But that still really isn't enough when you are responsible for enacting something as a teacher. So that pop up studio started out as pop up classroom, and it was me going into schools or organisations who wanted my support, and how can we help educators to enact this curriculum? And me going, we need to experience it. And we need to experience it in very creative, dynamic, fluid, flexible types of ways, because that's what's really being asked of us as educators in this type of curriculum.
Yeah, I see I love the name studio. Because you're right classroom feels really It feels kind of rigid that name. When I think about it, it's like so traditional. And it reminds me of my schooling in the 80s. I'm dating myself a bit there. But so studio sounds it sounds fresh, and collaborative and creative. And I like all of that. Just on a personal level, it resonates with me. So how does inquiry based learning intersect with the arts? Uh huh.
Yeah. And so, I am doing my PhD in arts education. And I really present myself here as a very much a loner in this in this domain. In fact, my supervisor will often say to me, like, Misty, what is wrong? Like we have these conversations, you know, you gain some confidence you like are saying, Yes, I am an artist. And then, you know, you go back like 10 steps, you're like, Well, I'm not an artist, you know, so that it really kind of goes, goes back into these definitions, right? These concepts like inquiry as a concept. I mean, it is a practice. It's a stance, it's a way of being, but there's multiple ways to understand that word. And the same with arts. And so these kinds of questions, I think, ask us to really go back and look at our definition of these ideas, and then talk about well, how can they intersect with and collaborate with one another? So if we think about inquiry, and at its sort of core, right, as a practice and as a stance as a way of being in the world, I think of that is really questioning clearly like troubling, something uncovering complexity, being curious, making sense of something and its implications of being and becoming something more than we were before we went on that journey, called an inquiry. And I think the arts is about that, too. I think both inquiry depending on how it's enacted, and the arts depending on how that's enacted and understood and taken up. They're both about metamorphosis, I think, really? Yeah, that's
great. I love that. So could you give us an example of a culture shift that could be possible in schools or classrooms when the learning invitations in this way these experiences when they're regularly offered Hmm.
Well, I've been really fortunate that I've, I've been able to work with 1000s of educators at this point in time and hundreds of locations, and over time, which has been really profound. And so I'm starting now to trace and to track these common expressions of what this work has meant to people. And a lot of it, oh, I feel like I'm gonna get all teary because it's very profound. It's very deep. It's, it's about not just engagement. I mean, that's often why I get called is, you know, students are not so engaged, or teachers are not so engaged, how can we do that. And through that engagement, possibilities for so much more, wake up, like purpose, passion, dedication, curiosity, love, empathy, creativity, I mean, feeling nourished, even the word spiritual and therapeutic come up time and time again. So there are so many layers, so many dimensions to this work, that I'm very curious about. And I'm just really at the edges of understanding what this is really about. Because as somebody who's a trained teacher, and you know, I come from a Western background, our cognition, our intellect, in a very sort of singular dimension is what's privileged. And we were talking about that, before we started the formal part of our interview that both of us, you know, had schooling experiences that I felt like I'm gonna get all teary again, but that we couldn't fully show up as ourselves that we weren't fully seen. I know that your colleague met me at the kaleidoscope of inquiry conference, and I had invited my artists scholar, friend who's in my PhD cohort with me called her to join. And the way Calder speaks about this, because that was their experience as well in school is like, if we imagine our ourselves as a house, and that we have all these different rooms, that's our schooling has really only turned the light on one room in the house, which is our brain. But even as we learn more about our brain, we see that it's so multifaceted. And so probably just very small areas of our brain are really the ones that are highlighted, probably primarily our prefrontal cortex, which is the last to develop, right? And so we think about, you know, these culture shifts, and I think, when we can turn on the turn the light on the room, rooms of our whole selves, and we can do that with our students. That's amazing. Like, how can we not be more lit up?
Yeah, totally. And I gotta say, like, the, I feel like you, when you're feeling those emotions, and the, you know, that teary kind of feel I, the way that I see that is that you're connecting to in a really heart centred way to the work. And I think that you're having your, it's therefore impactful, and you can kind of you're picking up on that sense of that. And so I think it's really important as well, just to acknowledge that, and those fit those emotions that come up for us when we're doing the good work. And so as a reflective tool, in practical terms, as we are teachers, and, you know, boxes have to be taken to a certain extent as well. How could this be used as a self reflection, or a self assessment tool, with the cross curricular core competencies in mind of the BC curriculum, particularly I'm talking,
for sure. And so um, you know, again, when we say sort of this pop up studio is an approach and it's an approach that exists to help teachers in very practical ways, be responsive in the moment because we can have the best lesson plans in the world the best written curriculum, but when we're enacting that we want to do that in a less mechanised type type of way. And if we really want to be responsive, we've got to be really tuned in and we've got to know what we want to do we've got to may have that wise judgement and be able to perform and so as an approach with four guiding principles, a design framework and a coaching cycle, the whole approach for pop up studio is like you can in the moment respond to your learner's and still hold on to the tenets of RBC curriculum of the IB curriculum when we're looking at things like concepts. We're looking at experiential learning and inquiry based learning. We're looking at heart centred practices. We're really looking at this very complex and complete as best we can kind of kind of approach. So regardless of what you're teaching and what disel When you're working in what we're wanting to do is give kids hands on experiences to explore the concepts. And I would say the phenomena because I think concepts we can, can be very dangerous in terms of compartmentalising things, and not understanding the relationship that exists between things, right. And we're really wanting to get into that relationality. But we can get into that better, I believe, when we're turning on all the lights when we're like physically doing things with our hands. So I think this question might have come from Dave, who is at our kaleidoscope of inquiry session, and what Dave experience or what he encountered some of what he encountered, looked like a bunch of different loose parts and natural materials on a table, we invited all the participants to select materials to interact with those materials through a set of questions. And then to create a representation of their experience or their interpretation, their perception of the experience afterwards and have a dialogue about it. And then to take it a bit further, hence moving from perception to action. So I think for Dave, and speaking with him, he was thinking, oh, man, like this could be really great as a reflective tool for some of these core competencies. And it totally can, because you're pulling out specific concepts or phenomenon again, like if you're wanting kids to explore, being creative in a particular context, you know, having children, explore materials and ask them questions like, select a material that makes you want to build something, or makes you feel like you're awake to lots of possibilities, or whatever you're defining or interpreting creativity as, and then having children work with that and talk about what's coming up for them. They're accessing more than just their cognitive, their cognition that separate from an actual particular encounter, which is something we tend to do a lot we abstract, we asked kids to abstract a lot. So this puts something in their hands to have that abstraction become concrete, and then be able to move to abstract again. So whether you're doing core competency work, like communication, or social responsibility, or creativity, those become in a pop up studio framework, like concepts, but you could be doing the same practice. And looking at a concept like representation, or conflict, or colour and shape, or right texture, you could use the same materials, but you are accessing different information, because of the category or concept. You're perceiving the material through, which it makes it a very sustainable approach, because you're now not needing so many different resources and very particular resources. Although those are great, you're able to use what's around you in the environment. To access your your understanding. I'll give one last example. You mentioned that, you know, Megan zeny, and I've been able to have many conversations with Megan, and I've been in workshops with her and she said, Misty, I can teach anything in a garden. And honestly, Lou that has really stayed with me over time. I'm like, Can she really teach anything in a garden? And as I get to know more about nature and spend more time in nature, I like, Oh, I think she's right, because I was always thinking like lawn teaching health grades six, we have to talk about bullying, like, how can I talk about that outside, like in a garden? And I think now like, Oh, what about invasive species. And I just saw your you light up there. And so we need to have this subject specific knowledge, we need to understand what's in our environment, to help children see the connections between what's going on in particular, and then these abstract categories that we call concepts. So I hope that that gives it both a very practical and a theoretical response to the question because what I really want people to understand is that pop up studio as an approach helps you to become that spontaneous, yet knowledgeable and wise teacher that you want to be that doesn't need to rely upon, oh, shoot, where did I put the script that someone else has given me or, you know, I've inherited it to be able to attune to my learners and and have something meaningful that can transpire in the moment. Yeah, does that answer that question? Or did I give like,
No, I love it. I love it. Just go with it. Go with it. This is great stuff. And I did yeah. And I want to say too, I also incredibly impressed with Megan Zanni and the apart So I can teach anything in a garden. And it's definitely opened my mind up to the world around me and how my kids learn as well. One thought I have, and I'm probably going on a tangent here from the, you know, the whole idea of the hands on and the pop up studio. But out of curiosity, could you can? Or could you see technology playing upon what you're doing? Like, because there's mediately, I'm thinking of like fabrics and material and you know, the texture of things, because it's a fun way to learn, especially for the younger, you know, in elementary school, but could use is there a way of using intersecting with the digital world 100% 100%.
So let's give us some concrete examples here. One of the projects that I've really enjoyed witnessing, is out of Reggio Emilia, and looking at digital landscapes, digital storytelling, and so using, you know, things like document cameras, digital microscopes, to access different perceptions, different vantage points of of a particular subject, and we could then take that experience of and I'm looking at your background right now. And I'm seeing this, you know, beautiful, I think it's is it a lake or a river behind me, but there's a body a lake,
a body of water, surrounded by trees with a nice, bright blue sky? Yes.
So beautiful. So let's imagine we're in that particular place, and we've got this digital microscope, right? Again, what concepts are we exploring, we might be exploring, you know, like we talked about before, you know, colour and texture and line, because maybe we're looking at this through a certain art experience. But we could be looking at this through different scientific concepts, like maybe we're or competencies for that matter, right? Even getting curious, looking closely. Observation, testing a theory on something, what will happen if I do this, and I do the other thing, and I want you to really look at it in a very close way. Maybe I'm looking at scale or magnification, right? I'm seeing you're nodding. So I think you're picking up what I'm laying down here. So it's the same experience, I am a young person, or what doesn't have to be young person, I'm me. I'm in that grass. I've got a digital microscope, but I'm attending to the subject through different disciplinary lenses to come up with something new for myself. Oh, I didn't notice this before. Oh, I didn't think about that before. Oh, my gosh, like, I'm so curious about this. Now. It's something that I didn't see before or since before. That's what we're really going for. So the technology offers amazing tools to us, there are materials that we can use. So again, the design work for a pop up studio is concept material experience, see em II see me see me when we have these three elements at play. And I think of them as dynamic elements. They're like entities that that we're in relationship with. When those things come together, we can really see our learners we get way more engagement. And I think part of the reason why is because we're tapping into that artistry, we're tapping into weight experts in the field actually are working. So you look at you know, you're doing a podcast right now I can see you've got awesome headphones on you probably have a great microphone on that allows us to have a way better product at the end, because we've got the right tools to be able to do that. I was doing not so much podcasting, but some oral storytelling with a group of grade fours. And we had to make shift like sound booths. And I was thinking, Oh, I really wish our school had a sound booth because part of the assessment was to have our kindergarten buddies listen to our stories. And we asked, Can you recognise the the narrator's we hoped we changed our voice so much that our voice couldn't be recognised. They couldn't say, oh, that's Mrs. Patterson, or that's, you know, Johnny or whoever, that we were able to do that, because that's part of the criteria for the drama that we were doing. And there, it would have been way better if we had the right materials. And in fact, I'm thinking about a group of grade five learners that I was supporting, in my role as consultant with their classroom teacher, and they wanted to do a podcast and they were saying the same thing. Like we really need more time with the materials because we need to figure out how the materials work to optimise the stories that we're trying to do. Tell because if the sound isn't good, our story our message isn't gonna get across, it's gonna affect the engagement. So you can see all of these concepts now and competencies coming on board, because the kids are doing real work that really matters to them, and potentially to the world at large. So I think technology can play a huge part, and what we're doing because it affords us possibilities that don't exist without that technology. Yeah,
that's great. So what is your vision for arts education in schools, and I speak of this as someone who, in school maybe wasn't encouraged in the creative arts, because I wasn't very good at drawing and the traditional ways of seeing us so I'm, I'm curious because that so I'm, I love it in my late two years, you know, learning how to podcast and you know, write, I write, and I do all these other things I've come to much later in life, can it become more than a subject area, because it sounds like, you know, even just listening to you is I find it invigorating, and the idea of the I can picture the kids or kind of finding their, you know, their their ways of excelling in this collaborative kind of creative way. That sometimes gets overlooked. So yeah, what would be your vision for this? Yeah,
for sure. So, um, I am loving, so many different writers. But there's a scholar named he soon by out of Simon Fraser University, she's actually on my committee, I'm very lucky. And she writes it up Zen arts, and I am certainly not an expert in this area at all. But in this beautiful article that I'm looking at, and I'll share that with you, so we can include it in the show notes. But she talks about, you know, if we can get past thinking of art in economic and instrumental types of ways, like Oh, artists making something beautiful. If we can look at this much more around ethics and aesthetics, together, then art can become medicine. And, you know, there's a another set of scholars, Barbara, Bethel, and McHale Fisher, that talk about art care practices. I think this is far more of an indigenously understood concept of art being medicine. I think if we can look at arts that way, the potential is huge. And extremely important. And as as he says, it's extremely important for the survival of, of our of any species on the planet. When we think about something that's about ethics. And if we look at the route around aesthetics, as well, we're looking at really important ideas around attuning relationships, again, I go back to ethics about the senses. We learn through our senses. But like, and especially young children, our brain develops that way. So I think we really need to be encouraged to look more at early years and be inspired from that practice. That's what I've done. And be way more in tune with sensorial types of experiences and understanding and being sensitive to the their profound nature. Elliot Eisenerz work has been very inspiring for me, and he talks about why the arts are so we're necessary for education and that they can be a really, again, a type of medicine or a resistance to standardisation. And the reification, of education, even when we talk about best practices, that they're removed from a particular context, they can be very dangerous. What's best in for one particular situation may not be best for another type of situation. I think the arts when we're paying attention to circumstance and opportunity, to particular the particulars we were talking about before do multiple perspectives to making good judgments to having things be in proportion with one another. All of these lessons that the arts teach are at play in every other subject area. So I think it's a rethinking for us about what we mean by art and art making and creating an art education. And this is why I've chosen to go into a PhD in arts education with really no fine art background. I mean, I took drawing and sculpture and things like that in my undergrad through education. They were all education type of classes. They weren't in the arts department. I'm a terrible drawer like I can't paint like, you know. And so I think to myself, What the heck am I doing getting a PhD in Art Education, my Master's of Arts is in curriculum and instruction. And I was introduced to a course called Living inquiry that has its roots in phenomenology, hermeneutics in Zen, Zen Buddhism, and that really pushed me to start going, Oh, my gosh, there's way more at play here than the narrow understanding of intellect. And like, we got to really pay attention to the theory of knowledge, and how we understand knowledge and coming to know something. And I just feel like the arts is really allowing me to be way Fuller of a human. Then other other ways of thinking about the world and making sense of the world certainly do. So. That's my hope is that, you know, we are striving for artistry in all of our subject areas. And to me, that's a very high calibre education, because every discipline has a craft. And imagine if we are really helping learners to, to love the craft of all of the sciences of the social studies, the humanities, the mathematics, as like living disciplines that are ways of taking up the world and being in the world. That's a very exciting place to be a very vigorous and, and a place of vitality, I think, which subject specialists as well, I think can really get behind because our learners are craving it, they need it, they need something more than wanting something more than abstraction, like a drill on a worksheet as an example, not to say that a skill isn't important to practice. It's like soccer, and we want to practice our dribbling. But if we never play soccer, and ever see soccer, never get to meet soccer players who love what they do. Continuing to do soccer drills is probably not going to lead to being a phenomenal soccer player. It's the same in all of our disciplines. Yeah. So I hope that wasn't too long winded of an answer. But I wanted to give a really comprehensive answer, because I think it's much more than thinking, oh, let's start drawing and painting and all of our subjects.
I love that. And I really appreciate your answer. And actually, what I'm going to what I'll hold on to and remember from this conversation is arts as medicine, I really liked that. That's such a great way of looking at it, and also the craft of the subjects, the different subject areas and the web being in the world. I really love that. Yeah, really resonated with me, because it's the same as, as I already mentioned that. Yeah, it my upbringing and my schooling, traditionally, arts was drawing and it was I'm a hopeless drawer, and a painter and all of that I, you know, there's being creative and, you know, creating sound and audio. And there's just other ways of being in an art sense. So yeah, no, I really appreciate that. So this would be a good time to maybe share a little bit about what you could offer maybe. So when somebody reaches out to you, and they, you know, in your consultant, when your consultant hat is on? Yeah, what can you offer? What do you what do you bring in?
Oh, thank you for inviting me to answer that question. So really, I am a responder I'm a creative at heart, I am really good at listening and tuning into what's what's actually needed. And then responding to that, and being really flexible and personalised in the approach. So I often get called when for two main reasons. One is around our students or teachers are really struggling with engagement. How can we change that? And so I'm really good at going, Okay, what's going on? What do we need to do? And then here's what I think in terms of an action plan. And then what's more is coming in and working alongside so that can be virtually or that can be physically, but that's where the magic really comes into play. Because I've been told a number of times, and I do notice that I make connections very quickly with young people and and adults to and being able to make them feel comfortable and to ask questions that are responsive to what's happening for them to draw out these different possibilities and pathways which then lead to things that we wouldn't have even anticipated. So that's a great way to work with me is just literally call me up or email me and say here's what's going on. Misty, can you come and help me and I will say, yes, let's do it. And how best can we start out that pathway together? And always leaving people with very tangible action steps, so that they can continue on the work without so much cognitive load of, oh, well, that was awesome. But I don't know what to do next. That was a great demo lesson. Shoot, the kids are super engaged. And then I'm coming back and like, what do I do next, right. So really laying out those those next steps and creating those action plans is something that's really great. If your people are wanting just a little taster, or they're like, You know what we really like this idea of concepts, we need some help with that booking me for our workshop, even a 60 minute workshop, super easy to do, just email me again. And we can make that happen, or after school meeting or whatever. And then I offer what I think super exciting and special. It's something called an NG retreat. So you think about a retreat, and something that's educational, and you bring them together. So this is a very intimate experience with me, where like, if you were there blue and your team, you would say, Misty, we're really wanting to play with these ideas, or these competencies, can you make us an entry retreat, I would design and facilitate two days with you, where you just come in, and I take care of the rest. So I am caring for you like a guest. I'm curating and designing and facilitating learning experiences that have you working with the concepts and competencies that you want, in very holistic types of ways. So you're actually experiencing what you want. So an example is play, people talk about play a lot, but we don't actually get the time to play. So this is an opportunity to, I'm not going to talk at you and give you all the theory and instruct you in play, you're going to actually experience it, and we will unpack it after and pull out the significance of what did that mean to you, and where might you want to go with this now in your own practice, but different from a workshop, it's truly a way to, to offer sustained time in something and an experience and to suspend the teacher hat and the worries for some of that time. So you can be a student, and really live out the things that we're talking about that we really want for our children. And in that embodied firsthand type of way. So that's been a very profound offering that I'm super excited about.
That's great. Well, thank you so much for sharing that I know is, I can picture myself in a room and I was hoping for, you know, maybe a buffet as well, in my mind there as I was thinking about it. But um, that sounds really great. And of course, we will put your contact details in the show notes. So if anybody would like to follow up with misty and an A great place to start I would suggest having done it myself would be to check out the mini guide, which I thought was really well produced. And yeah, got really got me thinking about the whole idea of this pop up studio. So Misty, thank you so much for taking the time to join us today. I really appreciate it.
I am so grateful to be here. And thank you for allowing me to muse on these questions. They are ones that I'm going to keep coming back to over and over. And because I'm always evolving and responding, I've got some very exciting offerings coming up this fall, there's going to be some project work happening. And I won't say any more than that. But the website is a great place to know what's going on and where to see Misty. If anyone wants to come to Atlanta in November, I'm going to be leading a two day workshop there. It's going to be fantastic. I'm very excited to focus on concepts. But of course, materials and experiences are always going to be there. And yeah, I just hope that we'll get to see you there maybe and listeners from this podcast because we're definitely better together. And you know, none of us have all the answers or magic bullet Otherwise, we wouldn't be here and dialogue and education at its best is about dialogue. So thank you again, and I hope to be invited back on the show sometime.
Great. Thank you so much Misty. Thank you. Thanks for joining us on the 21st century teacher and we look forward to see you next time. Please do subscribe so you don't miss out on the next show. And also don't forget to check out our fantastic online learning platform which is livid dot Earth. Thanks again and we'll see you soon