Art 310

Course Reflections

This semester, my coursework focused on Universal Design for Learning (UDL) alongside a curriculum design course in art education. The purpose of these courses was to move beyond traditional lesson planning and instead design learning experiences that are accessible and inclusive from the beginning. UDL examined how barriers exist within curriculum, instruction, and classroom environments, then shows how to remove them. In the art curriculum course, we applied these ideas directly by creating standards-based units that support a wide range of learners, including students with disabilities and those in inclusive classroom settings.

Major concepts included the three principles of UDL: multiple means of engagement, representation, and action and expression. This, in combination with the idea that student variability should be expected, not treated as an exception. One of the most significant learning experiences for me was realizing that I often focused more on planning projects than truly designing for access. This course helped me reflect on my teaching practice, especially since my classroom includes students from more self-contained settings. What was new for me was thinking about accessibility in a broader way—not just academic, but also social and emotional—so that all students feel included and capable.

In my classroom, I started applying these ideas by offering more media in projects. Students have been encouraged to branch out and select their own materials to experiment with prior to starting their projects within the collage unit. Using strategies like visual examples, demonstrations, and peer collaboration to support different learners, student success rates are much higher, along with their willingness to try new things. These changes showed me that when students have multiple ways to engage and express their ideas, they tend to be more confident and invested in their work.

Annotated Bibliography

The following annotated sources were selected because they represent key ideas from both my Universal Design for Learning (UDL) course and my curriculum design course this semester. Hathaway and Cachia emphasize planning and access, and then Marshall and Buffington emphasize integration and culturally sustaining practices. When put together, these readings form a cohesive conversation about how educators can design an inclusive art curriculum that both challenges and supports all learners. These readings helped me understand that effective teaching is about intentionally designing a curriculum that is accessible, culturally relevant, and responsive to all of our students. Across the texts, a shared theme emerges around access as a proactive design choice rather than a reactive accommodation.

Buffington, M. L., & Bryant, A. (2019). Changing practice: Culturally sustaining pedagogy in art education. Art Education, 72(2), 20–25.
  Buffington and Bryant (2019) emphasize the role of culturally sustaining pedagogy in maintaining and valuing students’ identities within the classroom. This reading emphasizes the importance of intentionally selecting content that reflects diverse perspectives. It challenged me to think more critically about representation in my curriculum and how it impacts student connection and participation.

Cachia, A. (2018). The politics of creative access: Guidelines for a critical dis/ability curatorial practice. In Interdisciplinary approaches to disability.
  The reading by Cachia explores the concept of access as a political and creative act, rather than a simple checklist of accommodations. This reading was especially impactful because it pushes educators to center disability in the design process. It aligns closely with UDL’s proactive approach and expanded my understanding of accessibility as something that should be embedded into curriculum design from the beginning, not added later.

Hathaway, N. E. (2013). Smoke and mirrors: Art teacher as magician. Art Education, 66(3), 9–15.
  Hathaway (2013) presents the idea of the teacher as a “magician,” highlighting the unseen planning and structure that goes into effective teaching. This reading connects strongly to both UDL and curriculum design by emphasizing that meaningful learning experiences are intentionally constructed, even if they appear effortless to students. It made me reflect on how I design lessons that feel engaging and natural while still making sure to support diverse learners.

Marshall, J. (2019). Integrating the visual arts across the curriculum: An elementary and middle school guide. Teachers College Press.
  Marshall (2019) discusses how integrating visual arts across subject areas can deepen understanding and increase student engagement. This reading aligns with the UDL concept of “multiple means of representation and engagement”. By offering various ways for students to access and connect with content, we create more meaningful connections that make learning more accessible. From a curriculum design perspective, it reinforces the importance of cross-curricular planning that make learning more relevant.

Novak, K. (2016). UDL now!: A teacher’s guide to applying Universal Design for Learning. CAST Professional Publishing.
  This reading focuses on showing how structured supports can be built directly into lesson planning. Using scaffolding as a strategy to reinforce the idea that rigor and accessibility can coexist, and that thoughtful scaffolding allows students with diverse needs to succeed without lowering standards.