Kylie Peppler, a researcher who focuses on the intersection of art, education and technology, authored the report,
New Opportunities for Interest-Driven Arts Learning in a Digital Age, in 2013. Social media was relatively young then, and Peppler set out to determine ways in which it, along with other digital technologies, could help make up for cuts in arts education and help young people develop the creativity they need to become well-rounded adults.
Those cuts in arts education pale in comparison to the disruptions we face now, as the world struggles to contain the novel coronavirus. Schools and out-of-school programs are shuttered, young people are confined to their homes and, for many, digital technologies are now the only connection to art or the outside world.
Wallace caught up with Peppler, now an associate professor at University of California, Irvine, to see how digital technologies could be used to keep young people engaged in an unprecedented era of social distancing and isolation. Below is an abridged and edited version of our conversation.
The Wallace Foundation: You had written in the report about three benefits of the arts: learning about oneself, learning about one's group and learning about other cultures. Can you talk a little bit about how you think any of those might apply in our situation now?
Kylie Peppler: Thinking about the self, there's a large body of research that points to the importance of expression and the therapeutic value of the arts. I think of
the wonderful example from Italy of people turning to music. People in my own neighborhood, every day at five o'clock, have a small concert and people social-distance in the street to come and listen.
Even as adults, we’re challenged to put words to this situation. For children, art can be so important in the expression of loss and sadness, of being cut off from friend groups and just how long this time must feel to them. It can be really valuable for them to visually represent those emotions, to put them to music, to dance, to drama.
My daughter is five. Her grandfather passed away, and she drew this lovely drawing that had two very similar parts. She later told me, “That was before, and this is after. Things are almost the same, but a little bit different now.” It struck me how aware she was, and it allowed us to have a conversation that we wouldn't have otherwise had.
As we think about the group, art gives us a way to understand ourselves, understand the people that are bunkering down with us and allows us to express that in ways that might evade words. Zoom was primarily a tool for business. But it has quickly turned to a tool we’re using to play music together, trying to do things that help us connect to one another.
We’re connecting through our creative writing and sharing of our stories. I've noticed my kids wanting to do more video production highlighting what this time is like and how similar and how varied all our experiences are. Sharing those messages and what that means brings us together.
In my own household, my kids and their cousins and friends are all meeting in Minecraft to build together and creating very meaningful pieces. Some high schools are
having graduation in Minecraft.
WF: You spoke about four types of areas—the technical, the critical, the creative, the ethical. Can you think of any one of those areas that you would put more emphasis in as an educator? Are there opportunities to work on any of those four areas?
KP: I think there's opportunity to work across all four of them. I would put the creative at the center. We all need a creative mindset to get through this, to think about possibilities that aren't there and solve problems in new ways. Everything from cooking without all the right ingredients to using current technologies, but in in vastly different ways.
What are our boundaries and how can we defy them? How can we use what we have in hand to do something new? The arts have a way of teaching that. As we’re exposing kids to these creative expressions, we're looking at the tools that we might have buried in our garages or under the kitchen sink and thinking, well, what can I do with these today?
And that takes us into the technical. We start learning about STEM aspects of whatever our kids are creating. Whatever they want to create, they're not going to be able to get around the technical aspects; that they have to learn how to code, for example.
And our current moment puts, whether we like it or not, another emphasis on the critical and the ethical portions of arts. With this pushback on Zoom (https://www.politico.com/states/new-york/newsletters/politico-new-york-education/2020/04/06/carranza-says-city-will-transition-out-of-zoom-333886), for example, we have more context to think through. We have to think about the pressure we're putting on companies to regulate themselves. We're putting pressure on schools and teachers to learn digital technologies, to update them and to use them thoughtfully.
When you’re in a creative line of thought, you have to think critically about how you're engaging children. So the critical and the ethical are definitely going to be important in this period.
WF: A large part of your report is about interest-driven arts, where young people select their creative pursuits for themselves. Now that young people are at home, perhaps with more freedom and less structure to select their pursuits, is there anything adults should be doing to direct them?
KP: A lot of times we have a notion of what kids
should be doing or what we
should be doing. It distracts us from seeing the value of what they're
Why does my kid keep coming back to Minecraft, for example? What might they be learning? What social skills are they practicing? How can I talk to them about that?
I think the first part is to be curious to take a genuine interest.
My son, for example, just made a replica of the Statue of Liberty in Minecraft. But on the inside, he had created a garden. What was he thinking about there? It became a venue for us to talk about how little of his physical environment he can change, and how he’s turning to Minecraft to redesign things and explore ideas.
If we stay curious, if we stay interested, we can start to connect these things to children’s development and understanding. As adults we know what other people are going to value. We should be thinking about how we can help young people make small steps towards those things, through the things they’re already interested in, rather than saying, “Stop what you're doing, do this thing because society values it.”
WP: In your report, you mentioned social learning networks and that they're not very well studied. Has that changed? If it has, are there any lessons about social learning that parents or educators might use in this period of social distancing?
KP: That's one area in which we have done a lot of design and development and research. We're still in early stages, but one thing that we know is that the wide-open internet is just too big for kids. If you start searching for something, you see all the solutions. Whether you're going on
scratch.com, you're almost intimidated. There's just too much.
Right-sized developmental groups are coming up.
DIY.org, for example, has started creating camp-like structures. They're small groups where people with similar interests can come together. Seven or eight parents could band together with their kids, who all share the same interest and have weekly interactions. You could trade off among parents and have small homework groups. Why should it just be one parent working with one child? Why not band together and do group work?
Connected Camps is another one, led by my colleague, Mimi Ito.
Another thing we know that promotes interest-driven learning is that there's usually an audience for it. Pulling in an audience—as big or as small as right-sized for your kid—is important. Create a thirst and an accountability so they want to share what they learn.
Third, we’re looking at pathways. How do we move from one interest to the next piece? Maybe a kid has an ambition to be one of Beyonce’s backup dancers. How do I move from an interest to that next level? We've started thinking about ways to connect those interest-driven activities to future opportunity.
If you've got money and time, you can give your kids options. You have a large network of people, you've got other adults or other parents giving you other ideas as well. That's not true of all parents and all contexts. How can institutions like afterschool centers connect kids to those futures and to future economic opportunity?
We’ve found that new technologies can help do that. Social learning networks have blossomed.
Nichole Pinkard, for example, is starting to think about how learning opportunities can be connected to enrollments in other programs, and how all our policies and programs start to be well aligned to support future learning.
WF: You mentioned diy.org and Connected Camps. In your report, you mentioned Etsy and Revelry as sites that might be constructive and artistic, but without the vitriol that we often see online. What is it about those sites that helps keep things constructive? What could parents and educators look for to ensure that time online is as constructive as possible and avoids the worst of the internet?
KP: A lot of social spaces can be constructive spaces if there's some accountability. To leave a comment, you need to log in, for example. There are also ways of monitoring.
Scratch.mit.edu, for example, has full time monitors looking at things flagged by the community and pulling things off. A lot of times people will flag something as useful or flag something down. You want to look for that kind of group moderation or paid moderation.
Common Sense Media is a great place to start if you're looking for new apps or new web communities. But if you want a gut check, go right to the comments, go right to the forums and just see what kind of language people are using.
WF: Since young people are spending a lot of time online right now, perhaps with little supervision, are there ways for adults to differentiate between time spent constructively and time spent just to kill time?
KP: There are two things I think that you need to do. One is to look for the creative over the consumptive. Consuming it is quite easy and sometimes important. You can’t make a game if you've never played a game, for example. You can’t make a movie if you've never seen a movie.
But often, we're consuming way more than what we're producing. So look for the creative technologies, the ones in which kids are producing something, anything.
The second piece is to make it social. If you look at early studies about Sesame Street, for example, it wasn’t just kids watching Sesame Street. They were watching with parents or siblings or other adults. Adults have to take experiences kids learn and apply them to other situations. That's what we do well as adults. Kids don't see the connections between contexts.
Right now, while we’re shut in our homes, that’s a very large ask. Thinking about doing more together is stressful. But even if you're just trying to do it for 20 minutes a day, or one hour a day. The media consumption done together as opposed to apart can make small inroads.
WF: A lot of what we’ve talked about assumes there are parents at home while schools are closed. But the pandemic is affecting different socioeconomic groups in different ways. Many young people may be home from school, but the adults of the household may be out delivering mail, collecting trash, driving buses or operating trains. What can society do to keep such young people engaged?
KP: Structured and scheduled peer interactions can help. A physical example is the
Computer Clubhouse Network. It’s an adult-supervised, physical space where kids come together, but the kid-to-adult ratio can be up to 100 to one. Still, those learning environments can be of higher quality than what we can do in our homes. Because the kids are involved in long-term production together.
So, before the parents go out the door, they could say, “Oh, at one o'clock. you've got this call by phone,” or a call with a grandparent, or with peers. Making these connections part of the rhythm of the day can be very helpful. Just bringing a peer group together, trying to have people meet in a video game and asking how it went that day, can make a difference.
You can try small things that could generate an audience. Taking the sidewalk chalk outside, for example, and having kids draw things. Maybe leaving a piece of chalk there for other people to respond. Different ways to kind of create audience to create that social community.
But, unfortunately, this is going to be one of our most inequitable times. Wifi is going to be a problem. Having the digital technologies is going to be a problem. I'm looking at school districts that have whole libraries of Notebooks and Chromebooks. They've got one per child, but they're not releasing them to homes. A lot of times we want to hold on to these technologies. We're not sure that we’ll get them back in the right condition or get them back at all.
But in reality, programs that do lend out their equipment are often amazed at how well-respected things are. These are things that people appreciate. They will take care of them. Give people a chance right now to meet that expectation.
Instead of canceling your programs, think about how you can move services. Let's take this as a time to go to the next level. How can I move my services to bring people into a Zoom chat? How can I lower their costs? How can I lobby to help them [kids] get wifi?
I hope, out of this, we’ll have lots of really cool stories about how people really stepped up in this time. It's still not going to be equitable, but we'll certainly know a lot more about how to achieve equity through all of this.
WF: What recommendations would you have for philanthropies or foundations that are interested in arts education? What can we do at this time of very great but uncertain need?
KP: Equity is something that we all need to double down on. The middle class needs to take responsibility for ensuring that not just that our children and our homes have access, but the other kids that go to school with our children, that they have access.
Second, now that people are interested and we're looking at this, how can we start to document some of the innovation happening here? How are people continuing with music lessons? How are people continuing with dance lessons? What are the ways in which this enforced isolation is changing the amount of time spent on the arts?
There are always going to be pluses and minuses. How do we learn from what was great? And what did we lose in translation?
Third, art museums are letting up to 80 percent of their workforce go, and that's just the first hemorrhage. A lot of times, in these kinds of structural losses, people look for other jobs, and they start doing other things. We lose all that capacity. It's not a switch we can just turn on later.
Arts organizations I'm working with are not feeling like they're going to be able to open doors within the next year or so. How can foundations help translate those services and try to keep as many people in their jobs? Not just for their human needs but also because of that lost infrastructure?
These will be changed organizations when they do reopen their doors. How do we prevent the epic loss that could really happen here?