One of the more difficult times of the year for my job is when my region’s Scholastic Awards come out. While I am sure there is much excitement, I tend to have more interactions with students and teachers who are processing the disappointment of a loss. They often want to know why or ask for feedback, which is a healthy, normal, and even constructive thing to want. Unfortunately, the Scholastic program does not provide feedback.
I can assure teachers that when I was an art educator, there wasn’t a Scholastic year that went by without me being surprised by some piece of work that didn’t win, and occasionally by one that did. But here’s the thing, not all my value as an educator pivoted on the Scholastic Awards. Sure, there are other competitions my students and I could participate in- and we did- but competitions were only a small part of a much larger picture that builds a healthy arts (or writing) program. It’s important that we model a healthy, proportionate response to a loss. In my classrooms, we often had to find a balance between celebrating winners and learning to shake off a loss. It was not uncommon for a student whose work was recognized to sit side by side with a student whose work was not recognized in my classroom.
What is the Goal?
The Alliance for Young Artists and Writers is the nonprofit that runs the Scholastic Art and Writing Awards. One thing I notice is that they don’t call it a competition and don’t use the term “winner” very often. Why? Well, the goal of the Scholastic Art and Writing Awards is to foster the confidence, creativity, and voices of teens in grades 7–12 by providing opportunities for recognition, exhibition, publication, and scholarships. As the longest-running program of its kind since 1923, it aims to validate original, skillful, and authentic creative work.
We all see in our schools how academic achievements are recognized in schools- honor societies, academic honor rolls, etc. And sports? The pep rallies, the banners, the trophies, the call-outs on the announcements. What is there for the creative students? That’s a void that the SAWA helps fill. But it should only be one tool in an art teacher’s tool belt. Other ways to recognize student achievement in artwork might include annual exhibits, everyday displays in the school, community displays, NAHS, art clubs, etc.
Is Competition Good for Students and Teachers?
Some schools opt not to participate in competitions, and that’s a choice. I would argue, though, that competition offers an opportunity to build resilience, gain confidence, and broaden perspectives. This is echoed in Serenade Magazine’s article, Empowering Student Success: How Art Competitions Enhance Creativity and Resilience. Did you know that participating in art contests is also endorsed by the NAEA (National Arts Education Association)? They share that the “NAEA believes that participation in educationally relevant and instructionally valuable competitions and contests at all levels of instruction can serve as a positive educational experience.” More on their recommended guidelines can be found here.
The advantages are not only for students but also for teachers. I personally used the SAWA as a tool to help me elevate my teaching game, so to speak. I spent time analyzing which schools were winning and their art program curricula, structures, budgets, projects, etc. I went to the exhibit- and I know we are fortunate in my region that we have wonderful exhibits- and I know that’s not true for all regions. I would really spend a long time looking, analyzing, and taking photos.
Striking a Healthy Balance
I frequently took my students on a field trip to the exhibit. I feel those field trips were so important for my students. These exhibits take students out of their school, both physically and mentally. Art rooms across MA are on display, and students see what other teens are doing and achieving, which can be eye-opening and even life-changing. I had a student whose life changed the day I took her to the MA art exhibit, which was then at the Transportation Building in Boston and featured both silver and gold key works. After that field trip, she knew what she wanted to do and what quality of work she needed to aim for to achieve her goals. She was tenacious. But one of the great things was that her motivation came from the healthiest of places.
I’ve also had students who were cutthroat competitive, whose motivations weren’t healthy. I had students who would sell their best friend down a river to argue a couple of points on a project. When a highly competitive and talented student lost in Scholastic, it was often an opportunity to teach them humility, and that competition involves a certain amount of personal risk and luck. It’s easy to be a big fish in a small pond. It’s our job to let them know there are bigger ponds, and those ponds will allow them to grow. My biggest growth opportunities in life and art were the hard criticisms that required me to dig deeper, let go of my ego, and demand more of myself.
I think it all comes down to striking a balance. Many teachers and schools work very hard at maintaining a middle ground, but one pivotal factor is the parent. Parent involvement in student competition can be a bridge to success or a source of intense pressure. Studies across sports psychology and education consistently show that an overemphasis on winning, rather than on effort or development, leads to higher rates of anxiety, depression, burnout, and low self-esteem in student-athletes.
When parents involve themselves in the Scholastic process, it creates some of the hardest interactions I have to navigate. As a professional adult, a former 20-plus-year veteran art teacher, and a parent, I have no problem navigating the world of parents, but I constantly worry about their children and the pressure these parents put on them. When a student doesn’t win in a competition, the parents’ role is to help them navigate the loss in a healthy way. You do not do that by demanding the work be rejudged. I have also had to contend with parents who get so involved in the competition that they squeeze out the student completely. They create the accounts and upload the artwork without their child’s involvement.
How Can Students Get the Feedback They Need?
One problem that arises when a teacher and a student are surprised that a work fails to be recognized is that there is no avenue for explanation. When a student writes to me, I encourage them to speak with their art or writing teacher first and foremost. This is especially important given that more students are submitting work “created independently.” While we envision the life of an artist or writer as a solitary kind of existence, it’s mostly a false narrative. We learn best in context with a creative community and grow most with help from teachers and mentors.
As teachers, it’s important that we develop advanced critiquing skills. Most days, we won’t use it- if we did, we’d alienate all our beginner students who need a dollop of criticism balanced out with a whole lot of positive reinforcement. But we need it for those advanced students who need their skills pushed, and you need to know just when to use it so you don’t crush a teen’s creative spirit. It’s like walking a tightrope for sure. Here’s a great post I urge you to read: “How to Help Your Teen Deal with Art Criticism“.
I also encourage teens seeking feedback to turn to their teachers, but don’t stop there. There are many places to build your creative muscles. In MA, we have many private studios, community art centers, and similar venues that can provide individual attention and mentorship, albeit at a price. As an older teen, I know I really flourished when I received a scholarship to study with adults at a local art center, something my high school art teacher pulled strings to arrange for me.
For both writers and artists, there are online forums like Wetcanvas and Teen Ink. For photographers, there are often great local photography clubs. Teen librarians can be an amazing resource for our creative teens as well. If I have learned nothing in my position running the MA Region of Scholastic, it is that the arts community is incredibly giving and welcoming to our young creative folks. I’m deeply appreciative of our Scholastic judges and the depth of experience they bring from their education, careers, and creative work. I watch a lot of judging and participate in the American Visions and Voices panels, and I have learned so much from both. One of my judges this year said she looks forward to judging every year because it helps keep her critiquing skills sharp.
What I learned from being both a Teacher and a Regional Coordinator?
I am so glad you asked 🙂 Here are some important things to consider when competing in SAWA:
• Read the category descriptions carefully. Every year, we have pieces entered in the wrong category that get tossed out. We only do that when it’s egregious. Be aware that descriptions change over time; this year saw new categories and some significant rewrites of category descriptions.
• Take good photographs. They should be well-lit and have a plain background- certainly no shots with the classroom in the background, photos of work inside the kiln, etc. No screenshots, blurry photos, or pictures of students holding the work. Fashion creations should be modeled on a human, a mannequin, or a dress form.
If a student enters a work in the mixed media category and you can upload four photographs, take advantage of them. Take different angles and get detail images!
• Take out the signatures and names. Scholastic judging is supposed to be blind, and work can be disqualified for including a name. It’s fine to Photoshop out a signature.
This year, every single animation work in my region included the artist’s name. In some regions, I know entries are combed through, and participants contacted when there is a problem, but not every region has the time to do that.
• Check payment. The Scholastic team has worked hard to create a clear system. When a student has completed everything required, a green checkmark appears, and “In Judging” is displayed at the top. Take special care to look over your students’ entries, and be aware that you can only see students’ work when they credit you as a teacher. I suggest that a teacher or school never make a blanket statement that “The school is paying for all entries,” because you can only see and pay for works where the student credits the school/teacher. Every year, I see miscommunication between the teacher and the student about payment. It’s important that the teachers make payment or apply “invoice” to orders they plan to pay for in bulk by check. Be aware that payment options vary by region.
• Check that students do things correctly.
• Don’t wait days, weeks, and months to report a problem.
• Pay attention to the plagiarism, copyright, and participation terms. Every year, we get work from the Memory Project or grid drawings of celebrities that clearly violate the rules.
