Why & How to Teach the Arts
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Why & How to Teach the Arts Contents
Artists & Artworks Artworks Ten Lessons the Art Teach, Teach, by Elliot Eisner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Posters of Quotes About Art) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-8 (For more quotes, check the image CD Art Lessons The Nature of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Art Is About Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 What An Artist Does . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 The Beginnings of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Prehistoric Art: Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 When to Start Teaching Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Why and How to Assess Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 From Art to Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Art Therapy Therapy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Aesthetics: Painter or Pachyderm—Who Can Make Art? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Quick Lessons Art is a Kind of Thinking (4 drawing lessons) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Blind Contour Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Hand Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Monogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Value Landscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Art History Spotlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 How to Integrate the Arts in other areas of the Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Storytelling: Who, Where, Where, How & Why . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 The Why, What & How to Teach Dance Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 01 01 Helpful Tips and Useful Information Drawing Stages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Drawing Why & How to Develop and Encourage Creativity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 25 25 Visual Art Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 1 27 Word Wall—Art Re Related Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 1 29 iii
Copyright and Fair Use Guidelines for Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 31 31 How to Legally Capture Images for Classroom Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 35 35 Free Programs for Editing Captured Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 36 36 Utah Arts Council Grants and Free Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 1 37 National and State State Art Education websites websites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Key Art Education Education websites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 POPS organization information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 1 41 On the CDS A copy of the Utah State Ofice of Education’s Rainbow Chart Images for the Art History Lessons Index of lessons from past Evening for Educator packets
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Why & How to Teach Art Artists & Artworks
Lee Udall Bennion, First Love
Lee Udall Bennion, Photograph
Lee Udall Bennion, Horses
Lee and Joe Bennion Rafting
bottom left, Lee Udall Bennion, Joe, at the Wheel
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Lee Udall Bennion, Self at 51
Lee Udall Bennion, Snow Queen: Portrait of Adah (1992)
Lee Udall Bennion, Self in Studio (1985)
Cyrus E. Dallin, Appeal to the Great Spirit
Lee Udall Bennion, Sketch of a Boy
Cyrus E. Dallin, Don Quioxte de la Mancha
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Cyrus E. Dallin Dallin Elementary School, Arlington, MA
Cyrus E. Dallin with Massasoit
Cyrus E. Dallin, Portrait of John John Hancock (1896)
Cyrus Edwin Dallin, The statue of Moroni
Cyrus E. Dallin, Massasoit , Near Country Club Plaza, Kansas City City,, Missouri, USA.
Cyrus E. Dallin, Olympic Bowman League, National Archery Association Association (1941)
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Cyrus E. Dallin, Paul Revere
Photograph of Young Young Cyrus E. Dallin
Cyrus E. Dallin, Paul Revere in Boston
Cyrus E. Dallin, Quote
Cyrus E. Dallin Photograph Cyrus E. Dallin, Sacajewea from the back (1915)
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Louise Richards Farnsworth, Capitol from North Salt Lake Lee Greene Richards, Sketch of Cyrus Dallin
Louise Richards Farnsworth, Hay Stacks (1935) Lee Greene Richards, Portrait of Cyrus Dallin
Louise Richards Farnsworth, Mountain Landscape (1940)
Louise Richards Farnsworth
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John Hafen, Indian Summer (1900)
Louise Richards Farnsworth, Springtime (1935)
John Hafen, Hollyhocks
Louise Richards Farnsworth, Storm Clouds in the Tetons (1950)
John Hafen, Springville, My Mountain Home
Lee Greene Richards, Lady with the Green Scarf (Louise R. Farnsworth)
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John Hafen, painting
John Hafen, Quote
John Hafen, Sketch of the Valley John Hafen, photographed in his studio
John Hafen, Springville Pasture
John Hafen, Postcard
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John Hafen, The Mountain Stream (1903)
Charles L. Smith, Portrait of John Hafen (1910)
John Hafen, Teepees
Mahonri M. Young, Portrait of John Hafen
John and Thora Hafen
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Ten Lessons the Arts Teach by Elliot Eisner
The arts teach children to make good judgments about qualitative relationships. Unlike much of the curriculum in which correct answers and rules prevail, in the arts, it is judgment rather than rules that prevail. How qualities interact, whether in sight or sound, whether through prose or poetry, whether in the choreographed movement we call dance or in an actor’s lines and gestures-these relationships matter. matter. They cannot be neglected, they are the means through which the work becomes expressive.
School curriculum, however, is heavily weighted towards subject matter that gives students the illusion that rightness depends upon following rules. Spelling, arithmetic and writing as they are usually taught are largely rule abiding subjects. This is not so in the arts. The arts insist that understanding relationships relationships is vital and that valuable relationships are achieved when the mind works works together with the child’s feelings. feelings. It is when emotions connect with thinking that lessons more fully impact the learner.
The arts teach children that th at problems can have more than one solution and that tha t questions can have more than one answer. answer. If they do anything, the arts embrace diversity of outcome. Standardization of solution and uniformity uniformi ty of response is no virtue in the arts. While the teacher of spelling is not particularly interested in promoting the student’s ingenuity, ingenuity, the arts teacher seeks it.
The arts celebrate multiple perspectives. One important lesson is that there are many ways to see and interpret the world. world. This too is a lesson that is seldom taught in our schools. For example, the multiple-choice objective test celebrates the single correct answer. answer. That’s what makes the test “objective.” It is not objective because of the way the test items were selected; it is objective because of the way they are scored. It makes no allowance in scoring for the scorer to exercise judgment, which is why machines can do it.
The arts teach children that th at in complex forms of problem solving, purposes are seldom opportunity. Learning in the arts requires the ability and a willingness to surfixed, but change with circumstances and opportunity. render to the unanticipated possibilities of the work as it unfolds. At its best, work in the arts is not a monologue delivered by the artist to the work, but rather, a dialogue of sorts. It is a conversation conv ersation with materials, a conversation punctuated with all of the surprises and uncertainty that a stimulating conversation can make possible. In the arts, one hopes for surprise, surprise that redeines goals; and purposes are held with lexibility. The aim is more than impressing into a material what you already know, but actually discovering what you don’t.
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The arts make vivid the fact that neither words in their literal form nor numbers exhaust what we can know. Put simply, simply, the limits of our language do not deine the limits of our cognition. The reduction of “knowing” to the quantiiable and the literal is too high a price to pay in deining the conditions of knowledge. What we come to know through literature, poetry and the arts is not reducible to the literal and neither is the world in which we live. live.
The arts teach students that small differences can hav h ave e large effects. The arts abound in subtleties. Paying attention to subtleties is not typically a dominant mode of perception in the ordinary course of our lives. We typically see things in order to recognize them rather than to explore the nuances of our visual ield. For example, how many many of us here have really seen the façade of our own house? I suspect few. One test is to try to draw it. We tend to look at our our house or for our house in order to know if we have arrived home, or to decide if it needs to be painted, or to determine if anyone’s there. Seeing its visual qualities and their relationships is much less common.
The arts teach students to think through and within a material. All art forms employ some means through which ideas become real. In music it is patterned sound; in dance it is the movement of a dancer; in the visual arts it is visual form, perhaps on a canvas, a block of granite, a sheet of steel or aluminum; in theater it’s a combination of speech, movement and sometimes song. Each of these art forms uses materials that impose certain demands on those who use them. They also provide an array of distinctive opportunities. To realize such opportunities, the child must be able to convert a material into a medium. For this to occur occur,, the child must learn to think within both the possibilities and the constraints of a material and then use techniques that make the conversion of a material into a medium possible. A material is not the same as a medium and vice versa. Material is the stuff you work with and a medium is the form through which ideas are communicated using whatever materials have have been chosen. A medium conveys conveys choices, decisions, ideas and images that the individual wants to express. The challenge for the child then is to take a material—be it color, sound, texture or movement—to think within the limitations and possibilities of the given given material and then to use the material(s) to shape their idea.
The arts help children learn to say what sometimes cannot be said. When children are invited to describe what a work of art makes them feel, they must reach into their poetic capacities to ind the words that will convey their message accurately. accurately. Talking about art makes some special demands on those discussing it. Think, for a moment, about what is required to describe the qualities of a jazz trumpet solo by Louis Armstrong, the surface of a painting by Vincent Van Gogh, the seemingly effortless movements of Mikhail Baryshnikov shniko v or the poetic theatrical language of William Shakespeare. The task is to express through language the qualities that are oftentimes beyond words, words, hence the challenge is to say what cannot be said. It is here that suggestion and association are among our strongest strongest allies. It is here that metaphor, metaphor, the most powerful of language capacities, comes to the rescue.
The arts enable us to experience the world in ways we we cannot through any other source. The arts communicate meaning and it is through artistic experiences that we discover the expanse of what we are capable of both perceiving and feeling. Some works of art have the capacity to put us into another world because the experience experie nce is so powerful. powerful. The wish then in teaching teaching literacy is is not simply to help children learn how to read a book but to help them use their reading skills to then imagine images while they read. In addition, literacy includes the ability to perceiv perceive e our world through many different senses: visual, tactile, tacti le, kinesthetic kinestheti c and auditory. auditory. It is because of more diverse literacy that children are able to understand the world’s artwork and subsequently, subsequently, to access the joy, delight and insight those works of art make possible. Ultimate Ultimately ly,, when a child can perceive and understand a work of art—be it a symphony, a play, a dance or a painting—they gain the skills to then perceive and understand the world in which they live.
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The arts’ position in the school curriculum symbolizes to the young what adults believe is important. Without question, the curriculum of the school shapes children children’s ’s thinking. It symbolizes what adults believe is important in order for the young to be competent in the world and tells children which human aptitudes are valuable to possess.
The value of a subject of study determines both its presence in the curriculum as well as the amount of time the school devotes to it. Indeed, the most telling indicator of the importance of a ield of study is not found in school district testimonies, but in the amount of time it receives and when it is taught during both the school day and school week. Add to these considerations the relationship between what is tested and what those test scores mean to the overall evaluation of the student and you have a recipe for deining what counts in schools. Adapted from: Eisner Eisner,, E. (2002). The Arts and the Creation of Mind, In Chapter 4, What the Arts Teach and How It Shows. (pp.70-92). (pp.70 -92). Yale Yale University Press. Available from NAEA Publications. Text abstracted from NAEA’s pamphlet, Parents: Ten Lessons the Arts Teach. For more information call (703) 860-8000 or visit www.naea-reston.org.
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e l t o t s i r A –
Why & How to Teach About the Nature of Art art is about.” about.” Have them address address three ideas: 1. What do you think art is or what do you think is art about? 2. What do you think is not art? art? 3. What do you think is the purpose of art?
What is the Nature of Art? Objective: Students will demonstrate an underObjective: Students standing of the “Nature of Art” by researching, viewing videos, and discussing before writing down a brief description of what they think art is about.
Notice that anything they write is correct because the question is what they think . We share these ideas and then move on to what other artists and writers have have said about art. I pass out a paper with some deinitions and statements about art. We read over over these ideas and discuss them. A list of quotations is included in the lesson. Students are then given a chance to add to or change their written ideas. A working working understanding of the nature of art is a life-long pursuit, so we need room to change our minds.
State Core Core Links: Rainbow Chart, Chart, Elements & Principles—This Principles— This lesson incorporat incorporates es everything the student knows about elements and principles of art. 6th grade: Standard 4 Contextualizing Contextualizing—Objectiv —Objective e 2a, Explain how experiences, ideas, beliefs, and cultural settings can inluence the artist’s perception.
After students have created a document stating what they think art is about or what art is or what the nature of art is or all of the above, it is time to turn the abstract concept into a work of art. This can be done in any any medium. I usually let students choose their medium with a due date. It is also just ine to restrict restrict the work to a speciic medium and incorporate the deinition into another objective lesson based on medium or motif or historical style. As you know, an openended assignment usually does not get inished. To help students think of an example they want to make, I suggest that they work in one of the four motifs of Landscape, Portrait, Still Life or Design. This work should be exhibited with their statement about art clearly written and displayed with their example example of the statement. This can also be done in class with each student having a chance to share his or her work and statement with the class. One of the ways ways I like to tweak this les
Materials: Video, Internet, handouts, handouts, paper and pen, and a iery imagination. Process: Notice that we are not deining art. We are writing a statement about the “Nature of Art” and what the individual thinks thinks art is about. about. I usually start this process with a showing of a ine video entitled “What Is Art?”, produced by Discovery Education. This video attempts attempts to make the the visual arts meaningful and accessible to young students. It is an open-ended open-ended approach to the elusive question, “What Is Art?’ Art?’ The video focuses on how and why art is made and the role of visual elements, artistic intention, mood and styles in the creation of art. I have described this video in case you have your own or ind another that you can use as well. After viewing the video and talking about it, students are asked to write down “what they think 9
son is to have students share their statement in class but assign the example to be done at home. Those who return with a inished example can display the work in the Hall Gallery. Assessment: If a student starts his or her statement about art, “I think art is about…” then anything they write is correct. correct. If you want to to be more formal in grading this project, then you can grade the spelling and grammar and creative creative construction of the document. You can also grade on the depth of the student’s thinking about this subject. Images: photo: a definition definition with an example. example.
Sources: I would like to recommend several books about the nature of art. They don’t particu larly agree agree with each other but the purpose of this exercise or art for that matter, is not necessarily to convince everyone of a singular, restricted idea. “What Is Art ?” ?” by Leo Tolstoy the great Russian novelist. This book was was originally originally published in 1898. It has been translat translated ed several several times. I recommend Richard Pevear’s translation because it is currently in print and easy to ind. This is a must read on the nature nature of art. Tolstoy criticizes the elitist nature of art in the 19th century and rejects the idea that art’s sole purpose should be the creation of beauty arguing that true art must work with religion and science as a force for the advancement adva ncement of mankind. He also explores what what he believes to be the spiritual role of the artist. “What Good Are The Arts?” by John Carey. Carey. Carey is a former English Professor at Oxford University. His controversial controversial thesis is that art is “anything that anyone has ever considered a work of art”. He puts forth an erudite and humorous argument that art is a social phenomenon and should be treated, analyzed and valued as such. “Art is loundering in the abyss of relativism” he writes, “Perhaps relativism is all we can hope for in a world perceived by over 6 billion minds a day.” “Provoking Democracy: Why We Need The Arts” Arts”,, by Caroline Levine. Levine. Levine discusses the role role of art in a democratic culture and what roll art should, could and does play. play. “Y “Yes es democracies need art,
especially art they don’t like or understand…art helps defend democracies from its worst excesses--the muting of marginal voices, the oppression of majority rule and the blind conformism of consensus politics”. “What Is Art For?” by by Ellen Dissanayake “But Is It Art?” by by Cynthia Freeland
Variations: In the original original lesson we we had students in the 5th and 6th grade write what they thought the nature of art was, what art was not, and the purpose of art. A variation variation of this lesson is simply to have students do just one of these questions. At our school the students have have already become comfortable and conident in writing about art. By the time they are in the 5th 5th grade, it is pretty easy to get them to do some serious thinking and writing. Another variation is to have students do some research about what others think art is buy interviewing other teachers, classmates (not in the art class), parents, friends, and neighbors. neighbors. Most students are amazed that other teachers and school workers won’t even try to engage. We have been doing this for some time, and it is only new hires that won’t play. play. Even if they can’t get cooperation, students can learn an important lesson about art. Extensions: When deining art, most students want to deine “visual art.” They are in a visual arts class, so it is obvious. There are at at least 4 other genres in the arts and they each need some deining also. Have students answer the same questions, but speciically about Dance, Drama, Music, and Electronic Electronic Media. Electronic Media may or may may not be its own genre of art. I think it is, but we get to disagree in art without becoming adversarial. adversa rial. OK? Try having students write about the similarities and differences in these different different areas of art. art. You will be amazed that the students understand how similar all the different different art forms are. This has something to do with the fact that it is ALL ART. Use Line, Shape, Color and Texture Texture and see how these concepts are used in each of the art genre. 10
This is Maddie’s ifth grade statement about the nature of art and her example.
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This is Savanah P’s ifth grade example of art and her description of the nature of art.
Art is…beautif is…beautiful, ul, wonderful, amazing, it’s what you imagine and what you draw draw.. It’s not a pen and a pencil, or watercolor with paper. paper. It’s what you see then write. Draw what you see it’s amazing. If we didn’t know about art or drawing, our life would be boring, we wouldn’t be able to show our feel ings in different different ways and and it would be hard. I love art. I get to draw stories stories of my life and show how I feel and that is art. Some people might think art is a beautiful sunset but it isn’t. Even if an artist is standing by it, it’s not art. If the artist makes makes something about it or even even says something something about it, then that’s art. Art is something we do.
The purpose of art is to draw what you see in your mind so others can see it too. It is to draw your feelings so others can feel them too.
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This is Zachary’s statement about art and an example he choose to demonstrate his statement. Sometimes we choose from other people’s people’s artwork as a visual example of what we think art is, isn’t, and what is the purpose.
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This is Eliza’s fth grade writing about art.
This is a decorated contour drawing of Adison. It is an exexample of Eliza’s statement. This is the product of a lesson we do on contour drawings and then go in with textures and colors to ind tangent and adjacent spaces.
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THE NATURE OF ART: What is the nature nature of art? As redundant redundant and rhetorical as this issue may be, it becomes very dificult to intentionally produce a thing that you can’t deine or even discuss. If one does not know what something is—it is not possible to create it. If your deinition of art is “anything you want it to be,” then there is nothing that is not art; therefore, there is no such thing as art because a thing cannot exist without without its antithesis. If you cannot cannot determine what is not art, you cannot rationally rationally know what is art. We are not trying trying to be excluexclusive about art. We are trying to clarify a confusing and nebulous idea that most people won’t pursue to a workable workable conclusion. conclusion. Abdication, “what-ever”, is never an empowering deinition. Remember that understanding the nature of art is an ongoing, life-long pursuit. pursuit. So, pursue it! Rather than defending some didactic, arbitrary deinition of art that we have memorized, memorized, let us engage in an ongoing dialogue on the nature and meaning of art. art. Here are some starting points: points:
Art , n. 1. The quality, production, or expression of what is beautiful, appealing, or of more than ordinary signiicance. RANDOM HOUSE DICTIONARY
“To evoke in oneself a feeling one has experienced, and having evoked it in oneself, then by means of movement, line, color, color, sounds or forms expressed in words, so to transmit the same feeling—this is the activity of art.” art.” LEO TOLSTOY
“…the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualiications and thus adds his contribution to to the creative creative act. This becomes even more obvious when posterity gives its inal verdict and sometimes rehabilitates forgotten artists.” MARCEL DUCHAMP
“…you make something, anything, then you show it to someone. If anyone anyone notices that they are looking looking at it—then that that is art. Art is a self-conscious social phenomenon deined by the viewer as much as the artist.” KURT VONNEGUT
“Art is a verb. verb. It is an action, a process, and a thing one does. Art is the physical, physical, emotional, emotional, spiritual, social and intellectual dance between the artist and his medium. When the creation dance is over, the phenomenon that the dance produced is no longer art but becomes artifact; evidence that art transpired in that place at one time. The dance can be be reengaged between between the viewer and the artifact and once again, art is happening, but it is dificult.
Art is a kind kind of thinking. Phenomenology is a byproduct of the idea. A portentous idea poorly executed is still a signiican signiicantt idea. A redundant, redundant, meaningless idea, well executed is still meaningless. I reserve the right to change change my mind without telling you.” JOSEPH GERMAINE
“Art is the objectiication of human feelings; and the subjectiication of nature.” SUZANNE LANGER in The Mind: An Essay .
“ Art is human intelligence playing over the natural scene, ingeniously affecting it toward the fulillment of human purpose.” ARISTOTLE 15
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Why & How to Teach That Art is About Questions Elementary Level by Joseph Germaine Objective: Students will demonstrate demonstrate an an understanding of the inquisitive nature of art by brainstorming with the class to identify some thoughtprovoking prov oking questions about art, the nature of art, what part art plays in our real lives, where art comes from, when we should start making art, how to get ideas and how to get them out of our heads and how you can tell a good idea when you “see” it. These should be questions that the students can then illustrate with images of their own devising. State Core Links: From the Rainbow Chart (5th grade): Since this project is not directly about the production of artworks, use the blue column titled Explore, Contextualize: Discover, Discover, look at, investigate, investig ate, experience and form ideas. From the State Core Curriculum in Visual Art (5th grade), use Standard 2, (Percei (Perceiving): ving): The student will analyze, relect on, and apply the structures of art. Objective 1. Analyze and relect on works of art.
Signiicant questions cannot be answered quickly, didactically didacti cally,, or simply. simply. We want to practice creating that pointedly signiicant question that we can spend a lifetime working on. on. Visual art is about about visual questions and visual answers as Music is about sonic questions and sonic answers and so on.
Have students discuss questions that they can ask about art. Ask questions about about the nature of art, the meaning of art, the purpose of and the process of art. Start with individuals individuals writing down questions and then cooperating in small groups to get the best questions and then working as a whole class to come up with no more than about 20 really good good questions. My classes are are from
“Can blind people make art?” photo by Clara, 5th grade
Materials: Groups of thinking humans, humans, white white board to write on and then whatev whatever er medium the students (or teacher) want to use for the illustration. Activity: Life is about Activity: about questions. It is the questions in life that drive our actions much more than the answers. answers. Answers come and and answers go, go, but the questio questions ns stay. stay. Most questions are universal, but nearly all answers change over time, geography, culture, age, gender, and inclination.
“Cat” clay sculpture by Liz, 3rd grade. Liz is completely blind
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40 to 50 students at a time so 20 questions makes it possible for several students to choose the same question. question. If you have smaller classes, make a shorter list because we want to try to get several students working on the same question. These last questions should be written on the board. Notice that we have have not started trying to answer the question. question. Each student will choose the question he or she wants to answer answer.. They will group together to discuss answers. When they think they can answer the question, they should generate a work of art. The artwork will be an illustration of the answer and probably also reference the question.
“What is art about?” This is a watercolor sll life by Chandler, 5th grade
Here is a list of questions about art generated in class by 3rd thru 6th graders over many many years of doing the question project:
When students are inished listing questions, give them some time to discuss these questions in small groups. Try to get everyone everyone to participate. participate. The smaller the group the more participation can be expected. Notice we did not say, say, “have students answer the questions.” We are going to discuss the questions. Maybe there there is a better way way to ask the same question. Perhaps each question reminds us of other questions.
Is a beautiful beautiful lower lower art? What is art art like? Can art be ugly? What is the prettiest prettiest color? Can something be beautiful and ugly at the same time? Does art answer answer questions or ask questions or both? Can you have an answer without a question? What is the best kind of art? Why We usually end this project here, without resolvdoes everyone everyone disagree about about art? Is it ok to ing many of these issues. The goal is to get get studisagree about art? Does art have have be a picture of dents to learn how to ask signiicant and insight something? Is it still art if it is not very very good? Is well-crafted question lends it ok to like someone’s art even if you think it isn’t ful questions. The well-crafted itself to the answer answer.. This should be remembered really good? How do you know if you you like somewhen crafting a test on any subject for your stuthing or not? Who gets to decide what what art really really dents. is? Who is the best artist artist in the world? world? What is not art? Who invented invented art? Is photography art if Assessment: All students who have have participated participated a machine makes makes it? If you trace something is is it in the creation of making questions and then still art? How old is art? Who was the irst art art discussing them have succeeded in this project. ist? Why is it fun to make make art, especially painting painting For a more measurable assessment have students and clay? Why doesn’t everyone make art? Why do old people quit making making art? Is art just for fun? write down what they think the best question How can an artist get money for making art? Why of the day was. Have them write it clearly and succinctly.. The question can then be graded succinctly graded on is the art room room so messy? Do you think think God is an grammar, punctuation, spelling, and insightful artist? content.
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Sources: DVD: Art Making and Meaning: Understanding Through Questions, by Anne Coe and Michael Brolly.. This is a 143 minuet video, which is compiled ly from 54 brief videos that address 17 signiicant questions about art. art. There is also a companion CD of interaction activities. activities. This is an excellent resource for older students. I use it for my my 6th grade classes and some of the more advanced 4th and 5th graders.
I know this is a lengthy reading reading list. They are all good sources. Try the DVD, DVD, Letters To Young Artists and Art and Fear . I know we are all busy but my advice as a 33-year veteran in education and a life-long learner is to ind and make the time and space to sit down with a book some time each day.. You will be amazed. Life is good! day
Variations: A variation variation of this “questioning” BOOKS: The Art of Asking Questions, Get Better agenda is a game we play entitled, “Question me Answers, by Terry J. Fadem; Open to Question: The an Answer. Answer.” In this game we take turns present Art of Teaching Teaching and Learning by Inquiry , by Walter ing an answer to the class and then see how many L. Bateman; The Art Question Art Question, by Nigel Warburquestions we can inven inventt that are compatible with ton; Smithsonian Q&A: American Art and Artists, the answer. We also try to use humor, humor, but it is not by Tricia Wright; Questions Kids Ask About Art & expected that all questions will result in a “funny.” Entertainment, by Grolier Limited; How to Talk Here is an example: Emily answered, “Red.” “Red.” The to Children About Children About Art , by FranCoise Barbe-Gall; class asked, asked, “What is hot?” What color is your your Puzzles About Art , by Margret P Battin & John nose on a cold windy windy day?” day?” What does your Mom Mom But Is Is It Art? by Fisher; But by Cynthia Freeland; Letters see when you are are naughty?” naughty?” “What do you mix To Young Artists, by Peter Nesbett & Sarah Anwith yellow to to get orange?” This could obviously obviously dress; Art and Fear: Observation On The Perils and go on for a long long time. The point here is to look at Rewards of Art Making, by David Bayles. the relationship between questions and answers.
“Where can you nd art?” Pen and Ink and Colored Pencil by Caitlyn, 5th grade
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This is a somewhat twisted, childish take off on the ancient Geek style of debate know as the Socratic method, which is a form of inquiry and debate between individuals with opposing viewpoints based on asking and answering questions to stimulate rational thinking and to illuminate ideas.
Extensions: To extend this project into the production mode of art, we have students write down the question they want to focus on and then answer the question question with an illustration. illustration. The medium and motif of the illustrated answer can be assigned or left up to the student. Some mediums and styles lend themselves more easily to some questions. Here are are some examples: examples:
“Where do you get art ideas from?”
Pen and Ink portrait by Walker, 5th grade
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“What is art about?” This is a watercolor sll life by Morgan, 5th grade
“How can you see a picture of your thoughts in art?” Water color sll life by Megan, 5th grade
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“Can blind people make art?” photos by Clara, 5th grade.
“Dinosaur” clay sculpture by Kailee, 9th grade. Kailee is completely blind.
“Self Portrait” in clay by Liz, 3rd grade. Liz is completely completely blind. blind.
“Mr. Germaine teaches art to blind kids “Mr. who can’t see. They come to our our school at night. I saw a table table full of clay sculptures sculptures that they were going to put in a show. show. My queson was, “Can blind people make art?” because I never heard of it before. before. This is my queson queson and my answer. answer. Now I know for sure.” sure.” Clara, 5th grade “Dog” clay sculpture by Paul, 5th grade. Paul is parally blind.
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“What does art sound like?” Colored pencil drawing by Max, 5th grade.
“Where can you nd art?” Pen and Ink water color by Kate, 5th grade.
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Why & How to Teach What an Artist Does Elementary Level by Joseph Germaine Objective: Students will demonstrate demonstrate an an understanding of the role of an artist in the “real” world of art by looking at some media production on “What is an Artist?” and engaging in a class brainstorming brainstor ming process of listing and describing as many “artist jobs” as possible.
rious disservice to all of those who engage in the world of art daily as part of their career or part of their daily life. We show the video “I Want To Be An Artist” to the class. This is a short video video production, which which highlights several several types of jobs in the art world that aren’t necessarily the traditional painting and sculpting jobs. Art Gallery Owner, Owner, Restoration Artist, Art Teacher, Computer Artist, Pho-
State Core Links: Standard 3, Expressing, Objective Objectiv e 2, Discuss, evaluate and choose symbols, ideas, subject matter, matter, meaning and purposes for students’ own artworks and Objective 3, Explore video, ilm, CD-ROM, and computers as art tools and artworks. Standard 4, Contextualizing, Objective 2-a, Collaborate in small groups to describe and list examples of major uses or functions… and Objective 3, Recognize the connection of visual arts to all learning and Objective Objectiv e 3-a, Collaborate in small groups to discover how works of art reveal the history and social conditions of a nation. Materials: Video, “I Want To To Be An Artist” by CrystalProductions CrystalProdu ctions or any other similar production on the nature of art in the real world. See Bibliography. Writing materials and time. Process: This lesson is is oriented around around the question, “What does an artist do in the real world?” We want to get past the idea that art is just for “artists.”” The thesis here is that everyone “artists. everyone engages in the world of aesthetic creation (art) all of the time. We want to debunk the idea that that only cloistered-off tortured tortured painters painters make art. The traditional stereotype stereotype of an artist does a lot of se-
tographer, and Fashion Designer are a few of the careers mentioned. After viewing this or a similar video, students should discuss several terms like career, art, artist, artist , job, and hobby. hobby. At this point students should be led in a brainsto brainstorming rming process to list as many ways to be an artist as they can imagine. They should also write write down how a particular job uses art. art. For some some classes, making it a slightly competitive thinking process might help motivate motiva te the students. I divide the class class into four workstationss and have each engage in a discusworkstation sion about artists’ work. work. They choose a scribe to to write down the ideas, and then we make a master 25
list on the board. board. Sometimes we do this individually rather rather than making it a group group process. But we still end up with a master list on the board. Some coaching might be needed to elicit some “out of the box” thinking. Years ago I was shown an article in School Arts that said that at NASA (National Aeronautics and Space Administration) Administration) there were nine artists for every engineer. engineer. The article pointed out that the real job of NASA was not to go to Mars but to get money from Congress to inance NASA’s research. This means they produce a lot of advertising, pamphlets, ilms, animations, and re-enactments. This is an unexpected example of what artists do. Here is a partial list of art careers thought of by ifth graders:
wallpaper, Whoever makes new colors of paint, The people who make those little pieces of paper at the paint store with all the colors of paint and the funny names, The artists who make toilets, The car guys who igure out how to make fancy letters in metal to put on cars, Font makers makers for your computer, Gardeners who grow house plants to decorate your house. Well, the list is much longer and takes a full day to compile. With 180 ifth graders we make a list of over 300 jobs and careers that a person who makes art can do. Of course this all depends depends on how you want want to deine art and and artist. Our deinition is obviously an “inclusiv “ inclusive” e” one rather than an exclusive one. It always always seems more reasonable to deine a thing by what it is rather than what it is not.
Hair stylist, Grounds keeper, House painter, Tree Assessment: If you need to to grade this project project pruner, Sign painter, Janitor, Housewife, Chef, on a graduated scale then the obvious way is to Construction worker, Seamstress, Makeup artgive the group with the greatest number of conist, Actors, People who announce the news on tributions the highest grade and the individual TV, Dance teachers, Music teacher, Fifth grade art students who contribute the most the highest teachers, All the Elementary teachers, Whoever grade. Although, one cutting, insightful, insightful, poimakes all that stuff the teachers decorate their gnantly poetic answer may be worth all the other rooms with. People who make make Christmas Tree Tree or- answers combined. Be careful of the quantitati quantitative ve naments, Who make Christmas lights, Christmas paradigm. An important important part of assessment assessment for card makers, Anybody who decorates a Christmas the lesson would be to identify and recognize any Tree, Movie set designer, T-shirt printer, advertisers who make commercials, The guys who paint the lines on the roads, Farmers Farmers who stack hay neatly, Saddle makers, Jewelry makers, Rock and roll stars, Guitar makers, Costume makers, People who design labels on food, People who print the art posters in our classroom, The guys who built our school and put the tile loor designs in, The people who design and invent lags for coun tries, The musicians who write national anthems, Anybody who plays an instrument, Workers in an Art Museum like the leaders and the ones who walk around and tell you about the art and the lady who says hello at the front desk, The people who make the handouts and notes we take home almost every day, People who make basketballs and other sports equipment, The artist who thought up the Nike design and put it on my shoe, My mom when she curls my hair, Me when I brush my teeth and wash my face, Guys who think up 26
The list in progress.
Students having fun making the list.
student who does not participat participate e and develop a strategy to recruit that student into the process. It has been my experience that the best tools we have for convincing convincing students to engage in the work of art are other students who are engaging. Sources: I Want To Be An Artist , a VHS video by CrystalProductions. CrystalProdu ctions. This is an excellent starter for a discussion on careers in art. What Is Art? a a VHS video by by Clearvue & SVE. This video does not answer the title question but it does create a good starting point for discussion. Art City 1, 2, & 3, a series of DVDs directed by Chris Maybach. Maybach. Each of these DVDs DVDs look into the life and work of real contemporary artists and discusses the how’s, where’ where’ss and why’s a person pursues a life and career in the arts by going into individual art studios of various artists in various medium. Art:21, in both VHS and and DVD. DVD. This is a look at at different types of art in the 21-century and how the contemporary contempora ry world of art is expanding to include many art forms that have traditionally traditionally been excluded from the “Fine Arts” genre. I Can Fly, Volumes 1-5, VHS video. This is an an excellent series for young students, which crosses over between the disciplines of Dance, Music, Performance, Drama, Drama, Literature, and and the Visual Arts. It also focuses on three different artists in each of
the volumes and two or more dance and music performers. Variations: This lesson can be as simple as havhaving students take notes (which they always do in my class) or as complex as dividing into competitive teams and keeping score on the number of art career options that can be catalogued. Extensions: Here are two other ways ways to use this brainstorming process process to discuss the nature and application of art without it being a didactic lecture. WHO DOES ART? 1. List all the things you did today today that were some kind of art. Combed my hair, hair, chose colorful clothes, made my bed, whistled a tune, danced a jig, wore a tie, chose a hat, planted a tree. 2. Follow Mr. Mr. Huntington our custodian around for a day and write down everything he does that looks like art. art. Swept the sidewalk, sidewalk, mowed the grass, cleaned up a mess in the hall, straightened a picture. Try this on your teacher, teacher, your parents, and your principal. There will be those who don’t see these daily activities as ART in any traditional way. way. There is a sense that art is artifact, and that it is primarily painting and sculpture. To see how this narrow-
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ness prevails, make make a list of the famous artists who come to mind. mind. Most folks will will notice that these famous artists are primarily white, European, male painters with a sculptor thrown in there, perhaps. Of course this is not true true for everyone, everyone, but then everyone does not concern his or her life with these issues.
If there is an underlying sense of beautiication and focus on the visual world in these daily activities, then with just a little lexibility and inclusive inclusiveness, much of what we do will fall comfortably within the greater aesthetic world of manipulating visual elements to express one’s concern and appreciation appreciation for others and and oneself. Art is about the way things look, the way things are, and the way things might be.
Student Examples:
Arsts design clothes like under under ware. I don’t really want to design under ware when I grow up. I want to be a basketball player like Michael Jordan. He designed his own under ware and that is a kind of art and a job in art so I guess if it is ok for Michael Jordon it is ok for me. Fashion designer designer is a career in art. art. Parker, 5th grade.
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A job in art is to design and make labels for for food. When you buy something in the store store it has a label and artwork all over over it. Somebody has to get the idea and design design the wrapper wrapper for cookies. cookies. This is my idea for for a cookie wrapper. wrapper. The two lile faces in the “O’s” are the cartoon characters that I made up for the comic strip project. I think it would be fun fun to be an adversing adversing type arst arst when I grow up up but who knows. knows. I’m sll kind of young. Paige, 5th grade.
A good job for an arst is to be a model. Mostly arsts take take the picture picture or paint it but being a model is art too. It is a kind of drama drama like acng. acng. It seems like fun and somemes I model model for photographers. photographers. When I grow up I would rather be the photographer. Emily, 5th grade
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This is a logo for a worldwide telephone company. Some arsts design logos for companies. That’s what this is. Braden, 5th grade.
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Jewelry designer design er.. This was thought of and made by a jewelry designer. People who design jewelry are arsts and they make a lot of money. money. This is some jewelry that I designed and made. Somemes you can just design an idea but if it ’s a good idea it is fun to make make it too. I want to make and design jewelry when I grow up. Savanna, 5th grade.
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You might not think it is art when your Mom xes your hair but it is. Some arsts who do hair make a lot of money doing it. It is called a Hair Hair Stylist. Stylist. It is not like painng or drawing but they use lines and shapes and textures and somemes even color to make things more beauful and interesng. To me that is art. This is a hairdo that my Mom gave me. Hair stylists have to study at a school to learn how how to do their job. I think it is a good career in art
WHERE DO YOU SEE ART? 1. List all the things things in this classroom that were made or designed or thought thought of by artists. artists. Is it “good” art or not? How does it help you? This can be done individually or as a group or as a graded quantitative process.
one of the careers in art and create a work of art that corresponds with that that career. career. If this is something that can’t be done in class, have students document their project with photos.
2. Let’s pretend there isn’t any art anywhere. What would our school look like? What would our town look like? What would our homes look like? What would would we look like? like? What would would you miss most? Make a list.
More Extension: The obvious next step is to have students choose 32
Why Teach About the Beginnings of Art WHY BOTHER TEACHING ART? In an effort to discuss why we bother with the expensive and time-consuming discipline of “ART” in the public schools we need to know irst, something about the nature of art, second, what part art plays in our real lives, third, where art came from, fourth, when we should start sharing the joy in the production of art with our children and ifth, some strategies as to how we can go about this awesome task. Art is distinctively human. To study art is to study what it means to be a human human being. Art is a social phenomenon. To To study art is to study about our relationship with our self and all other humans. Art includes all aspects of human existence. existence. To learn about art is to learn about our human place in the rest of the non-human universe. To become aware of, comfortable with, coherent in, and skilled at art is to become human, which is signiicantly signiicantl y more than just existing. existing. It is being “ALIVE”! To engage in the aesthetic aesthet ic paradigm is to engage in meaning. If aesthetics is about about the search for beauty, beauty, then aesthetics is the only place in the educational world where we can discuss what causes beauty, what to do about it when we discover it, what it means, and why is it appropriate that we don’t all agree.
Close-up of horse heads from the Chauvet Cave hp://en.wikipedia.org/wiki/File:Chau hp://en. wikipedia.org/wiki/File:Chauvethorses.jp vethorses.jpg public domain
mans do that is distinctively distinctively human? Reproduce. No! Wa Warr and and violence? No! Eat, travel, travel, hunt, hide, and horde things?…no, things?…no, no, no! How about communicate by by generating sounds? No! Again. Perhaps the only thing that human beings do for which there is no obvious counterpart in the rest and share of the animal world is to ind beauty and our responses to it with others. All academic disciplines are narrow spin offs of the human need to observe nature (by the way, we are part of nature so observing nature includes ourselves WHENCE ART? and others) and record record our response. response. Art is the Whence: “From what place, source or cause.” oldest academic discipline and integrally intertwined with ancient ancient religion. Art is the only only “preArt is a part part of the human condition. condition. In fact it is literate” academic study. Literacy is a form of the deinitive part of the human condition condition.. It is visual art, that is, it is an arbitrary symbol system what makes us human. human. It is probabl probably y the only drawn with lines and shapes to covey a predeterthing that humans do exclusively exclusively.. What do humined meaning. We can use these squiggly lines 33
and shapes to communicate novel and personal ideas and feelings and descriptions of our world. Sounds a lot like abstracted art to me. The following is a brief and incomplete discussion about where art comes from. We are focusing on the visual arts because the record is available, available, but there is very strong evidence that Music, Dance and Drama (story telling and ritual) is at least as old as visual art and perhaps older. It is just very dificult to document the sound of prehistoric music although some of the oldest rock art we have from Spain shows igures that are either dancing, hunting or ighting. Perha Perhaps ps it is all part of the same thing. Some of the oldest artifacts artifacts found are are musical instruments. We will start with written language to demonstrate that visual communication is much older than literacy and is at the root of all reading reading and writing. To ignore the legacy of visual art is to deny the root source of all the academic disciplines, which rely so exclusively on literacy. Why do we start preschool children on “PICTURE BOOKS”?
The earliest written language we know about is Cuneiform from the Sumerian culture in Mesopotamia, (or possibly early Egyptian) about 34,000 to 3200 BCE (5000 year year ago). Cuneiform was was drawn with a wooden stylist on clay tablets (see image, bottom left). Bone and ivory tags, pottery vessels and clay seal impressions bearing hieroglyphs unearthed at Abydos, Aby dos, Egypt have been dated to between 3400 and 3200 BCE, making them the oldest know examples of Egyptian writing. The Tags, Tags, each measure 2 by ½ centimeters and containing between one and four glyphs were discovered by excavators from the German Archaeological Institute in Cairo in the pre-dynastic ruler Scorpion I’s tomb. For some great information about the earliest hieroglyphs hieroglyp hs I recommend an online article by Marsia Sfakianou.
Drawing of hieroglyphic ivory le. Original can be seen at hp://news.bbc.co.u hp://news .bbc.co.uk/2/hi/science/na k/2/hi/science/nature/235724. ture/235724. stm another le is available at hp://www.homepages.in hp://www .homepages.indiana.edu/041301/im diana.edu/041301/images/scorpion.jp g
Le, Cuneiform tablet image hp://en.wikipedia. org/wiki/File:Cuneiform_script2.jpg Library of Congress, public domain
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The Chauvet Cave is in southern France. It contains man’s earliest known cave paintings. It was discovered in 1994. It is considered one one of the most signiicant prehistoric art sites in the world. Cave paintings paintings were being made about 32,000 years ago at Pont D’Arc, France. hp://www.culture.gouv.fr/culture/arcnat/chauvet/ en/ source for images Cave hyena painng found in the Chauvet cave; now known to be 32,000 year old hp://commons. hp://c ommons.wikimedia.org/wiki/File:20,000_ wikimedia.org/wiki/File:20,000_ Year_Old_Cave_Painngs_Hyena.gif Author, Carla Hufstedler 27 September 2006, 15:25:51
Chauvet Horses, large hp://en.wikipedia.org/wiki/File:Chauv hp://en. wikipedia.org/wiki/File:Chauvet_cave,_p et_cave,_painngs.JPG ainngs.JPG Charcoal and colored earth pigment painngs and relief carving from Pont D’Arc, France. Painng from the Chauvet cave, replica in the Brno museum Anthropos. 31,000 years old art, probably Au rignacien. The group of horses probably does not picture a herd of them, but some kind of etological study, study, showing, from le to right, calmness, aggression, sleep and grazing. (2009-05-22)Author, HTO 22 May 2009
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the world and one of the oldest known sculptures in general. The sculpture has also been interpretinterpreted as anthropomorp anthropomorphic, hic, giving human characteristics to an animal, although it may have have been the image of a deity deity.. The igurine is determined to be about 32,000 years old by carbon dating methods. It was irst discovered in 1861 in a cave cave near Swabian Alb, Germany. The “Lion Man”, “Water Bird” and “Horse Head” sculptures from the Swabia province of Germany are dated between 35,000 and 40,000 years ago. See images at http://www http://www.ice-age-art.de/an.ice-age-art.de/anfaenge_der_kunst/fels.php
http://archaeology.about.com/od/upperpaleohttp://archaeology .about.com/od/upperpaleolithic/ss/hohle_fels.htm has lithic/ss/hohle_fels.htm has horse head, water bird, and Venus
Lion-headed gure hp://en.wikipedia.org/wiki/File:Lion_man hp://en. wikipedia.org/wiki/File:Lion_man_photo. _photo. jpg Lion_man_photo Lion_man_photo Author, Gaura, 2007(2007) public domain
This lion headed igure, irst called the lion man and later called the lion lady of the Hohlenstein Stadel Cave, is an ivory sculpture that is the oldest known zoomorphic (animal-shaped) sculpture in
The 40,000 year old “Venus of Hohle Fels”, from Schelklingen, Germany, was discovered in 2008. (www.thelocal.de). This ivory carving was found near Schelklingen Germany and is from the beginning of the Upper Paleolithic, which is associated with the assumed earliest presence of Homo sapiens (Cro-Magnon) (Cro-Magnon) in Europe. Europe. It is the oldest undisputed example of Upper Paleolithic art and ig urative urativ e prehistoric art in general and is about 2 ½ inches tall.. Near this area in Germany Germany have have been found over 20 other carved artifacts including a 35,000 year old lute carved from a vulture bone. Because these artifacts are made of organic materials (bone) they can be easily dated using carbon dating processes. (largest image at http://johnfrederickwalker.iles.wordpress.com/2009/05/ hf_06.jpg found hf_06.jpg found November 4, 2009. If no longer available, use Venus of Hohle Fels as search term in image search such as google.com. The oldest pottery found to date is about 18,000 years old found in a cave at Yuchanyan in Hunan province in China. China. By determining the fraction fraction of a type, or isotope, of carbon in the bone fragments of the site and residual carbon in the clay body, the specimen were found to be 17,500 to 18,300 years old. The piece has incised incised decorations on the surface. (tywkiwdbi.blogspot.com) (tywkiwdbi.blogspot.com) You can see (and get a personal copy for use in 36
your class) from http://www.hnmuseum.com/ hnmuseum/eng/whatson/exhibition/kg_2.jsp The oldest art objects found so far are a series tiny drilled snail shells about 75,000 years old-that were discovered in a South African cave. (http://images.livescience.com/images/060622_ jewelry_02.jpg )
is the educational glue that connects all things. It is the historical and systemic glue of our lives. The aesthetic life is life. life. We live by beauty, just ask any Navajo or Polynesian. Other examples of prehistoric art:
This is pretty old and whether or not it is art is a lively lively discussion. The age can only be pushed back further. Long before what we would recognize as culture or civilization our ancestors were making art. This historical and and chronological approach is intended to demonstrate to those who resist Art Education as frivolous, non-academic non-academic or just play that art is the basis of all we teach and completely relevant relevant to our real real lives. Most of what we know about whom we are and where we came is documented documented in the arts. Try to to imagine history without artwork artworkss or literacy without drawing lines and shapes to make letters and words or science without visual diagrams to show us what Science is trying to say. The oldest writing we have is about 5,000 years ago and it seems to be inventory lists and legal documents. Who would have have guessed that lawlawyers invented literacy? Initially, literacy was a secret and one had to hire a scribe to write a document and then hire another one to read it. Until the 19th century, universal literacy was was not an idea anyone anyone espoused. It is irrational irrational to believe that the human experience started with literacy. It is irrational to think that the academic disciplines of literacy, literacy, math, science, history or social studies can exist without the endemic human experience in visual communication. communication. Art is the only preliterate discipline in the school curriculum. We don’t have to read or write to do art but we do have to do art to be able to write and read. We learn by art, we teach by art, we work work by art, we play by art and we love by art. It therefore seems obvious that we need to include a far-reaching, far-reach ing, discipline based authentic art increment into all subjects at all times and at all levels. We also need to secure a place in the curriculum where the arts can be taught as primary and not just an effective effective way to teach teach another subject. Art
Egypan Funerary Stele hp://en.wikipedia.org/wiki/File:Egyp hp://en. wikipedia.org/wiki/File:Egypan_funer an_funerary_stela.jpg
Graeco-Roman period hieroglyphs hp://upload. Graeco-Roman wikimedia.org/wikipedia/commons/2/25/Egypt_Hieroglyphe4.jpg
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hp://news.bbc.co.uk/2/hi/science/na hp://news.bbc.co. uk/2/hi/science/nature/235724.stm
The Narmer Palee, shown below, also known as the Great Hierakonpolis Palee or the Palee of Narmer, is a signicant Egypan archeological nd, dang from about the 31st century BC, containing some of the earliest hieroglyphic inscripons ever found. hp://en.wikipedia.org/wiki/File:NarmerP hp://en. wikipedia.org/wiki/File:NarmerPalee_ alee_ ROM-gamma.jpg photo by Captmondo, gamma adjusted to bring out more detail at lower resoluons Public domain
Other Good Sources: hp://en.wikipedia.org/wiki/Prehistoric_ar hp://en.wikipedia.org/wiki/Prehis toric_art good source for info and images hp://www.spiegel.de/fotostrecke/fotost recke-22586.htm l 5 pieces small ivory sculptures hp://www.spiegel.de/internaonal/zeit geist/0,1518,489776,00.html 35,000 year-old art Timeline hp://www.historyofscience.com/G2I/ meline/index.php?category=Art+
One of the Earliest Known Realisc Representaons of a Human Face Circa 23,000 BCE Venus_de_Brassempouy hp://upload.wikimedia.org/ wikipedia/commons/2/26/Ve nus_de_Brassempouy.jpg Author, PHGCOM, 2009 photographed at the Musee d’Archeologie Naonale Public domain
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How to Teach About Prehistoric Art Elementary Level Prehistoric Prehisto ric Timeline Objective: Students will demonstrate an understanding of the long and ancient tradition of visual art in the human experience by researching researching and creating a Timeline that documents visual arts prehistory and that ends with the introduction of the irst codiied written language. State Core Links: From the 5th grade rainbow chart use the orange column, Research/Create, Research/Create, Study, explore, seek, be creative, imagine and produce. Materials: Lots of research research materials, art art supplies to reproduce the preliterate images of our ancestors. Sources: “Prehistoric Art: the symbolic Journey of Humankind,” by Randall White; “The Cambridge Illustrated History of Prehistoric Art,” Art,” by by Paul G. Bahn; “Prehistoric Art and Art and Civilization, ” by Denis Vialou; “The Cave Painters: Probing the Mysteries of the World’s First Artists, ” by Gregory Curtis. Activity: Students need to be introduced to the Activity: long and glorious prehistory tradition in the arts. Since it is prehistoric, it is only tangently covered covered in a history curriculum. Students should organize in groups based on the medium (cave paintings, sculpture, and carvings, and pottery) and the time period and culture. culture. The body of information information is is huge and most young students and their schools do not have access to the full range of information. This problem is exacerbated exacerbated by the ongoongoing nature of the research into the archeological record. I was taught as a graduate graduate student in Art Art
History that the cave paintings at Lascoux and Altimira were were the oldest and that the oldest sculpture was the Venus Venus of Willendorf. Subsequent inds have made my education out dated and inaccurate. Learning is a life-long endeavor. endeavor. To compensate for the abbreviated nature of the time line we don’t try to hit everything out there, just a few of the the high points. In my class class we divide up geographical geographically ly.. Africa, Europe, Asia (India and China/Japan/Korea), China/Japan/Korea), Americas, and Australia/Oceania lia/Ocean ia are the basic areas. We can divide each area into smaller areas like North and South America, Northern and Southern Africa, Mediterranean and Northern Europe, Asia Minor, Eastern and Western Asia, Asia, and all of Southeast Asia including the Indonesian archipelago. Groups of 4 to 6 students seem optimal with my classes of 45 or so students 4 times a day. day. No shortage of bodies here. An introductory lesson at about third grade on the nature of a timeline and the chronological sequence of dates including things like BC and AD and BCE and CE and why this Christmas will be the 2009th one, theoretically, is a good way to start this lesson. Time sequence and chronology chronology are a little evasive to most third graders but you can get their attention by explaining that this is the year 2009 because it is the 2009th Christmas. A little discussion on the nature of “Calendar” is appropriate appropri ate and how dates get larger as they get older after the “Christian Era” and that there are other calendars used around the world like the Hebrew,, the Chinese, and the Arabic calendars. Hebrew Some mention of the Gregorian and Julian Calendars might also be a good idea. The speciics of 39
dating are not the important thing in this lesson as the accuracy of most dates is in some doubt. The idea of pushing back the horizon of the art world is the agenda. Try starting with the oldest art your research can discover and move forward to about 5000 years ago when the earliest forms of written language that we know know of were introduced. introduced. Of course the timeline doesn’t end there, but that becomes a historical lesson. This is is a prehistory lesson. Use the Internet. What a great library. library. We have several terminals in our art room and they are in nearly constant use on one project or another. another. I refer to my laptop as my portable library. library. The kids get it. Look for images of ancient art from all of these cultural and geographic areas because we want to make our own own version of these images. The best way to actually see an image of anything is to try to duplicate it in some art medium. medium. We are are in the process of building this timeline but it will take most of the school year, and we will rotate the project between all the age groups at our school. The bulk of the work will be done by 4th, 5th, and 6th graders, graders, but others will help. help. When the images are ready we will write a short didactic statement to be displayed with the images. The statement should include approx approximate imate dates, locations, when discovered by whom, a short written description of medium and proximity of the work, and what it might actually look like today. You may want to include some of the scientiic speculation as to the purpose and meaning of the images. When this is completed, the images images should be prominentl prominently y displayed in the classroom, adding new work as it is inished with the appropriate dates and in the appropriate position relative to the other works.
ing pottery, pottery, for the prehistoric record. There is a wealth of artifacts artifacts from all over over the world. It might be interesting to see when “pre-history” started in different different places. Prehistoric means, means, “Before there was a written record,” not before existence. For For example: There is no written lanlanguage in Hawaii. Hawaii. The Hawaiians Hawaiians occupied the islands about 300 AD. AD. The irst European to arrive in Hawaii was James Cook and his expedition on Feb. 14, 1778. That means for for about 1500 years, years, Hawaii was a prehistoric culture. These are the kind of illustraons we use in the “Prehistoric Art Timeline”.
by Savannah, 5th grade
Variations: Try music, music, dance, and drama drama timeline. Try geographically and culturally speciic timelines. Try medium speciic timelines (paint ing, sculpture, pottery). Extensions: A wonderful way to extend this lesson is to have students research and recreate three-dimensionall sculpture and artifacts, includthree-dimensiona
by Paige, 5th grade
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When to Start Teaching Art WHEN TO TEACH ART: I have heard it said by skilled and dedicated educators that art is a thing that cannot be taught because it is a gift that you are either born with or not. I believe that that they mean that children are hardwired to engage in personal expression through body language (dance), sounds (music), acting out (drama) and scribbling on the bathroom loor with a red red marker (visual (visual art). It is not that this cannot be taught; it is that the need to express ourselves this way is already in place. It is a biological imperative imperative that cannot be taught because it is already already there. there. It can be untaught, untaught, squelched, and degenerated, degenerated, but it is dificult to eradicate. There is always hiding deep within us “THE NEED.” It is skill, poignancy, astutene astuteness, ss, clarity, creative invention, technique, appreciation, observation, and inclusiveness in the arts that can and need to be taught. Let us not forget that TEACHING and LEARNING are not the same things. As a veteran of the Elementary Educational process, I have observed that at about the same time a child’s brain is through growing (not to be confused with learning or developing), about 9 years old, the child’s focus in life moves from the internal locus to the external locus. That is, they become more stimulated and motivated by social awareness and inhibited by social criticism. Because there is no more brain to be grown, it is the social animal animal that rears its its beautiful head. If at this transition in a child’s life, the child is ridi culed or strongly criticized about his or her art, the child will close down and frequently never pick up the gauntlet again. again. In my workshops workshops with Elementary teachers I have heard this story many
times by the teachers themselves. themselves. Many actually actually remember the name of the person who embarrassed or criticized them. It is frequently a third or fourth grade story. They then determined that they did not possess the “gift” in art. If we can get to the students before this crisis in their lives, we can arm them to persever persevere e through the critical time and not abandon their passion for artistic communication. Here are three strategies to help students withstand the negativ negative e external locus: 1. If someone says to you you about your drawing or painting, “That doesn’t look like a horse,” then an swer,, “Horse? swer “Horse ? You You got what I was trying to say. say. I was trying to say horse with this picture, and you got it so that makes makes me a successful artist. artist. Thank you very much.” 2. If someone says says about your your painting or sculpture, “That doesn’t look like a horse,” horse,” then answer,, “Horse? You thought I found a dead horse swer on the road on the way to school and skinned it and glued it to the paper? paper? No, no, no! This is just lines, shapes, values, colors, and textures that are supposed to remind you of a horse, and it obviously does. There is no horse here!” here!” 3. The third strategy strategy is easier than you can imagimagine. Learn to look at at a horse until you you can see a horse and then learn to render accurately what you see. If you can see it, you can draw draw it. All three of these strategies work and will keep you in the game. By the way, way, the gift in art is not “SKILL,” it is TENACITY and PERSEVERENC PERSEVERENCE. E. The only failure failure in art is to quit. If you start learning to make art when you are 5 years old, your 41
artwork looks like a beginner. It looks that way not because you are a child but because you are a beginner . If you start to learn about making art when you are 15, it looks like a beginner, and if you start at age 25, it will still look like a beginner. Most adults don’t want to make art that looks like a beginner so they don’t start.
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Why & How to Assess Art Elementary Level by Joseph Germaine Criteria Slips: Objective: Students will demonstrate demonstrate an an understanding of self-assessment by illing out a per sonal criteria slip on their inished work of art. State Core Links: State Core Standards and Ob jectives: Standard 2, (Perceiving) The student will analyze,, relect on, and apply the structures of art. analyze Rainbow Chart: Use the light yellow column, Analyze/Integrate, lyze/Integr ate, Compare, contrast, distinguish, examine and incorporate.
lesson is not a complete description of how the lesson is introduced introduced and modeled. This is just the assessment part but you will be able to see what the lesson expected. “WHAT DID I DO THIS SUMMER ? Name: Title: Date: o o o o
Materials: This can work work for any visual arts production assignment. assignment. All you need is is a quarter sheet of paper.
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Activity: The “Criteria Slip” can be printed ahead Activity: of time and passed out to students or copied off the board. The idea is to give students speciic criteria for determining if they are inished with the project and to evaluate their own performance. This can be applied applied to any any project.
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This is a criteria slip we used for a project we call, “What did I do this summer?” summer?” In this drawing drawing and painting lesson we focus on the igure action ges ture. This is a somewhat corny corny project and has been run into the ground by teachers for generations. However it is rather new for the students and it is about about the student. These are the two two important parts for a successful project: new and and about the student . Art is always personal. Notice also that the assignment is formed as a question that they are suppose supposed d to answer visually. visually. This
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1. Pen and ink. Black ballpoint. 2. Show an "Action Gesture" of the whole person. Something you you actually "DID"! 3. Use ive values of light and dark. 4. Use ive textures of rough and smooth. 5. Put yourself in a place by using a horizon line 6. Include four ways of showing near and far far.. (overlapping, (overla pping, size, detail, placement0 7. Use good coloring techniques: short strokes, same direction, slowly and carefully, cover the whole space, no blank paper showing through, don't rub your hand where you already colored. 8. Mix colors to make your own. Don't let Mr Mr.. Crayola Cray ola Brand tell what color the sky is.
COMMENTS:
This may seem like a lot of criteria but in this one 5th grade assignment we are reviewing the whole previous year’s curriculum in landscape and igure drawing and coloring coloring.. We don't always always list all the elements of each criterion. The class usually understands the verbiage since we have been using it since kindergart kindergarten. en. 43
Assessment: I am not not sure what what assessment tool we should use on a lesson about assessment tools. I suppose that if a student engages in the self-assessment process then he has achieved the objective.
stream Programs” Programs” and there some articles on Music. Let’s hook up folks. folks. Variations: The Criteria list list can be applied applied to younger students but keep it short and speciic. A good criterion for completion with kindergarten and irst grade is to have each student check to see if they have covered all the paper without any white paper showing through. Frequently with irst and second grade we use the criteria sheet to see if they have mixed colors to get their own color.. It can be this simple for older students such color as, “Did you you use complementary complementary colors?” The point is to focus on the learning objects of the project and see if students can recognize them and tell when they have achieved the objective. Will students try to fudge on it and just ill it out? Well of course! They are are human too. Make sure they know you will read and evaluate the sheet also. Remember that when you you are driving driving on the freeway the only time you think you actually have to go 65 is when you see a policeman. policeman. This seems to be an unfortunate part of the human condition.
Extensions : This approach Extensions: approach can also be used to have students ask speciic critical evaluation questions such as: Do you like it? Why? What does it mean? mean? How do you feel feel about it? Where did you get the idea? idea? What is the best part part of this artwork? If you do it again, how would would you change it?
Frequently we write the criteria on the board and Frequently students make their their own sheets. This is the criterion for a “Cartoon Storytelling” project.
Sources: There are are a lot of good sources sources for information on assessment assessment in the Fine Arts. Try the easy one irst. On the internet internet go to the Fine Arts Education-USOE site, under your teaching assignment appropriate appropriate heading go to General Resources. Here you will will ind a series of articles articles on severall subjects including assessment in severa severa severall areas of the Arts. Arts. I recommend the one one under “Assess Assessment ment for Learning” by Rick Stiggins. He includes some good assessment rubrics that are speciically directed to be used by students, teach ers, parents, and administrators. administrators. There is even an assessment rubric on how to assess assessment tools and a rubric on target areas to be assessed. There is another short article on this site by John Kuzmich, Jr., “Alternative Assessments for Main44
“Throwing Frisbee, Frisbee,”” by Spencer, 5th grade
This is Spencer’s Spencer ’s self-evaluaon of his artwork. By the way, way, it was framed and exhibited in the front hall gallery at our school.
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This is Jaxlyn’s self-portrait porolio cover cover..
This is Jaxlyn’s self-evaluaon of the poroli o cover project. By the way, way, we always store our rare and precious artwork in interesngly decorated porolios.
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Assessment Alternativ Alternatives: es: It actually consumes very little time and acts as a This is not in a lesson format because these are great closure to to a project. The irst time students students only some alternative assessment ideas for selfare required to think critically they will rebel; the assessment in the arts. arts. In the previous previous lesson we second time they will acquiesce, and the third have seen the “Criteria Slip,” a form of self-assess- time they will feel empowered. ment. Another form of self-assessment is to have have each student write a self-assessing criticism of his In my situation I am constrained to give Pass or her own work (or of others). I’m sure you have (P) or Fail (N) grades exclusively. This is not my all learned a critical model or two at some time choice, but it is doable. I grade on a quantitative quantitative qualitative e scale. That is, I in your education. education. I use a modiied one for young scale rather than a qualitativ students that looks like this: don’t give a scale of points for each project. Rath1. Description: with title and artist er, I give a full 10 points if the project is complete 2. What was your favorite thing about this (by the criteria criteria slip) by the due date. The phiartwork? losophy here is that the lessons are deep enough 3. What was your least favorite thing that some level of learning is inevitable, especially about this artwork? if they have have a “completion” “completion” checklist. My com4. What is this artwork about? What does puter puter,, the district, cuts off the passing grade at it mean? 64%, so basically everyone everyone passes. There is a % This is a fairly primitive approach to evaluation score accompanying accompanying the P or N so those who have and very subjective. subjective. It can be used with very completed all the projects projects will also get a 100%. I young students. Of course there are are more sophis- think of this as a quantitative quantitative scale. It seems to ticated critical models ava available ilable such as Stephen work. C. Pepper’s four-step model that includes: Mechanism, How do I feel about it?, Formism, What does Just in case none of these self-assessment ideas it look like?, Contextualism, Where did it come appeal to your style of teaching, try looking up from? (historical, social, political, spiritual) and the SUNY Fine Arts Arts Assessment Rubric. Rubric. It uses Organicism, How do the parts work work together? I a graduated grading scale of Exceeding, Meeting, Approaching and Not Meeting in the three areas of also recommend the work of Theodor Adorno, “Critical Models: Interventions and Catchwords, Catchwords,” ” Portfolio/Performance, Portfolio/P erformance, Craftsmanship and Inter(2005). This is a reworking reworking of his two semipretation/Analysis. pretation/An alysis. SUNY is the State University nal works, “Interventions: Nine Critical Models,” of New York. Google Geneseo campus website for (1963) and “Catchwor “Catchwords: ds: Critical Models II,” a full graph of the rubric. It is very workable workable and (1969). Both of these authors run to the philoI have used it in the past. The same rubric can can be sophical but then, “What causes beauty and what used for other subjects and this has the effect of do we do about it?” seems pretty philosophical to legitimizing the “Arts” curriculum. me. Another quick and functional self-assessment model is called the KQS KQS model. model. Students answer answer three questions about their work or the work of other students or the work of famous artists. 1. What is there in this artwork that I should KEEP doing? KEEP doing? 2. What is there in this artwork that I should QUIT QUIT doing? doing? 3. What is there in this artwork that I haven’t done that I should START doing? A form can be used for this evaluation evaluation but I usually just write KQS on the board and the students understand. It only takes takes a time or two two for them to get comfortable with self-assessment. 47
This is Parker’s pen and ink Comic Strip, 5th grade.
This is Parker’s Criteria Slip for his Comic Strip, 5th grade.
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Some Examples of Criteria Sheets for Speciic Assignments
WHAT DID I DO THIS SUMMER? Name: Title: Date:
1. 2. 3. 4. 5. 6. 7.
Pen and and ink. Black ballpoint. Show an "Action Gesture" of the whole person. Somethin Something g you you actually "DID"! Use ive values of light and dark. Use ive textures of rough rough and smooth smooth.. Put yourself in a place buy buy using a horizon line Include four ways of showing near and far. far. (overlapping, size, detail, detail , placement0 Use good coloring techniques: techniques: short strokes, same directio direction, n, slowly and carefully, cover the whole space, no blank paper showing through, don't rub your hand where you already colored. 8. Mix colors to make your your own. Don't let Mr. Mr. Crayola Brand tell what color the sky is.
COMMENTS:
PORTFOLIO COVER: Name: Title: Date:
1. Chose one of ive portrait views: front view, proile, ¾ up, ¾ down, or ¾ view. 2. Use "face mapping" proportions 3. Use at least 5 values of light and dark 4. Make a back ground 5. Create a design border 6. Make a nameplate with a border 7. Color is is optional optional 8. Glue it all together on the cover of the portfolio
COMMENTS:
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KQS: Name: Project: Title: Date: KEEP: QUIT: START: COMMENTS:
CRITICAL MODEL: Name: Date: DESCRIPTION: with title and artist:
What do you like about it?
What do you dislike about it?
What does it mean? (What is it about?):
Other Comments:
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Why & How to Teach from Art to to Writing Elementary Level by Vicki Gehring “Art helps us identify who we are”. – Beverly Satch Mangham Lessons based on the Elementary Poster sets Objective: Students will discover things about themselves and about how they are connected to the past by studying some reproductions of art and writing papers on a chosen topic. Materials: Choose one of the following posters from the Statewide Art Partnership Elementary Poster sets: Game of Marbles (UMFA set), Cyrus Dallin Sculptures, Richard’s Camp, Holiday ParkWeber Canyon, Immigrant Train-Away, Away to the Mountain Dell: The Valley of the Free (all others SMA set), writing paper, pencils or pens Lesson: Discuss the following: What is in the picture?
Cyrus E. Dallin, Sacajewea (1915) Springville Museum of Art
1. Is the subject of the picture depicting a historical event? What is that event, or what period of history is the picture portraying? portraying?
4. Ask the students to look at the picture carefully again, again, and see if they can notice other things in the picture. A. What kind of clothes are the people or person wearing? wearing? How is it different different from how we dress today? B. What are some other things in the picture that are different compared to how things are today?
2. Describe or tell about the historical event or period of history. 3. Tell the students the name of the picture and read the artist biography on the back of the print and the information about the artwork. Then ask them if this information helps them understand more about the picture. 51
5. Discuss the colors the artist has used and if the picture has a mood, if they can guess what time of day it is depicting,
2. Write a story about where the people in the picture came from. 3. Write a one page paper on what we can learn about history by looking at this painting.
6. Continue the discussion discussion about about the the picture picture until the students have explored it well enough to have a irm understanding of the time period, historical event, and the people portrayed in the picture. Project: Suggested writing topics: (choose the ones that correspond with the chosen print, and have the students choose one topic) Game of Marbles
4. Write a one page paper on why you would or wouldn’t have like to live in this camp. Immigrant Train-Away, Away to the Mountain Dell: The Valley of the Free
1. Write a one-page essay on why you would, or wouldn’t have liked to be a pioneer.
1. Write short story about what’s happening in this picture.
2. Write a one-page paper about a real pioneer in your family family,, or one you have learned about.
2. Write a compare and contrast paper about the lifestyle of the children in the picture and your lifestyle.
3. Write a paper on why you think the artist painted this picture and what he wanted people looking at it to see.
3. Write a story about the boy who who looks sad.
4. Make up a story about one of the people in the painting and tell things like where the person came from and some experiences he/she had as a pioneer.
4. Write an essay about what you like or don’t like about the painting and what kind of art you do like. (Be speciic)
Cyrus Dallin-sculptur Dallin-sculptures es 1. Write a one-page paper on the things about America that are important to you. 2. Write a one-page paper on why art, such as these sculptu sculptures, res, are an important way to keep in touch with the history of our country.
Assessment: Does the student’s writing show they have an understanding of the work of art? Are there references to the art in their writing either directly or by by inference? Does their writing conform to the topic they chose and is it complete? Can you as as the teacher tell that that the student has made a connection to the artwork? Assess whatever whatev er writing skills your students should be demonstrating.
3. Write a paper on why you think Cyrus Dallin thought it was an honor to come from Utah. 4. Write a one-page paper on what you like about Cyrus Dallin’s sculptures and why. Richard’s Camp, Holiday Park-Weber Canyon
1. Write a story about the people in the painting and what they are doing in this camp. 52
How to Use Art as Therapy Elementary –Secondary Level by Joanne Seal Abstractt Family Abstrac Family Portraits Portraits Objective: To allow children to visually express Objective: themselves in abstract (safe) and very personal ways. way s. “ Making Thought (and emotion) Visible” is the second section in a book by Betty Edwards, which I read a few years ago. The book describes the process by which children can draw and reveal what they perceive perceive is going on inside them. This process can also be cathartic. The activity assumes the following following ideas: 1, that all humans humans have subconscious “knowing” activity that the conscious mind may be unaware and 2, that there are archetypical archetypical meanings to shapes, shapes, colors, Activity: Drawing a family portrait without Activity: proximity and mark making, which we all share. people. The teacher will draw draw some simple simple geometric ( straight lines and corners and angles) “Family “Famil y portraits” can be decoded by adults and biomorphic shapes ( rounded forms) forms) on the using simple archetype concepts and by verbalboard and get the children to name as many as izing what is is seen in each picture. picture. Insights can they can. The students will begin to think of a be gained by child and adult facilitators by verbal shape or combination of shapes that represent “readings” of the picture portraits with the child. themselves, and then think of shapes that can represent their parents, parents, siblings, and and pets. After Activities that allow the subconscious to “speak” distribution of materials, students are told that can greatly help upset children deal with unthey can draw their family using only shapes and wanted changes and conditions in their lives or colors and marks. They begin begin with a one-inch one-inch validate peaceful and happy conditions. border all around the paper paper.. The border serves a twofold purpose: purpose: irst for identiication, identiication, and second, as a visual barrier. barrier. There is only one rule: they cannot draw faces or anything that can be Materials: Paper Paper,, white drawing, usually 9x12” recognized. Do not give give students any instruction and colored media such as as oil pastel sets, colored colored on color or shape symbolism. symbolism. Shape and color pencils, markers, markers, or crayons. crayons. It is important that application is is highly personal. personal. When students are are children have access to many colors…. 8 to 12 is inished, have have them ill out a quick assessment of best. their picture on a separate, small piece of paper and attach it to the back of the work. 53
Assessment: Possible questions for assessment. 1. Did you draw a border? 2. Are all the people people in your family represented with simple shapes? 3. Is anything recognizable? 4. Did you ill the whole piece of paper paper,, within the border? 5. Did you use a wide variety of colors ? 6. Did you include yourself? 7. Did you sign your name ? Pin up student pictures as they are completed on a wall, and when most of them are inished, gather the students around and begin the debriefing. Ask for volunteers volunteers to come up and talk about their family portraits. portraits. Most are willing to share share their families families with the other students. This assessment part could take more than one class to complete. Don’t let it go too long. It is not necessary to have all the children speak. Ask the following questions: 1. Ask: which shape is you? 2. Ask: which shapes shapes represent Mom and Dad? 3. Which shapes are are bothers and sisters and pets?
Decoding: A teacher can begin the process of decoding a child’s drawing drawing by asking simple ques tions ( above) and allowing the child to respond. The teacher next asks a few “why “ why “ questions. Patterns begin to immerge that are common to all the children ( archetypes). archetypes). The patterns fall fall into 4 categories: 1. shape choices 2. proximity 3. color choices 4. mark making 1. Shape choices: Squares and and triangles are usually representative representative of healthy masculine persons. They are are stable stable and and dependable. dependable. Rounded, biomorphic shapes are usually feminine shapes suggesting comfort and nourishment and life. Some shapes might relect both masculine and feminine parts, which is healthy and normal. Small shapes suggest less importance in family
structure and large shapes suggest power and importance. 2. Proximity: The child will usually put his shape in the center of the picture; therefore, at the center of the family family.. This is to to be expected. expected. The proximity or closeness of the other shapes around his shape accurately describe the level of closeness the child feels to members of his family and within the family. family. Usually there will be lines connecting family members, loose lines, tight heavy lines, or broken, broken, dotted lines. All the connecting lines “speak” loudly of the child’s perception of the ties within his family. family. If a family family member is estranged, the shape representing that person will be off in a corner….usually upper or lower left. Dead loved loved ones sometimes show up in in a drawing, and the shapes representing them often will also be be off, but usually in the upper or lower right corners. If the shape of a dead family member is in close proximity to the child, then it could mean the death is recent and the child is in the process of dealing dealing with it. If another shape is touching, or enguling the child’s shape, that could be indicative of too much or unwanted attention from someone, too protective, protective, etc. etc. Isolated shapes with no connections represent people who are isolated, from the child’s perception. Shapes that are below the child represent those who the child feels somewhat somewhat superior too. too. When the shapes are above the child, it means those are the persons the child looks up too, or that have power over over the child. Shapes on level level with the child are those that are that are on his level. 3. Color choices: Red and black are angry, hostile colors and some of the shapes may have an abundance of these colors. Red and black also represent evil and or pain. Healthy feminine feminine colors tend to be pastels of pink, blues, violets, yellows, and greens…the colors are soft and light. Healthy masculine colors are browns, blues and greens. Spiritual colors are light and mostly blues and yellows and white. white. Depressio Depression n colors are grey grey,, black, and dark blues. blues. Energetic colors are are orange, reds, reds, yellows…the warm warm colors. Calm, quiet colors are are the cool ones, blues, grays, greens and violets. If a little bit of red shows up in a few shapes, that can be considered normal, but an abundance 54
of red in any shape deinitely means anger and hostility hostili ty.. Red also can represent represent sexual feelings feelings or activity.
4. Mark making: The marks or lines children children make with their their colored tools also also “speak” about perceived emotions within the family family.. Fast, sharp, jagged lines with black and red are violent and angry marks. marks. If these marks go outside of the child’s shape lines or outside of a margin line then the person thus represent represented ed may be angry and hostile and possibly “out of control” at times. Lines that are smooth and regular and horizontal are calm.
Sources; “Drawing on the Artist Within” by Betty Edwards 1986, Simon and Shuster. Esp. E sp. chapters 5 – 10. Variations; Analog drawings using word prompts, Abstract self-portraits, handwriting exercises that focus on line quality. (“Drawing on the Artist Within” by Betty Edwards chapter 6, “Making Telling Marks and chapter 7,” Drawing out Insight”. Extensions: painting the analog drawings, the family portraits portraits or abstract abstract self- portraits, portraits, Assembledge constructs with found found objects. Fabri Fabricc scraps cut and stitched to represent family members or self.
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Why & How to Teach Aesthetics Upper Elementary–Sec Elementary–Secondary ondary Level by Elicia Gray
Painter or Pachyderm— Who Can Make Art? Objectives: Students will read puzzles dealing with forgery, forgery, child art, or animal art. Students will formulate opinions concerning forgery, child art, and animal art. Students will create original artworks based on criteria from their speciic puzzle Students will debate and defend opinions concerning forgery, forgery, child art, and animal art. Students will work as a team in order to formulate a solid defense. Students will read, comprehend, and answer key questions pertaining to forgery, child art, or animal art. Students will present their indings to the class in a group setting. State Core Links Standard 2: Students will ind meaning by analyz ing, criticizing, and evaluating evaluating works works of art. Standard 3: Students will create meaning in art. Standard 4: Students will ind meaning in works of art through settings and other modes of learning. Materials Four Aesthetic Puzzles, based on artistic creation,
Elephant painng hp://hearthunger.com/2008/01/
Postcard images that will be simple to “forge,” Large sheets of paper—one per team, Small sheets of paper—one per team, Oil pastels, Candy for rewards. Activity Activity 1. Divide students into into small groups. Each group group will be given the following items: One large piece of paper (for the artwork), One small piece of paper (to record ideas for a debate), A pile of oil pastels (to create the artwork), and an aesthetic puzzle based on forgery, forgery, child art, or animal art. 2. When students are situated, the teacher will ex57
an elephant at at the Phoenix Zoo. Students are asked to imagine that they are Ruby’s art dealer, and would like to sell some of the paintings Ruby has produced. Students must compose compose arguments that would defend Ruby and her artwork.
Extension: Have students create their own aesthetic puzzle. Aesthetic Puzzles (Excerpts from Puzzles P uzzles about Art, An Aesthetic Casebook and Deseret News)
3. When students understand understand the process process of “becoming” a character in a puzzle, they will be given a different different puzzle to discuss as a group. Students are given 15 minutes to complete the 2 tasks outlined in the puzzle. Task One: create an origioriginal artwork based on the criteria of the puzzle (on large sheet.) Task Two: students must th i s a s, f m o a d answer the questions provided in A ph s a a l r e g s ? o o k ? r An t order to create a powerful ar o t b y o h y p w a r a h ur a r t p e e gument for their case a k a a g o o h y o u t ph o t o o o (write answers on y p a a f u s t o I g r o o a small sheet) o m a ph a
f th e i s
4. When students have completed the tasks as outlined, they will explain their case to the class, present their artwork, and introduce their arguments. When each side has presented its stance, it will be given a few minutes to debate with an opponent. After both sides of the argument have been discussed, students will awar award d the strongest arguments with applause, and the teacher will reward them with candy. Assessment: Student dialogue during the discussion and group work will be carefully monitored. Students will hand in written responses to Task Two and artistic responses to Task Task One. They will be assessed according to a rubric that will include points for clarity of thought, persuasiv persuasive e arguments, and completion of the work assigned. Sources: Puzzles About Art, An Aesthetics Casebook by Margaret P. Battin, John Fisher, Ronald Moore and Anita Silvers Variations: Teachers may choose to have a class discussion rather that breaking students into small groups.
hp://en.wikipedia.org/wiki/File:Adams_The_ Tetons_and_the_Snake_River.jpg
Group One: Contemporary artist Sherrie Levine is well known for her photographic works. works. She is an “image appropriator,” because she photographs the work of other artists and changes it in some way to become her own. When studying the work of Edward Weston, Levine decided she would simply photograph Weston’s Weston’s photos and exhibit these photos as as her own. Levine’s photos were indistinguishable from those of Edward Weston. Weston. Who is truly the artist here? Can Sherrie Levine’s works be considered art? What should be worth more, the forgery or the original? Task 1. Create a simple forgery forgery of the postcard you have been given. You may use any medium available. Task 2. You are Sherrie Levine’s Lev ine’s agent. You must convince a series of prominent museums to purchase Levine’s photographs. How will you convince the museum that they must own these pieces? What are they worth? Why are they important?
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How should the company proceed? Should any replicas be made? Task 1. Create a simple forgery forgery of the postcard you have been given. You may use any medium available. Task 2. You You are the president of o f the small manufacturing company. company. You must decide how to proceed. Will you choose option one, two, or three, and a nd why? What impact will each of these choices make on the art world?
14.95 $ t s u j f or a f s i L a n o ly! wn M week on y o r u o y t i Ge t t. T h s r t a M l a t W a
Group Three “Rhythm of the Trees,” by Carly Johnson was one of the 150 paintings chosen from more than 1,000 works submitted for the show at the City Art Gallery.. The Manchester Academy of Fine arts chose lery this abstract watercolor to hang, unaware that it was painted by a 4-year old. Adcademy secretary Vera Vera Lowe said a buyer in Ireland bought the painting for $420 after seeing a photograph in a newspaper. hp://en.wikipedia.org/wiki/File:Mona_L hp://en. wikipedia.org/wiki/File:Mona_Lisa.jpg isa.jpg
Group Two Modern technology has made it possible to replicate paintings even down to molecular details. This means that an exact copy of virtually any painting could be produced. produ ced. A small small manufacturing company has decided to apply for a permit to produce replicas of the Mona Lisa and 10 other well-known works of art. They have three ways in which they can proceed. 1—create only one replica of each artwork. These replicas would be stored in an underground vault and only used if the original was destroyed unexpectedly.
Can children produce art? Would the painting have been more valuable if an adult had painted it? Who is the artist—the four year old, or her mother who wh o entered the piece? Task 1. Create a simple forgery forgery of the postcard you have been given. You may use any medium available. Task 2. You You are the president of o f the Manchester Manc hester Academy of Fine Arts. Arts. You must defend your choice to have Carly Johnson’s artwork included in the show.. How will you convince viewers and museum show staff that Carly Johnson’s work has value?
2—proceed to create 100 replicas of each artwork, selling them to major museums and private collectors world wide, or 3—produce unlimited replicas of the work, selling them in department store outlets for $14.95 each.
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H e e p l i m l m p r r o ov v e i n n t h e l i i v he vi i n e Z o n g c o oo — on o —b n d u d i b i t t i u i o on y n s a a n s r r ni t t i m ma b a l l s y s. t . D D o h h e z o e on n a oo a t o te e N o ow ! w !
A painng by the Chimpanz Chimpanzee, ee, Congo hp://en.wikipedia.org/wiki/File:Chimp hp://en. wikipedia.org/wiki/File:Chimpanzee_con anzee_congo_painng.jpg
Group Four The Chimpanzee Painter Betsy the Chimpanzee is given some paints and some paper; with them she creates various products, produc ts, some of which might be called paintings. Even if Betsy’ss works are not masterpieces, they are undeniBetsy’ un deniably interesting and appealing in their own way. Can animals create art? How does artist’s artist’s intent affect the value of this artwork? Task 1. Create a simple forgery forgery of the postcard you have been given. You may use any medium available. Task 2. You are Betsy’s best friend. You come to visit her at the zoo every weekend. You have noticed that Betsy’s home could use some updating, so you decide you would like to earn money to make a better space for her. her. You must convince the general public that they should buy Betsy’s artwork in order to improve her living conditions. How will you market her work? How will you convince people that Betsy is an artist?
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Why & How to Teach Art When You Don’t Have Time
Don’t think you have time to teach art? Try some of the following lessons, designed to be taught in 10-15 minutes. Not only will your students learn art, they’ll also get a refreshing change of pace as well as learn transfer transferable able skills that will improve their overall performance and reine the quality of their lives.
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Why & How to Teach That Art is a Kind of Thinking Elementary Level by Joseph Germaine Some Quick but Signiicant Lessons Hand, Chair, Self Portrait, Abstract Feelings Objective: Students will demonstrate demonstrate an an understanding of different ways ways to get the image in your mind before you start drawing by rendering (without speciic drawing instruction) an image from a live subject, from memory, from imagination and from emotional feelings. State Core Links: These lessons are naturally about the elements line and shape as well as about the principle proportion, but they also can be tied to other speciic elements and principles the class is studying. Materials: pencil, paper, paper, and insight Activity: This unit is made up of four different Activity: different short lessons on how to get the idea (mental image) to draw draw or paint or or sculpt in art. This same approach could also be applied to dance, music or drama. To conserve space and time we will include all four lessons in one, but you should break them up to it into your own curriculum schedule. Sometimes, in our busy schedule, there is a short window in which a quick drawing exercise can be inserted. These are quick lessons both in their introduction by the teacher and in their execution by the students. The four sources of images for artist that we will focus on are: 1) from lif e, e, 2) from memory, 3) from imagination and 4) from emotions or feelings. We will match the four sources of ideas with the four
James M. Rees, Posion permission of the arst
motifs available available in visual art: portrait, still life, landscape, and design. We deine design as lines, shapes, values, colors, and textures that don’t make a picture of something else. DRAWING FROM LIFE: (hand LIFE: (hand portrait) State Core: Standard 1(making) Objective 1 b. Observe objects in detail and portray them with greater accuracy. 63
Everything is OK , hand portrait by Kaizah, 5th grade
The irst is a kind of igure drawing. We will use a live nude model to practice “looking to see.” Our live model will be our own own hand. We do this as an exercise rather than an in-depth project. project . Tell the students to hold up their hand and create a gesture and then to “look at your hand until you
can see it. When you can can see your hand, hand, draw what you see.” Notice that we didn’t say, say, “draw your hand.” hand.” This is an exercise exercise in “looking to see” to develop the students’ abilities of observation, which are important skills in visual art. Without any other instruction, have students draw what they see. Suggest that students look carecarefully with their eyes to see with with their mind. Seeing means to understand. Most young students students will draw an outline of their hand that looks somewhat like a glove, so before you start, have students hold up their hands and see if there is a black line around their hand. There isn’t. Let each student invent his or her own solution to this problematic problematic conundrum. This is is a quick exercise that should not take more than about 15 minutes. When the drawings are inished, have students pair up to evaluate evaluate their drawings. drawings. Ask if their partners can see anything in the hand that was left out of the drawing. drawing. Give students a chance to make any any additions. Later we can take take our time and work on a inished work of art in drawing, charcoal, watercolor, paint, or clay sculpture that uses the live-m live-modeled odeled hand.
Which Way? hand hand portrait by Ma, 5th Grade
A Nice Place to Think , by Kaden, 5th Grade
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DRAWING FROM MEMORY: MEMORY: (chair (chair still life) State Core: Standard 1 (making) Objective 1 a. Differentiate between foreground, middle ground and background backgroun d in the production of artwork. Have students students think of their homes. Have them them think of a chair chair in their houses. Choose just one chair.. Remember how it looks. Remind students chair that a chair occupies space; this means that one side is closer to you than the other. other. Also remind students that the chair must be somewhere rather than just loating in space. Now have stu dents draw from memory a speciic chair. To put it in a place, all one has to do is put a horizon line
My Inner Brain Landscape imaginary landscape by Zac, 5th grade
DRAWING FROM IMAGINATION: (imaginary landscape) State Core: Standard 2 (perceivi (perceiving) ng) Objective 2 Create works of art using elements and principles. Have students think of a place they have never been. This could be a place they have have heard about but never seen in pictures or movies or on TV. This could be a place they have read about but not seen pictures of. of. This could be a place place they totally made up in their dreams, daydreams, or just in their mind, but have never actually actually seen.
An Old Folding Chair Chair from Church Church,, by Isaiah, 5th grade
behind it. it. Not under under it. Remind students that if an object occupies space it must also have shadows and cast shadows of some sort. Remember the shadows. When the chair chair is completed completed (just take a few minutes) have students team up and describe the chair to each other and tell the class where they remember the chair from. Let other students critique the work and give each student time to make make adjustments. Remember that if if you draw lightly, you can make lots of changes without erasing.
On the Moon imaginary landscape by Jake, 5th grade
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Science Land imaginary landscape by Carter, 5th grade
This should be an outdoor place so it will be a landscape. Without instructing instructing students in the elements of landscape and “near and far,” have students do a quick drawing of the place they imagine. When the drawing is inished have stu dents choose partners and tell the partner about the place they imagine. imagine. Give them a chance to change the drawing after they have talked about it. Did their imaginary imaginary place become become more clearly clearly imagined after talking about it?
Confused Abstract feelings by Maddie, 5th grade
The other way to do this exercise is to have students draw a picture of the only person in the world they can never look at. This would be themselves. By the way way,, this idea intrigues students. But it is true; we can can never look look at ourselves. We can see mirrors and pictures but neither is actually actually oneself. Therefore, the image we draw is of how we feel that we look. Give students about 15 minuets and then have them discuss their work with a neighbor.
DRAWING FROM EMOTIONS OR FEELINGS: (abFEELINGS: (abstract design) State Core: Standard 3 (expressing) Objective Objectiv e 1. b. Explore the meanings in nonrepresentational art. There are two separate exercises that can be done with the idea of drawing from a feeling. Notice that we do a lot of discussing and visiting The irst is to think of a feeling like excited, sur with friends and neighbors. Art is a social pheprised, curious, confused, tired, anxious, irritated, nomenon and should be carried on in the midst of pleased, gratiied, and so on, but not happy, sad, a dialogue. It might even even be a good description description of and mad. When you have have decided on a feeling, feeling, visual art, “A VISUAL DIALOGUE.” write it down and then use a pencil or a black pen to draw lines, shapes, values, and textures that Assessment: These projects are designed to remind you you of the feeling you you chose. This should be quick studies and exercises and should be be a composition design of the feeling not just one self- assessing. The discussion described described in each shape or one line. When inished, inished, let students exercise might might be the most important important part. If you show a partner how the separate parts of the dewant to grade these projects it should be “yes” or sign come together to represent a feeling. “no,” students either engaged or they didn’t. 66
Variations: Obviously other subject matter matter could be assigned or chosen and other mediums could be used, but the important thing is to learn about more than one source to get ideas in your head. Other variations can be to turn these lessons into longer, more inished exhibition-quality work. Extensions: These lessons are are designed to be quick and not labor intensive, but of course some students will push it further. further. I let them save this kind of project to work on between projects when they are waiting waiting for the next one. Notice that these are all done in value rendering because they are designed designed as drawing drawing lessons. They can be drawn with pencil or pen. To extend these lessons, lesson s, have have students apply color. Have students work in colored pencil or watercolor or colored ballpoint pens. Don’t overlook colored ballpoint pen as an interesting interesting medium. I am not recommending marker marker pens or crayon. crayon. These are dificult and awkward art mediums. That is the reason so few famous artists chose cray crayon on or marker pens pens as their medium of choice. There is a wonderful felt tip pen made by Prismacolor, but it is still dificult in these projects.
Shocked abstract abstract feelings by Kylee, 5th grade
Hypnozing abstract feelings by Connor, 5th grade
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Energec abstract feelings by Megan, 5th grade
Excited abstract abstract feelings by Jayden, 5th grade
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Why & How to Teach Blind Contour Drawing Elementary Level by Joseph Germaine Contour drawing with texture Objective: Students will demonstrate demonstrate an an understanding of blind contour drawing and texture ills by making a blind contour drawing of a class mate and then inding interesting shapes in it to ill in with invented textures. State Core Links: State Links: State Core: Standard 2 (perceiving) Objective Objective 2.a. Use contour lines to indicate the form of objects. Rainbow Chart, Chart, use the irst examples in the violet, blue, and green col umns for 5th grade. The irst examples in “Iden tify,, Experience” “Explore, Contextualize” “Build tify Skills, Practice” are all blind contour drawings. See also the 3rd grade Rainbow Chart, top of the violet, blue and green columns, lessons on inside and outside edges and contours. Materials: ball point pens and paper Sources: A must for all drawin d rawing g students: “The Natural Way To Draw,” Draw,” (1941 (1941 by Kimon Nicolaides or if you can’t ind it, try “Drawing On The Right Side Of The Brain,” by by Betty Edwards. Activity: This lesson is generally Activity: generally done in two parts. The contour drawing drawing is one one part and the texture ill is another. another. The blind contour is a fun and quick lesson that we do very often to ill in small gaps of time. Have students use a black ballpoint pen. Without looking at their paper, paper, have them draw the contours they can ind in their neighbor’s face. Contours are edges. They can be around the outside edge of the face or
Prole view of Mr. Germaine by Va, 5th grade
around the inside edges of the eyes, nose, and mouth, and edges can be found as wrinkles and folds and as the edge of shadows and highlights. There are always shadows on the human face even if they are hard to ind. Use your eyes to trace the contour edges and make your pen follow on paper, paper, what your eyes are are seeing. If you can see it, you can draw draw it. The easiest way way to improve your drawing skills is to improve your “seeing” skills. Make the drawing large. Fill the paper paper.. The second quick lesson here is to take the in ished contour drawing and ind interesting spaces to color in or ill in with textures. textures. There is an interesting charm about blind contours because one must let go of the need to control and just low with the process. process. As a result result these almost-cubist, almost-cubist, relaxed drawings have a wonderfully lyrical quality. By carefully thinking about the shapes one 69
has inadvertently made and illing them in with invented inven ted textures or color or both, the students will create very appealing inished products. I have found it to be one of my students’ favorite projects. Make sure they they give credit credit to their model by having having the name on the work. They should also sign their own name as the artist.
These are two very quick and easy projects that can be repeated many times without getting students rebelliously rebelliously bored. These projects can also be worked on while other class members are working on major projects because they take very little instruction and even less repeated instruction. Students will get good practice practice in learning learning to see what they are looking at and become intimately familiar familiar with the construction and features of the human human face. Let students go with this this one and be inventive. inventive. You might be surprised. Assessment: The reward or punishment in this project is the project project itself. The fun of doing it is the reward and the regret for not doing it is the punishment. By 5th grade, grade, students should be 70
¾ view of Emily by Jessica, 5th grade Prole/3/4 view of Dustyn by Spencer, 5th grade
quite adept at self-evaluation and since this is an often-repeated often-repeat ed project ,each student has a window of improvement available. Extensions: To change this lesson from blind contour drawing, drawing, let students look. Warn them that every time they take their eye off of the model they lose the low low of the line. The beauty of blind contours is the lyrical low of the “unobserved line.” line.” The “not so blind contour drawing” takes the pressure off but helps students avoid focusing on the line they are drawing rather rather than focusing on the line in their model that they are observing and trying to identify and understand. Extend this project by having students not do a frontal face contour. contour. Try proile, ¾ view, view, and looking up and looking down.
far end of the ruler so they cannot exercise any control. The lines will immediately immediately become more more luid and evocative.
Variations: The blind contour contour can be done with other models than the human human face. Have students tape down their paper and do a blind contour of their other hand. Try having having students do quick blind contours of the objects on their desk or of a prepared still life. Variations of this project can be done in black and white or complementary colors or textures. textures. This project can can also be done in timed (5 or 2 or 1 minute) quarter-page windows. We call the quarter-page windows, “thinking spaces.” Another way to use the blind contour exercise is to photocopy an interesting blind contour and then print it four times on a single sheet and each drawin d rawing g can be decorated differAnother extension to this lesson is to have stuently. This can be somewhat reminiscent reminisce nt of Andy dents tape a ruler to the end of a sharpie or Warhol’s War hol’s “four image” pop art. Also try printing marker pen and then to do a quick contour draw- on watercolor paper and have students use difing while standing standing up. This whole effort is to get ferent color theory schemes to paint the works. students to loosen up. Have students hold the Possible color schemes could be warm colors, 71
cool colors, neutral colors, primary or secondary or intermediate colors, complementary colors, monochromatic colors, or analogous analogous colors. Look up wikipedia.com “color theory.”
¾ view of Mr Mr.. Germain Germaine e by Tanner, 5th grade
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Why & How to Teach Hand Design Elementary Level by Joseph Germaine Objective: Students will demonstrate demonstrate an an understanding of fore ground and back ground (interior and exterior) by tracing an image of their hand and decoration the interior of the hand. State Core Links: 5th grade Rainbow Chart: Elements of Art, page 4, Implied Texture, Texture, also Unity on page 2. 3rd grade Rainbow Rainbow Chart: Chart: Elements of Art, page 1 Contour line, Line design, Organic line, Structural line and Repetition. Also in the Blue column page 1 (Explore and contextualize), create line designs showing overlapping, overlapping, depth and proportion. Materials: Ballpoint pens, pens, paper and hands. Sources: Use a number of cultural design books for ideas. Activity: This is designed to Activity: to be a iller lesson for students who inish other projects quickly. quickly. Have students trace around their hand and arm on a piece of paper using a black ballpoint pen. Make sure they are not just tracing an unattached hand loating in the middle of the paper paper.. Help students ind an interesting gesture for the hand and an interesting place place for the arm arm and hand. Students should slow down and take a whole 5 seconds to trace their hand. hand. If students are not reminded they will rapidly trace a loose contour of their hand that ends up looking like ive hot dogs at tached to a hamburger. hamburger. They will do the hand symbol rather rather that a hand. Let the arm run off the paper.. A border is optional. paper
After getting the hand and arm on the page, it is time to decorate decorate the interior of the the hand form. I use colored ballpoint pens, red, blue, and black. Show students that a red circle drawn on white paper is actually a white circle unless you color it in. A line around around a shape does not color the shape, so students must take the time to color in the shapes and designs. We deine design as: Lines, Shapes, Values, Colors, and Textures that don’t make a picture of something else. This is supposed to be a quick lesson to it in-be tween longer, longer, more aggressive lessons. Some students will spend a millisecond on this project and want to do something else. This is a good project project for that because it is easy to ind something else for the student to do. I tell them, “If you you ask me if you are inished, that is the evidence that you are not, and I will always ind something else for you to do. If your artwork is truly inished then you will know it.”
Extensions: Try using more than one hand tracing. Maybe have students use a neighbor’s hand and each of the students decorates one hand. Maybe they they could use more than than two hands. Use a highly decorated border, or put a geometric shape like a circle or square around and behind the hand. This is a good lesson for very young students to learn about overlapping. Variations: Have students choose a cultural tradition in design. I recommend Oceania Oceania (try inding Fijian designs), African, Native American, Australian Australia n Aborigines, Celtic, and Arabic traditional designs. There are many many,, many sources online and a lot of inexpensiv inexpensive e paperback books. Try the ones with the CD-Rom to print out cop73
ies for students to work from. You can also have have students decorate their hand using speciic stylis tic design motifs such as Art Nouveau, Art Deco, Pointillism or artists such as Joan Miro, Paul Klee, Gustav Klimt, Henri Matisse, or Jackson Pollock.
“Celc Knot” hand design by Grace, 5th grade
“Itchy Nails” hand design by Bronson 4th grade
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Secondary Version: As Version: As the following examples show, show, a similar lesson can be done by students of any age. teacher,, Lisa Mills. These three drawings are by students from the Gospel High School, Suva, Fiji; teacher ©Honeybee Creaons
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Why & How to Teach Monogram Elementary Level by Joseph Germaine Objective: Students will demonstrate an understanding of “Unity” in composition and design by creating a well-composed design using their initials or the letters of their name. Materials: Pencil, pen, paper, paper, and a name Activity: Show students some examples of Activity: of Monogram by famous artists and former students. Have students do four fast designs, one with one letter,, one with initials of their whole name, one letter with all the letters of their name, and one with a pattern made up a single letter or initials or whole name. This is the lesson. We call it a thinking thinking lesson or an exercise. exercise. It seldom takes more more than 15 minutes for everyone to get the four ideas quickly and loosely drawn. drawn. It is also ok to limit students to 15 minuets by by the clock. For some students the time limitation causes mental stasis and anxiety while for other students an open-ended project encourages lack of focus. Make adjustments. adjustments.
Albrecht Durer’s Monogram, from Young Hare hp://upload.wikimedia.org/wikipedia/ commons/f/f4/Durer_Young_Hare.jpg
Extensions: After students have have created created an idea of a monogram, you can extend this lesson and have the students complete a inished monogram project. Try using it it for the cover of their portfolio. A Monogram Monogram is a kind of abstract self-porself-portrait.
Assessment: Have students pick the best one of their ideas and present it to their work group or to the class. Students can explain explain their idea and why they like it. For teacher assessment, assess this on four-part scale. Give credit for as many ideas that get recorded out of the four basic concepts. Remember there there is another side to to the paper ,and students may invent completely different ways of creating monograms. Give them the room and the credit.
Monogram by Va, 5th grade
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Variations: Students can create monograms (one design) out of a word or words. words. Try designing a monogram of the word “monogram” or “design” or “art.”
Monogram by Ma, 5th grade.
Somemes the monogram can be very elaborate. Becca, 5th grade
Somemes the monogram can be simple with one leer. Paige, 5th grade.
Somemes a monogram can be of the whole word. This is the poster we use when we do our monogram exhibion.
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Why & How to Teach Value Landscapes Elementary Level by Joseph Germaine Objective: Students will demonstrate demonstrate an an understanding of the overlapping nature of the outdoor scenic landscapes by producing a generic landscape with at least 4 overlapping geographic geographic features. State Core: Third grade Rainbow Chart: page 2 Elements of Art, Texture and page 1 Elements of Art, Contour line, Line design, des ign, Organic line, Structural line, and Repetition Repetition line. 5th grade Rainbow Rainbow Chart: page 5 Elements of Art, Implied Textures Textures and page 4 Elements of Art, Value (shading) using pen & ink techniques. Materials: Use either black black ballpoint ballpoint pens or black medium-tip felt pens. Textured Landscapes With Pen Sources: “Creating Textured and Ink,” by Claudia Nice; “ Andrea Cochran: Landscapes,” by by Mary Myers; “ Landscape Meditations,” by Elizabeth Mowry; Any and or all landscape photographs from old calendars.
Gary E. Smith, Point of the Mountain (1973) Springville Museum of Art
Deserts, Mountains, Plains, or Sea Shores. Of course there are many others to choose. Students should then draw the silhouette of the landscape features such as ridgelines, mountain proiles, rolling hills, and rocky outcroppings. Students should then choose a value and a texture to ill in the shape of the feature. Notice we are not asking for any detail, just the overlap overlapping ping landscape features. Textures can include parallel lines of various qualities and any other textural device the student can invent.
Activity: Have a folder of photographic land Activity: scapes (from calendars) calendars) at each workstation. workstation. Edit the photos ahead of time to see that they have the overlapping overlap ping features this project requires. Students should look through these images briely to Assessment: Criteria for completion: four recedsee how the landscape falls away away into the distance ing landscape features, four different texture solutions, four different values of light and dark, and visually by using the technique of overlapping spaces. Collect the photo images images so students have have illing the whole space. to work from memory and imagination imagination.. To help Extensions: This project could be preceded with students in their thinking suggest at least four a short lesson on inventing textures or illing out habitats to choose from. Habitats might might include 79
value scales. After this project project is complete, color can be added with colored pencils or watercolor. Some good lessons on color theory could work here. Variations: This project could be done with still life objects or simple abstract shapes. The following four images are handouts I use to get students thinking, not to copy.
These are teacher-produced examples. It is always good to do the project with your students and to show them what you are doing.
These are examples of textures that create dierent values.
Remember that texture is about rough and smooth. No texture is the ulmate smooth texture and no value is the ulmate light value. These examples were done with Sharpie felt p pens.
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These examples are from a project called “Invent a Texture.”
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Drawing below, Islands value Islands value landscape by Nathan, 5th grade
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More student examples:
Sunrise value Sunrise value landscape by Tanya, 3rd grade.
The Wasatch Mountains value Mountains value landscape by Nick, 5th grade.
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Why & How to Teach Art History Art History Spotlights
“We should be as eager for its [art’s] companion ship as we are eager for chairs to sit upon or for food to sustain our lives, for it has as important a mission in shaping our character and in conducing to our happiness as anything that we term necessities.” necess ities.” —John Hafen
Art History Spotlights: Spotlights: The The idea for these lessons came from a request for some art lessons that could be done in short time segments. The lesson materials contain information about the artist and the artist’s artworks, copies of pho tographs that relate to the artist, and images of each of the artist’s artworks. The idea is that the teacher makes a brief presentation about the artist, then class or each student writes a summary of important/interesting important/interesting facts about the artist, and then the materials are used to create a bulletin board. Even though the initial presentation is brief, the summary and visual images will serve to remind the students over the time the bulletin board is left up. The teacher can also review parts of the information with the class over the next few days. Using this process, teachers can help students develop a store of knowledge about individual artists and about art in general. A suggestion for a simple (but optional) production assignment is included for each artist. Objectives: Students will learn about important Objectives: Students Utah artists through short presentations, information on bulletin boards, and by writing a class or individual summary of the facts. Optional Objective: Students Objective: Students will increase their understanding of a Utah artist by creating an artwork that relates to the artist’s own work.
Lee Bennion in her studio photograph photogra ph used by permission
Literacy: Students will practice summarizing and Literacy: Students writing complete sentences. (You may add whatever additional writing skills the class is presently working on.) Utah State Visual Arts Rainbow chart: Use speciic objectives from the Analyze & Integrate section (yellow) for the art history sections. The art production can be targeted at any speciic ele ment or principle section (white).
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Materials: Information on one of the listed artists (The poster backs for the 4 artists are included at the end of the lesson. A few additional bits are included in the lesson sections. A poster or reproduction of 1 or more artworks by the artist (all the artists are included in the SMA Elementary Poster Set) Images from the CD about that artist Large piece of writing paper, or individual pieces for each student and pencils Anything else that will help create an interesting bulletin board display Artists: Lee Udall Bennion, Snow Queen: Portrait of Adah Cyrus E. Dallin, Paul Revere, Portrait of John Hancock, Dallin w/ Massasoit, Sacajawea Louise Farnsworth, Capitol from North Salt Lake John Hafen, The Mountain Stream A variety of images are included for each artist: choose whichever ones you think will be most interesting to your students. Lee Udall Bennion Images: Lee Bennion Photograp Photograph h Lee and Joe Bennion Rafting Artworks: First Love Horses Joe at his wheel Self at 51 Self in Studio Sketch of a Boy Snow Queen
Additional Info: Loves riding horses—currently has two Goes rafting with her husband and daughters Paints mostly people but also animals and some landscapes Has an Expressionist style Paints people and things she cares about
Art Production: Production: Make Make a portrait of someone you care about, which expresses something about the person.
Cyrus E. Dallin Images --young Cyrus E. Dallin -Side view photo of Cyrus E. Dallin -Lee Greene Richards’ oil sketch of Dallin -Lee Greene Richards’ Portrait of Dallin Cyrus E. Dallin Elementary School A very large photo of the Cyrus E. Dallin Museum is available at http://www.panoramio.com/photo/3074928 Dallin’s Artworks: Appeal to the Great Spirit John Hancock Massasoit Dallin with Massasoit The Statue of Moroni Paul Revere two versions) Sacajewea Olympic Bowman League, National Archery Association
Additional interesting information: Cyrus Dallin has an elementary school named after him. Dallin has his own museum in addition to lots of public monuments and many works owned by the Springville Musuem of Art At the 1904 Summer Olympics in St. Louis, Missouri, Dallin competed in archery, winning the 84
bronze medal in the team competition. He inished ninth in the Double American round and 12th in the Double York round.
Art Production: Production: Make Make a clay sculpture of an animal or a person’s head
Louise Richards Farnsworth Photograph Lee Greene Richards’ (her cousin) painting of her Artworks: Capitol From North Salt Lake Hay Stacks Mountain Landscape Springtime Storm Clouds in the Tetons
Images of artworks: Indian Summer Hollyhocks Springville, My Mountain Home Sketch of the Valley Springville Pasture Charles Smith’s portrait of Hafen Mahonri Young’s portrait of Hafen Art Production: Production: Make Make a painting of a place you love using paint, colored pencils, or crayons.
Art Production: Make a landscape using complementary colors
John Hafen Images: Photograph Photograp h of John and Thora Hafen John Hafen in his painting studio John Hafen painting in a ield John Hafen postcard Hafen Quote
Assessment: For younger younger students, assess the overall overa ll understanding and learning of the class about the individual artists by asking who, what, and when questions as well as questions about the students’ reactions to the information and to the artworks. You may wish to choose a few art terms to learn for each artist such as oil painting, pastel, sketch, etc. as well as terms such as Impressionist, Expressionist. When most or all of the class seems to understand at an appropriate level, level, move on to another artist. 85
If you wish to use more speciic assessments, see the lesson on assessing art in this packet.
If you choose to complete the art production part of the lessons, set up criteria as shown in the lesle sson on assessing art.
Poster Backs for the four artists
Lee’s commitment to family is relected in the subject matter of many many of her paintings. Her husband Joe believes the objects Lee sees with her eyes are “transferred as visual information through the conduit of her soul.” Lee Bennion’s distinctive distinctiv e style, with its pensive, elongated igures, is not so much portraitur portraiture e as her own special harmony between subject, emotional atmosphere, atmosphe re, and viewer. She says of her work, work, Although I primarily paint the igure, portraiture portraitur e is not my main concern. My painting deals with form, color, and feelings foremost. Often a likeness likeness of my model is also found in my paintings, and I enjoy this when it happens. My igures are are often slightly distorted, never quite perfect, but hopefully still relect the warmth and goodness that I feel exists within them. I am most pleased when these feelings reach the viewer, and some kind of dialogue occurs that goes beyond the recognition of the subject.
The Artist Lee Udall Bennion (1956- ) Spring City, City, Utah Born March 17, 1956, in Merced California, California, Lee Bennion moved Bennion moved to Utah in 1974 to study art at Brigham Young Young University. In 1976, she married ceramicist Joseph Bennion and moved to the rural setting of Spring City in Sanpete County, Utah. Today she has three daughters and is energetically involved in both church and community activities in the family-oriented life of Spring City. In 1983, Lee returned to Brigham Young University Univ ersity where she earned a Master of Fine Arts in painting. painting. She has received received numerous honors and awards from the Art Community, is a frequent participantt in presentations and workshops participan for artists and educators, and has been the featured subject of several articles in national art publications, including Southwest Art .
LEE UDAL UDALL L BENNION (1956- ) Spring City Snow Queen: Portrait of Adah Adah 1992 oil on canvas, 48" x 36" (121.9 x 91.4 cm) Gift from Eric Laurentsen, Laurentsen, Arizona 1995.061 The Art Redheaded Adah Bennion, the youngest of three children of Joseph and Lee Bennion of Spring City, City, 86
is often the subject of her mother’s paintings. This picture depicts the six year old in her pajamas standing in a window casement, with cutout paper snowlakes snowlakes on the glass glass panes. In her left hand, Adah holds a troll doll, her hand covering coverin g its face. All the viewer sees sees is the doll’s legs and bright red-orange hair. Typical of Lee Bennion’s work is the composition which concentrates upon the essential components–in this case, the window and igure. Another feature of Bennion’s work is the elongated igure, whose position she arrange arrangess to create an effective effective design. In this oil painting we we see Adah gazing impishly at the viewer, while her pink-stockinged pink -stockinged foot is wedged on the side of the window casing.
Although a bright, engaging portrait of her daughter, this painting, like Bennion’s other work, has layers of meaning meaning and references. references. There is a visual play on words in the paper snowlakes on the inside of the window and the real snowlakes outside. The troll doll is a reference reference to time and a tie to Lee’s own childhood, when the dolls were irst popular. popular. Bennion also says that at the time of the painting, when Adah was young, Lee’s life primarily revolved around her family and home, and she was inside much of the time. time. Thus, subconsciously,, she painted the interior scene to subconsciously represent her life, and the window to represent the future changes and possibilities. As with most of Lee’s work, Snow Queen’s subject looks out at the viewer with an unusually direct gaze, not only conveying Adah’s personality, but also allowing Lee, as the painter, to engage the viewer through that gaze.
Cyrus E. Dallin Paul Revere, Portrait of John Hancock , Massasoit , and Sacajawea
The Artist – Cyrus E. Dallin (1861 -1944) Springville, Utah A Romantic-R Romantic-Realist, ealist, Cyrus Cyrus Dallin was Dallin was born in Springville, Utah, in 1861. Two circumstances of his early life in the western wilderness profoundly inluenced him; the proximity of the log cabin where he was born to the lofty Wasatch Mountains and his familiarity with the Indians in their native native haunts. The irst awakened awakened and fostered in him a love for the magniicence of form; the second furnished him with an unfailing source of material for his creative work. At the age of 18, Dallin traveled to Boston to begin his art studies. In 1888, he went to to Paris, where where he remained until 1890, studying at the Ecole des Beaux Arts and at the Académie Julian under Henri Chapu. In 1890, Dallin returned returned to America and moved moved to Massachusetts. He remained in in the East for the rest of his life, returning to Utah only for short visits. In 1883, Dallin began work on a model of a statue of Paul Revere which he submitted to a competition for a commission to produce a monumental statue of Paul Revere, Revere, for downtown Boston. Though Dallin Dallin won the competition, he had to create ive different models before 87
the Commission approved the inal version in 1899. It took another 40 years to get the bronze monument erected on the Paul Revere Revere Mall near Old North Church.
bronze, 37" x 32-5/8" x 18-1/8" (94 x 83.8 x 46 cm) Gift from Utah American Revolution Bicentennial Comm. 1976.002
Native Americans provided the subject matter for Native many of Cyrus Dallin’s statues such as Massasoit (1920) and Sacajawea (1915). He also is well known for his portrait statues such as Portrait of John Hancock (1896). (1896).
Portrait of John Hancock 1896 bronze, 32-3/4" x 13-1/8" x 9-1/2" (83.4 x 33.2 x 24.0 cm) Gift from Utah American Revolution Bicentennial Comm. 1976.003
Cyrus Dallin received many medals and honors both in America and in Europe. Europe. Among his many awards awar ds are a gold medal from the American Art Association of New York in 1888, a irst class medal in 1903 from the Chicago Exposition, and a gold medal in 1904 at the St. Louis Exposition. In 1909 he receiv received ed a gold medal from the Paris Salon, an honor, which until then, had been conferred on only six American sculptors.
Photo of Cyrus E. Dallin with Massasoit 1920 bronze 9-1/2 ‘ high Sacajawea 1915 bronze, 36-3/4" x 11-1/2" x 22" (93.4 x 29.1 x 55.0 cm) Gift from the 1941 Springville Seventh Grade, Grade, by exchange 1995.009
In 1943, at the age of 82, Dallin died at his home in Arlington Arlington Heights, Massachusetts. Massachusetts. The sculptor is often remembered for the words he spoke on his inal trip west in 1942, “I have received two college degrees . . . besides medals galore, but my greatest honor of all is that I came from Utah.”
Cyrus E. Dallin usually sculpted two types of subjects: “Epic of the Indian” and “Patriotic “Patriotic Heros.”” The four statues depicted in this poster Heros. poster show two of each kind. Dallin’s ability to portray horse and rider is displayed at its best in his piece Paul Revere (1899). Here Dallin Dallin shows shows the silversmith from Boston riding at breakneck speed to warn his countrymen that the “British are coming!” In Portrait of John Hancock (1896), the irst signer of the Declarat Declaration ion of Independ Independence, ence, the igure is depicted standing with a crow-quill pen in one hand and the Declaratio Declaration n in the other. other. The artist has represented Hancock as a valiant leader at the very moment of signing one of the world’s most famous documents.
The Art CYRUS EDWIN DALLIN (1861-1944) Springville Paul Revere 1899
In the photo of Massasoit (1920), the artist can be seen sculpting the clay model for this famous statue, which was cast in bronze and placed near Plymouth Rock Rock in Massachusetts. Massachusetts. Massasoit was a Native American who befriended the Pilgrim settlers upon their arrival in the New World. Unlike painted portraits, where the subject is almost never larger than life, in outdoor monuments, sculpture is necessarily heroic in scale. 88
Dallin’s Sacajawea (1915) nobly depicts the Native Nativ e American guide of the Lewis and Clark Expedition, pointing the direction they should go. She is seen both as a brave brave and strong leader leader of her people and as a mother. Sacajawea carries her child, Pomp, in a cradleboar cradleboard d on her back. The tender baby’s chubby cheeks sag as he sleeps, adding a sense of realism to an otherwise idealized representa representation. tion.
native state, she met with less than overwhelming native overwhelming appreciation. appreciati on. One of the possible reasons for this negative reception is that in Utah and much of the United States, art was generally viewed as a man’s territory. It was quite uncommon for a woman from Utah to study art at all, let alone for her to travel to Paris to do so. Additionally, Farnsworth took a non-traditional approach to painting. She portrayed Utah landscapes in a passionate, bright, and expressionistic way way gleaned from her studies in Paris. This unique approach approach was a surprise surprise to many of her fellow Utahns. Farnsworth never put on a major exhibition in Utah, nor did she associate with any other Utah artists with the exception of her cousin, Lee Greene Richards. Richards. She found more acceptance acceptance in New York, where she put on her irst solo exhibition in 1934 at the Montross Gallery, with a second solo exhibition following at the same gallery in 1938.
Louise Richards Farnsworth, Capitol from North Salt Lake
Louise Farnsworth Farnsworth died in 1969, an expatriate of her native state but a pioneer in color and style .
The Artist Louise Richards Farnsworth (1878-1969) Salt Lake City, Utah Utah native Louise R. Farnsworth was Farnsworth was born in 1878 to Joseph and and Louise Richards. She grew up in Salt Lake City, Utah, but received much of her artistic training in Paris and at the Art Student’s League in New York. Her cousin, Utah artist Lee Greene Richards, also greatly inluenced Farnsworth’s artistic development through his use of bright color and loose, free application of paint. A Figurative-Expressionist, Farnsworth’s own investigation investig ation of brilliant, fauvist color brought her signiicant success in Paris, where her work was admitted into the Paris Salon. This honor, honor, while prestigious in the International Art World, did not assure her success in Utah. In fact, in her
LOUISE RICHARDS FARNSWORTH (1878-1969) SLC Capitol from North Salt Lake Lake 1935 oil on canvas, 15" x 22" (38.3 x 56.1 cm) Gift from Lund-Wassm Lund-Wassmer er Collection 1986.134 The Art Farnsworth was a cousin and pupil of the noted landscape and portrait painter, Lee Greene 89
Richards, of Salt Lake City. Farnsworth and Mabel Frazer were Utah’s irst female Modern artists. Having studied both in New York York and Paris, Farnsworth developed a ‘fauvist’ approach: pure, bold colors, combined with simple handling, which resulted in rough brushstrokes, thick outlines, and a loose application of paint. These characteristics characteri stics establish her as a Modern artist. The raw color of her vivid landscapes is applied in aggresive aggresiv e but rhythmic brushstrokes, which lend themselves to an expressionistic focus on emotion and a depiction of the landscape of her inner self. Capitol from North Salt Lake demonstrates Lake demonstrates the artist’s tendency to utilize two sets of complimentary colors, blue with orange and violet with yellow. We see the capitol building and Salt Lake skyline in silhouette against a foreground foregroun d of industrial buildings, rail yards, and smokestacks, with the Wasatch Mountains as background. Togethe ogetherr they form a powerful image that deies the small size of the picture itself.
John Hafen The Mountain Stream The Artist – John C. Hafen (1856–1910 (1856–1910)) Springville Utah/ Indiana John Hafen was born in 1856 in Scherzingen, Switzerland. Switzerlan d. His family, family, converts to the LDS faith, came to the United States when Hafen was six
years old, determined to join the “Saints” in Utah. On the way, they spent 12 days in Winter Quarters, Nebraska, and Hafen’s two-year-old brother died there. They made the rest rest of the journey by by ox team. After reaching reaching Utah, the Hafens Hafens settled irst in Payson and then after two other moves, established themselves in Salt Lake City in 1868. John was very interested in art from a young age and became one of the youngest and earliest students at the “Twent “Twentieth ieth Ward Academy” or “Seminary,” in Salt Lake City, a school that included drawing drawing instruction in its lessons. During the next ten years, Hafen was taught by George Ottinger and Dan Weggeland, two early Utah artists who not only became friends with the young Hafen, but also encouraged him to seek traditional training outside Utah. In 1881, a group of young artists, including Hafen, founded the Utah Art Association, which later became the Utah Art Art Institute. The Association’s Association’s purpose was to produce exhibitions and provide art instruction. The initial exhibit exhibit was the irst time artists in Utah had organized and directed their own show. show. Over the next nine years, Hafen continued to paint and draw and exhibit when possible, including at George A. Meears’ Sample Room—he was a whisky wholesaler—where space was available for local artists to display their work, free of charge. In 1890, Hafen helped convince LDS church authorities to sponsor the “French Art Mission,” Mission,” an opportunity to study at the Académie Julian in Paris. The trip also was made made possible for several several other young Utah artists—J. B. Fairbanks, Lorus Pratt, and Edwin Edwin Evans. The artists’ studies in France Fran ce were subsidized by the LDS church so the artists could improve their skills and paint murals and paintings in the LDS temples upon their return to Utah. Hafen’s studies in Paris had a vital impact on his work; like many other young artists of the time, he switched his interest from academic studio work to landscape landscape painting from nature. nature. Espousing his new view, Hafen wrote, “Cease to look for mechanical effect or minute inish, for individual
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leaves, blades of grass, or aped imitation of things, but look for smell, for soul, for feeling, for the beautiful in line and color.” Back in Utah by 1892, Hafen began work on the murals for the Salt Lake Temple. Temple. Although Hafen did the most work, Pratt, Fairbanks, Evans, and Dan Weggeland all contributed their Paris-honed skills. The next year, the Society of Utah Artists was reestablished with Hafen serving as vice president. The society’s exhibits were well received, with many people willing willing to pay the entrance entrance fees. Although Hafen’s paintings from the middle 1890s to about 1907 are now considered “masterpieces of Utah art,” he wasn’t able to support his fastgrowing family family on what he made from his work. Consequently,, he held various jobs and at times Consequently received receiv ed support from the Church in exchang exchange e for paintings and drawings, which now make up the impressive Hafen collection at the Museum of Church History and Art in Salt Lake City. Hafen taught at the Brigham Young Academy and eventually eventuall y settled in Springville with his wife and ten children. Originally, the family lived lived with the Myron Crandall Jr. family because the Hafens couldn’t afford to pay rent. Later Later,, Hafen traded a painting for a hilly section of Cranda Crandall’s ll’s land. Alberto O. Treganza, Treganza, a close friend of the Hafens, designed their home in the Swiss chalet style. The building was paid for by sales of paintings and the bartering of paintings to a local doctor who traded the paintings for work his destitute patients did on the Hafen home. To cover one bare cement wall, Hafen painted a mural of hollyhocks and attached it to the wall. After Hafen’s death, the canvas was removed, mounted, and framed and is now owned by the Springville Museum of Art. The Hafen home in Springville still still stands today. While in Springville, his interest in art education e ducation led Hafen to donate this painting, The Mountain Stream, to the Springville High School and to encourage other artists (including his friend, Cyrus Dallin) to donate donate artwork. artwork. This art collection grew and eventually necessitated a building to
house and display the art: the collection became the Springville Museum of Art. Although Hafen made frequent painting and selling trips across the country, he lived in extreme poverty until he moved to Indiana late in his life. There he was accepted into a group of regional impressionist artists and at last began to achieve success as an artist, including the award of a prestigious commission to paint the governor’s portrait. He lived lived in an attractive cottage overlooking a beautiful valley, valley, surrounded by friends. However, just as he began to realize his life-long dream of providing for his family through sales of his art, Hafen contracted pneumonia and died in 1910. Ironically, John Hafen is now considered the most appealing of the early Utah stylists, and was called “Utah’s greatest greatest artist” by Alice Merrill Horne, an early Utah art art activist. He, of all the early Utah artists, best communicated the poetic essence of the local scenes of nature.
The Art JOHN HAFEN (1856–1910) Springville Utah/ Indiana Mountain Stream (1903) oil on canvas, 26” x 23” Gift from the artist The painting, The Mountain Stream, is typical of the paintings Horne was was referring to. to. It shows a wooded glade with a small stream tumbling 91
over stony ridges in miniature waterfalls. The composition is strong: The white trunks of the aspen trees in the middleground are set off by the staccato black markings where limbs have broken off or died. The light enters above above the trees, highlighting the sharp green grasses and white lowers, and focusing on the frothy stream near the center of the painting. The brightness is balanced and contained by the darker maple tree, the shaded shrubs, and the shadowed section of stream in the foregroun foreground. d. The technique is painterly, with leaves, lowers, and grasses merely merely indicated. Instead, Hafen has created the soul of a picture-perfect spot in the Utah mountains. mountains. As with the best literature, literature, the painting leaves leaves enough of the detail for the viewer to ill in that the scene becomes personal, it takes on the memories or imagination of the viewer.
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How to Integrate the Arts in Other Areas of the Curriculum Elementary and Secondary Level by Diane Asay Following are some brief Following activities that can be used to integrate integrat e visual arts into other curricular areas. Most of these ideas are taken from the text Creating Meaning Through Literature and the Arts by Claudia E. Cornett, 2nd edition. The suggested images are from the Utah State Ofice of Education school poster series. Any other applicable images can be substituted for these activities. Science: Step into an Artwork – Tell students to think like scientists and tell or write Carel Brest van Kempen, Lizard Kempen, Lizard Relay: Jaguarundi with Green Iguanas and their observations as they Banded Basilisks (1991) look at a piece of art (e.g., a Springville Museum of Art landscape). Focus on how the artwork might have been made and the content (Creating Meaning, p. 218) Option: use all ive senses in your observations. Sug- ages: Handcart Pioneer’s First View of Salt Lake Valley by C.C.A. Christensen (Elementary), Dreamgested images: Sunrise, North Rim Grand Canyon by M. P. Frazier (Elementary), Lizard Relay by C. B. ing of Zion by L. G. Richards (Middle), Da Winnah Van Kempen (Middle), The Guest by by S. Davis (High by M. M. Young (High School ). School). Language Arts: Talking Art – Each writes something a person in the artwork might be saying on Social Studies: Update Art – Do a modern-d modern-day ay a speech bubble. Bubbles are displayed around version of an artist’s work, one that relects the the art. (Creating Meaning, p. 220). Suggested imcurrent time rather than the time in which it was created. Change the background, objects, or dress ages: Entertaining Favorite Ladies II by J. L. Clarke (Elementary), Twice Told Tales by A. D. Shaw within the work. ( Creating Meaning, p. 219) Tell (Middle), Horse Traders by E. J. Bird (High School) what changes they would make. Suggested im93
Math: I Spy – Find all the math in any piece of art. List shapes (geometric or organic), patterns, types of lines, use of symmetry symmetry,, proportions, color mixtures (e.g., one part red and three parts yellow), depiction of space or perspective. ( Creating Meaning, p. 223). Suggested images: Chelsea VI by by D. P. Olsen (Elementary), Abstract Configura Configura-tion by R. Jonas (Middle), Over Three Billion Served by by A. B. Darais (High School).
s e s p e a h s y f ma n y o s s d d w ? k i in e? H o e t c i i r t t t n e e g g er s ima om o f e f i i d e e i y in th n y a r a n y y m a d d w m fn H ow H o y o u o i ? ca n or g a n i c a g e a r e
Donald P. Olsen, Chelsea VI (1980) Springville Museum of Art
the artist (e.g., which part of a sneeze would you depict?) Do as a dance with movements before and after. Freeze-move-freeze-move-freeze sequence. (Creating Meaning, p. 401). Suggested images: Snow Queen by L. U. Bennion (Elementary), Dreaming of Zion by L. G. Richards (Middle), Da Winnah by M. M. Young (High School).
Drama: Storytelling – Ask students to create stories about an artwork or several pieces (e.g., an abstract work and a landscape). Set up characters, setting, and a problem for a good story. (Creating Meaning, p. 394). Suggested images: Chelsea VI by D. P. Olsen w/Cockscomb, near Teasdale by V. D. Snow (Elementary), Abstract Configuration Configuration by R. Jonas w/Snow Canyon by R. L. Marshall (Middle), Symbols of the Orient by by C. Harding w/ The Guest by S. Davis (High School) History: Blind Date – Choose two portraits and dialogue what the conversation might be like on their “blind” date. Also establish the setting (e.g., where they would go of their date, what would they eat, what movie might they see, see , what music might be playing the background). Also determine if they would have a second date. Why or why not. Choosing divergent images makes this assignment more interesting. Suggested images: Factory Worker by by M. M. Young (Elementary), Dreaming of Zion by L. G. Richards (Middle), I Have a Headache This Big by W. Kimball (High School).
Music: Finding Musical Elements in Art – After teaching the elements of music, use an artwork to ask students to ind these same elements. For example, folk art and folk music can be compared. Find rhythm in art, texture, tempo, style aspects, and dynamics (areas that are louder or softer). (Creating Meaning, p. 401). Suggested images: Youthful Games by G. E. Smith (Elementary), Mostly Flowers by L. J. Carter (Middle), Storm Spirits on Horizon #6 by L. A. Miller (High School).
Dance: Art in Motion – Show artwork with physical motion in it. Discuss how motion is shown and why a particular step is sometimes “frozen” by 94
Why & How to Teach Storytelling Once Upon a Teacher: Story Celebration for Classrooms & Beyond Presented by— Rachel Hedman • (801) 870-5799 •
[email protected] • www.rachelhedman.com PO Box 160631• Clearield, UT •84016 Objectives: 1. Entertain all your senses—sight, smell, touch, sound and taste—through stories 2. Enchant your learners from elementary to high school with the love of literacy 3. Empower yourself with games and activities that are easily adaptable to your curriculum Questions for You: · Who am I as a Storyteller? Who Who am am I as a Storyteacher? · What kinds of stories do I love? · Where have I told stories for my class? Where would I like to tell stories for my class? · When have I told stories? When When do do I plan on telling stories? · Why do I tell stories? · How am I different from any other Storyteacher? How How do do I share stories? Some Thoughts to Get You Started: Style--Dramatic, Style--Dra matic, Conversational, Conversational, Solemn, Didactic, Animated, Intense, Bold, Peaceful, Humorous, Serious, Natural, Formal, Informal, Stand-up, Sit-down Use--Props, Musical Instruments, Accents, Juggling, Gestures, Expressions, Voices, Puppets, Song, Poetry, Rhyme, Dance, Multimedia, Participation, Chants Story Types--Folktales, Types--Folktales, Fairy Tales, Tales, Historical, Scary/Ghost Stories, Jump Stories, Personal, Original, Tall Tales, Trickster Tales, Healing Stories, Creation or Natural Stories, Pourquoi Stories, Quest Stories, Cowboy Poetry, Impromptu, Fantasy, Spiritual, Wisdom Tales, Fables, Myths, Legends Places/Groups Schools (Elementary, (Elementary, Middle & High) Colleges/Universities Libraries Museums Work/Corporations Family Reunions Festivals Festi vals (Storytelling, Music, etc.) Prisons Churches
Hospitals Nursing Homes Day Care Centers Scouts (Cub, Boy & Girl) Associations Women Groups Men Groups Clubs/Guilds Shelters 95
Audience Types Types Preschoolers Elementary kids Middle schoolers Youth Teenagers High schoolers College students Higher education students Young families
Mature families Young adults Middle-aged adults Older adults Senior citizens Women Men Children Toddlers
Reserve Rachel as your storyteller today (801) 870-5799 •
[email protected] © 2009 Storytelling Adventures Adventures with Rachel Hedman, www.rachelhedman.com www.rachelhedman.com
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Storytelling Activities to Easily Adapt to Any Culture: 1. Your House vs. Their House (can House (can also be applied to Neighborhoods) a. Take a blank piece of paper and draw your house as if someone tore off the roof and looked inside. b. Choose a partner and give a “tour” of the house. c. Tell about moments or incidents that happened in different places in the house. d. After this warm-up, draw a home from another culture cultu re or time. For example, an ancient Greek home would share these qualities-i. Usually consisted of 2-3 rooms built around open air courtyar courtyard d ii. Built from stone, wood, or clay bricks iii. Larger homes had kitchen, bathing room, men’s dining room, women’s sitting area iv. Life centered around courtyard to tell stories, relax, chat, sew, cook e. Give your partner a “tour” of this Greek home as if they lived there. 1. Noun Nonsense a. Find a story from another another culture and read read it to yourself. Upon the second reading of the story, highlight any nouns within the story. b. Expand the current story by adding more social, political, geographical, religious, or economical details to the highlighted nouns. 2. Mixed-Up Mayhem a. Set aside a bowl for each of the following following categories or create create your own: Status, God of Choice, Daily Activity, Activity, Place, and Object. Note that these relect social, political, political , religious, geographicall and economical areas. geographica b. On slips of paper, paper, write a word and place in the appropriate bowl. For a Greek game, here are ideas of what you might put in each bowl— i. Status—Rich, Middle Class, Poor, Slave ii. God of Choice—Zeus, Hera, Athena, Hephaestus, Ares iii. Daily Activity—Farming, Sailing, Hunting, Wrestling, Attending Wedding, Running Household, Going to School iv. Place—A Place—Athens, thens, Sparta, Mediterranea Mediterranean n Sea v. Object—L Object—Lyre, yre, Flute, Petasos (broad-rimmed hat), Metal Headband, Tunic, Hairpins, Rattle, Little Clay Animals, Yo-yo, Terra-cotta Dolls, Pet Goat, Pet Mice c. Pull a paper from each of the bowls. Create individual individual or group stories that connect each of the items drawn. Be prepared for stories to go in any direction direction as long as all words are used. 3. Sayings in the Pocket a. Gather proverbs proverbs from the country and/or create sayings that could have been said during that time period at home, work, school, etc. b. Take your copy of these sayings and cut them up so that there is one saying on each slip of paper. c. Create the setting for the story by suggesting people, a place, and a crazy problem. Have two or more people act out and and create the story from the suggestions. suggestions. When someone rings a bell, have one person pull a slip of paper, read the saying, and have the story twist in another direction. ***Be familiar with what the sayings mean before playing the game. Tips for Learning and Telling Stories: 1. Choose stories that are tellable-Find ones with few characters, clear storyline, good irst sentence (clear, (clear, concise, intriguing), plenty of action, builds to a climax and conclusion, satisfying ending 97
2. Memorize only the irst and last sentences and the sequence of events-Recalling the story word-for-word sets you up for disaster 3. Envision your characters-Imagine eye color, hair color, the way they walk, how they dress, their height and weight, the sound of their voice 4. Loosen your voice and body before you go “on stage” 5. Pause and take take a deep breath breath before beginning . . .relax 6. Maintain eye eye contact 7. Continue smoothly with the story even if you lub something-Don’t apologize as chances are that your listeners won’t catch the mistake anyway 8. Wait Wait a a few moments after you end your story to enjoy applause-Your audience needs to be released from the story Learning a Story in Just One Hour: 1. Find a quiet place place to read through your your story two or three times. Concentrat Concentrate. e. 2. Explore your story. Break it into key elemen elements ts in an outline or a picture storyboard. Note any words, phrases, chants or refrains that you love. 3. Tell the story to yourself without using the road map of the story. story. After you tell the story, story, check your road map (outline or storyboard) to be sure you didn’t leave leave anything out. Retell the story including anything you left out. 4. Make the story your your own by mixing mixing your style and attitude. attitude. Check yourself. . .did you leave leave anyanything out? 5. Tell the story by adding details to the character(s) character(s) and to the place(s). 6. Tell the tale through again without stopping. Force yoursel yourselff to improvise if you you run into a glitch. 7. Relect. Where did you need improvement in remembering the story?
8. Relax. You now deserve some some chocolate.
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Storytelling Online Resources: 1. National Storytelling Network http://www.storynet.org 2. Youth, Educators, and Storytellers Storytellers Alliance http://www.yesalliance.org 3. Professiona Professionall Storyteller social networking networking site site http://professionalstoryteller.ning.com 4. Storyteller.net http://www.storyteller.net 5. Utah Storytelling Guild http://www.utahstorytellingguild.org Storytelling for your Students: Storytelling 1. Youth Tall Tall Tale Tale Contest (www.utahstorytell (www.utahstorytellingguil ingguild.org) d.org) Students from Kindergarten to High School are invited to create a tall tale that places them or an imaginary friend as the hero in a pioneer or present day period with references to historical and exaggerated exaggerated elements. Performa Performances nces are held at the Gale Center of History and Culture in South Jordan. All participants receive certiicate though grand prize is a family pass to the Timpanogos Storytelling Festival among other items. Contact Rachel Hedman at info@rachel hedman.com for more details. 2. Timpanogos Storytelling Festival Festival (www.timpfest.org) The Alpine School District has youth storytelling festivals festivals and units focused on the art. Yet, any district or class or student is welcome to audition to be one of the 25 youth tellers (chosen among thousands) featured with the national storytellers on stage. ***Conference/workshops also offer re-certiication credit for teachers 3. Weber State University Storytelling Festival (www.w (www.weber.edu/storytelling/ eber.edu/storytelling/)) Children from three school districts participate in a variety of storytelling events prior to the festival.l. From these events, approximat festiva approximately ely 70 students are selected to tell stories for the event. Every session begins begins with one or two youth tellers. All students are welcome to audition. audition. 4. National Youth Youth Storytelling Showcase Showcase (www.nationalyouthstorytel (www.nationalyouthstorytellingshowcase.org) lingshowcase.org) Program involves involves thousands of youth sending videotapes to state representatives to be judged. The top ive tellers of each state are forwarded to Tennessee where the top 20 youth tellers are invited to Pigeon Forge to showcase at the Smoky Mountain Storytelling Storytelli ng Festival. Festival. A grand torchbearer and a torchbearer torchbearer for each of the three age groups and the tandem category is chosen. All kids from local, regional, regional, and national levels levels are winners. 5. Tellereller-in-Residence in-Residence Programs (grants available) available) Schedule a teller for 1-8-week progra program m on literacy and/or communication skills.
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Storytelling Storytellin g in Education? YES! A Statement Concerning the Importance of Storytellin Storytelling g in Education Presented by The Youth, Educators, and Storytellers Alliance Allianc e (YES!) August 1, 2006 A Special Interest Group of the National Storytelling Network Since the human race began, people have told stories to each other, to pass on family lore, values and beliefs, common history and heritage, to teach factual and conceptual information, to entertain, and to form bonds of friendship. Amidst friendship. Amidst the bustle of our visually-orie visually-oriented, nted, technologically-enhanced, technologically-enhanced, multitasking, competitive world where we share information through text messaging, sound bytes, cell phones, and disks that we burn, we need to be reminded of our humanity. We pride ourselves as a nation of doers, but more and more we ind ourselves in the position of observers as we watch others perform in movies, in rock concerts, or on television. Storytelling helps students be activ Storytelling active e not only in presenting but also in focused listening and reacting, enhancing the vital skills of communication. communication. Storytelling Storytelling is an ancient art that strengthen strengthenss and enhances skills that children need to acquire to function in today’s world. As adults, we work in groups, sharing ideas and building upon them. Students practice the same skills, often working collaboratively in cooperative groups. In all academic areas, storytelling enlivens the delivery of curriculum, accelerates and enhances curriculum learning, and engages learners. It learners. It encourages students to think about issues, and it can also deliver emotional and factual content beyond a child’s vocabulary or reading ability. Storytelling helps students stretch and expand their thinking. Each state has learning standards that are supported by storytelling and storylistening. We know that storytelling produces enthusiastic and engaged learners; furthermore, qualitative and quantitative research studies show that storytelling can improve academic performance. Through storytelling: • Connections and understandings are formed about and between the past, present, and future • Horizons are broadened • Understanding of and empathy towards other races and cultures is increased • Auditory processing skills and listening skills are supported and practiced • Visualization skills are expanded as children form pictures in their minds • Sensory imaging is heightened as all senses are elicited: tasting, touching, smelling, hearing, and feel ing • Order is brought to students’ worlds through use of thinking skills • Decision-making skills are discerned • Memory is enhanced and attention spans are stretched • Fear of public speaking is reduced • Writing skills are strengthened as students examine the structure of a story • Characters, events, and settings are brought to life • New vocabulary emerges • Cultural literacy is conveyed • Dificult scientiic or mathematical concepts are introduced, explained and explored • Students learn core academic skills including math and science as well as language arts skills • Factual and conceptual curriculum material is effectively and eficiently taught Storytelling is an art, a tool, a device, a gateway to the past and a portal to the future that supports the present. Our present. Our true voices come alive when we share stories. Members of the YES! Alliance, along with other members of our parent organization, the National Storytelling Network, will continue to bring love of story, the excitement excit ement of storytelling and the practicalities of using storytelling in education, in classrooms and in community work, to our fellow educators. This statement was prepared by the Youth, Educators and Storytellers Alliance of the National Storytelling Network. To learn more about the activities and resources of the YES! Alliance, please visit our website at http://www.yesalliance.org.
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The Why, What and How to Teach Dance Workshop
[email protected] No time to teach dance? Want to to teach dance but don’t don’t know where to start?
Our workshop goal is to help you gain practical knowledge and skill for guiding children to dance in lively lively,, imaginative and educational ways. This includes learning about dance and how to teach dance as a traditional and creative art form. Tonight you will leave with new ways to teach dance in your classrooms. o o o
Why teach dance to your students? What is the dance content that children should learn? How is dance most effectivel effectively y taught?
Evening for Educators Packet Contents: What, How and Why to Teach Dance? Creative Dance Unit Plan Creative Dance Foundations Lesson Plan Zemir Atik Dance Brief Handouts – Given in the November 11 Dance Workshop List of Dance Resources Four Universal Learning Principles and Best Practices Packet Brain Dance Addtional Lesson Plans
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The T he Why, Why, What & How Dance Dance Menu Why teach dance?: -
higher order thinking & problem solving personal expression & relevance creative, artistic & aesthetic experiences culturally enriching physically engaging as it builds skill connects students to the world social skills, team work and cooperation arts, language, math and physical literacy
What to teach?: Creative Dance o
How to teach it: use ideas modeled on videos like Dance is B.E.S.T . and Dee Winterton’s Moving to Learn use expert lessons use best teaching practices guide movement exploration using dance concepts and language (elements of dance) side coach your students as they move – then challenge them with descriptive feedback – help them increase skill use a drum to start and stop action use good music like Eric Chappelle’s Contrast and Continuum make it fun, meaningful, expressive and artistic connect with student’s identity and interests integrate with other curriculum see live performances – analyze and discuss
What to teach?: Folk & Social Dance o
How: -
-
use resources and videos like Laraine Miner, Michael Hambin, Phyllis Weikart & Sonna Longden teach the steps – call ahead - say and do give context, history, culture etc. connect to social studies, other curriculum & life see live performances – analyze and discuss
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DANCE ELEMENTS ARE B.E.S. B.E.S.T T. UNIT PLAN By the end of the 10 lesson dance unit K-6th grade students will will be able to demonstrate increased dance litliteracy; showing understanding and skill in speaking, writing, and moving while using the elements of dance - body, energy space and time. WEEK ONE: Lesson 1. My body and its place in space – lay the foundation for dance class expectations and working rules. The students will will demonstrate ability ability to move fully fully in self and general space. They will show understanding of the difference between axial and locomotor movement.
VOCABULARY – Self Space, General Space, Axial (bend, stretch, curve, bounc e, turn, kick ick etc.) VOCABULARY Locomotor (walk, run, leap, hop, jump, skip, gallop, slide)
Lesson 2. Body as the instrument - understand principles of safe warm-up and skill building of the body. The students will show understanding of a full body warm-up and strategies that increase movement skills in dance. They will apply knowledge by creating their own warm-up sequence using principles such as agility, agility, balance, strength, exibility or endurance. enduranc e. VOCABULARY VOCABULAR Y – warm-up, agility balance, strength, exibility, endurance
WEEK TWO: Lesson 1. Degrees of Energy – The students will explore exp lore moving with contrasting force such as strong and light, bound and free, tight and loose.
VOCABULARY VOCABULAR Y – strong, strong, light, bound, free, tight, loose Lesson 2. Qualities of Energy - The students will show understanding of the qualities of energy energy,, sustain, percussive, suspend, collapse, and vibrate. VOCABULARY VOCABULAR Y – sustain, percussive, suspend, collapse, vibrate
WEEK THREE: Lesson 1. Shape and Pathway – The students will explore shape and pathway, and create sequences using body shapes that correspond to pathways curve, straight, and zig-zag.
VOCABULARY VOCABULAR Y –shape, pathway, curve, straight, zig-zag Lesson 2. Size and Levels - The students will show understanding of the spatial concepts of size and level. VOCABULARY VOCABULAR Y – size, level, high, h igh, middle, low
WEEK FOUR: Lesson 1. Speed – The students will move in various speeds with clarity and accuracy.
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DANCE ELEMENTS ARE B.E.S.T. B.E.S.T. UNIT PLAN By the end of the 10 lesson dance unit K-6th grade students will be able to demonstrate demonstrate increased increased dance literacy; showing understanding and skill in speaking, writing, and moving while using the elements of dance - body body,, energy space and time. WEEK ONE: Lesson 1. My body and its place in space – lay the foundation for dance class expectations and working rules. The students will demonstrate ability to move move fully in self and general space. They will show understanding of the difference between axial and locomotor movement. VOCABULARY – Self Space, General Space, Axial (bend, stretch, curve, bounce, turn, kick lick etc.) Locomotor (walk, run, leap, hop, jump, skip, gallop, slide)
Lesson 2. Body as the instrument - understand principles of safe warm-up and skill building of the body. body. The students will show understanding of a full body warm-up and strategies strategies that increase movement movement skills in dance. They will apply knowledge knowledge by creating their own warm-up warm-up sequence using principles such as agility, balance, strength, lexibility or endurance. VOCABULARY – warm-up, agility balance, strength, lexibility, endurance
WEEK TWO: Lesson 1. Degrees of Energy – The students will explore moving with contrasting force force such as strong and light, bound and free, tight and loose. VOCABULARY VOCABUL ARY – strong, light, bound, free, tight, loose Lesson 2. Qualities of Energy - The students will show understanding of the qualities of energy, sustain, percussive, suspend, collapse, and vibrate. VOCABULARY – sustain, percussive, suspend, collapse, vibrate
WEEK THREE: Lesson 1. Shape and Pathway – The students will explore shape and pathway, and create sequences using body shapes that correspond to pathways curve, straight, and zig-zag. VOCABULARY –shape, pathway, curve, straight, zig-zag Lesson 2. Size and Levels - The students will show understanding of the spatial concepts of size and level. VOCABULARY – size, level, high, middle, low
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WEEK FOUR: Lesson 1. Speed – The students will move in various speeds with clarity and accuracy. accuracy. VOCABULARY – speed, slow, medium, fast Lesson 2. – Beat and Accent – The students will clap and move to with accuracy to steady beats found in both ¾ and 4/4 time. They will explore accent in music and movement. VOCABULARY – beat, accent, ¾ time, 4/4 time
WEEK FIVE: Lesson 1. Note Value Lesson Part A.– The students will explore and move to whole, half, quarter,, and eighth notes as well as recognize and demonstrate quarter de monstrate understanding of their corresponding musical musical symbols. They will compose and dance to note note value patterns. patterns. VOCABULARY – note value, rest, whole note (and its musical symbols) half note (and its musical symbols) quarter note (and its musical symbols) eight note (and its musical symbols) Lesson 2. Note Value Lesson Part B.– The students will explore and move to whole, half, quarter,, and eighth notes as well as recognize and demonstrate quarter de monstrate understanding of the corresponding musical musical symbols. They will compose and dance to note note value patterns. patterns.
Teacher informal and formal assessments should be ongoing in each lesson and inform subsequent lessons. Assessments could include: - Teacher observation and descri descriptive ptive feedback (formative and summative— verbal and rubric based) - Peer observatio observation n and descript descriptive ive feedback (formative—verbal and rubric based) - Student self-assessment of dance elements understanding in both verbal and written responses (journal entries, rubrics, etc.) - Paper and pencil written assessments of terms and vocabulary (summativ (summative) e) - Performa Performance nce written responses, descriptions, interpreta interpretations tions and analy analyses ses
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“CREATIVE DANCE FOUNDA FOUNDATIONS” TIONS” Lesson I - The Moving Body Needs a Safe Place in Space Marilyn Berrett
[email protected] u 801-422-3346 Grade: K-6 Grade: K-6 Lesson Focus: Developing Focus: Developing kinesthetic body awareness and a safe working space by demonstrating personal and general space. The material in this lesson provides foundational foundational ways ways of working when beginning a unit of study in creative dance. Lesson Length: Length: Two 30-40 minute sessions [This lesson can and should be repeated with slight variations two times in a row. On the first day limit student choices choices and emphasize personal kinesthetic kinesthetic con trol. Repeat the lesson activities activities on the second day but move more more quickly through the first two sections giving more time to the creating/performing small group activities.] activities.] State and National Standards Simplified: Creative Creativ e dance lessons involve multiple dance standards simultaneously. simultaneously. In this lesson students will very actively actively engage in these universal learning principles that relate to all dance standards: o Experience/Identify o Explore/Investigate o Create/Perform Connect/Analyze o
Lesson Objective: Objective: Students will demonstrate understanding understanding of their body as an instrument for expression. They will show the ability to move safely and freely freely in place and through space during a creative creativ e dance experience. Lesson Concepts: o Personal or self-space Shared or general space o Body as the instrument of expression o Body parts o o Basic body movements In place Place to place Classroom Set-up/Materia Set-up/Materials ls 1. Open space in school – preferably gym, cafeteria, cafeteria, or vestibule – classrooms can work if desks are pushed aside 2. Drum and beater 3. CD player player and music optional 4. 4 Posters: “Self-Space “Self-Space is Personal Space”Space”- “General Space is Shared Shared Space” “Axial Movements” and “Locomotor Movements” 5. White board and dry erase markers markers to write axial and locomotor words Resources:
Eric Chappell’s Music for Creative Dance Contrast and Continuum I & Madagascar Movie Sound Track
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Instructionall Procedur Instructiona Procedures: es: EXPERIENCE/IDENTIFY 1. In this class you are going to make up your own movements and pay attention to the feeling of those movements. movements. Let’s try a few movements movements to learn learn how to do that. Move your your arms and hands with with your eyes eyes closed or lowered. Without looking raise your your hand, tighten it into a ist, shake it, and bring it down slowly until until your hand is resting resting on your lap. Now open your eyes. eyes. How did you know what what movements you just did? You felt them. Feeling movement activates your kinesthe kinesthetic tic intelligence or movement sense. Your brain and muscles connect through nerves. Attending to the feeling of movement is one thing that separates creative creative dance from every day movement. [To cultivate this ability, periodically ask them to stop and feel what what their bodies are doing. Lowered or closed eyes may help] 2. “Self-Space is the space your own body takes takes up when you stay in one place. In that place you can touch the space all around you, down low, low, up high, in front, behind or beside. It is like being inside a giant bubble. You can leave your your spot and move through through space to another place. When I give the signal to go, and you are are moving around, your personal bubble will travel with you. As you move through the “shared space” be careful not move too close to someone else’s bubble. Dancers can move quickly through the space without bumping into the people around them. Being in control of your body can be very exciting. Everyone read and say, say, ‘Self-Space.” When I ask you to ind a PERFECT SPOT I am asking you to ind a place where your self-space or bubble is in your own EMPTY SPACE. [Signal the students to stand and scatter with a drum beat followed by quiet qu iet steady drumming. As every one moves side coach by saying,] “Y “You ou should be away from people, walls, and objects. When you get to your perfect spot – stretch out into the biggest shape possible and hold perfectly still.” [When the class is scattered equally, direct them to jump up and down d own or tap their foot as they say, “This is a perfect spot” or “I claim this place”] EXPLORE/INVESTIGATE 3. Kinesth Kinesthetic etic Activation and Warm-up Staying in your self-space, explore how your whole body can shrink…, rise…, twist…, turn…, and balance. Reach different different body parts to the edges of your your personal space. Touch the outer edges of your space bubble in all levels levels and directions. Move as if you you are painting painting your space bubble. Try brushing brushing the edges with your back. Try your your foot with a long sweeping sweeping stroke. Use other body parts – head, shapes. Ask them to hold their shape and feel the sensaelbow or side. [Stop students occasionally in still shapes. tion of muscles, skin and bones. Direct them to notice what body parts feel stretched, stretched, or those that feel bent.] 4. Basic Body Movements in place are called “Axial “Axial Movements.” Read and say “Axial “Axial Movements”. Movements”. [Direct the students to explore several of the following movements, emphasizing the feeling as they move. Introduce each one separately, providing providing clear beginning and ending signals.] Fill your bubble with movement as you explore many different ways to: Stretch* Stretch [with different body parts and on different levels high, middle and low] 107
Bend Stretch and bend Twist* bod y-then body parts separately] Twist [upper body – then lower body-then Flop Shake* Shake and lop Bend, stretch and curve [both high and low] Shake and stop [repeat several times on a signal] Sink* Sink and rise Balance* Toss arms and hands Toss one leg at a time Undulate or make waves Bounce [Five or six axial movements might be enough to explore explore on the first lesson. *Recomme *Recommended] nded] IDENTIFY 5. Everyone read and say “General Space.” When you move and share space – we call it “General Space.” You can do a lot of different “Locomotor Movements. Movements .” Read and say, say, “Locomotor “Locomoto r Movements.” [Remind the students how to move their self-space bubble through the space. space. Encourage them to look for and move into the biggest empty spaces they can find.] EXPLORE/INVESTIGATE 6. Notice where you spot is so you can come back to it. Slowly and silently silently walk away away from your personal space through the shared or general space keeping your self-space bubble around you. Don’t let it pop by bumping into anything anything or anyone. Return to your spot and hold a shape in a concentrated stillness. Now try moving through more more of the general space at a faster pace with locomotor movements: Jog [ forward, backward, slow, slow, fast] Walk Run and leap [if space is limited do in small groups] Hop (up and down on one foot) Jump (landing on both feet) Skip Gallop Skitter [sideways, forward, in circles, on hands and feet or just feet] Roll Crawl [At first introduce these movements movements one at a time, returning to the same spot and holding a shape. Always give clear starting and stopping instructions and signals. Two Two to four locomotor movements movements might be enough to explore on the first lesson] CREATE/PERFORM 7. Return to original self-space and hold – Divide class into two groups A’s A’s and B’s. Next you will be
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staying and going from your your own spot. One group will move through space space with their own choices of locomotor movements movements while the other group group does interesting interesting still shapes in place. Repeat rereversing roles. 8. Do a simple group sequence. The pattern might might be: A’s go – B’s stay B’s go – A’s stay All go – All stay All go, Freeze! 9. Create a class sequence together together using a time pattern. By raise of hand, someone choose a locomotor step we we could all do for 8 counts. Try it for 8 then hold in a shape for 8. Repeat one or two times. Now let’s choose an axial movement movement to do for 8 counts that we could do instead of a still shape. Alternate with locomo locomotor tor.. Working togethe togetherr build a longer sequence that is appropriately challenging for the group’s abilities. The progression might look like this: 8 beats walking , 8 beats holding in place 8 beats walking, 8 beats shaking 8 beats jumping (through space), 8 beats holding in place 8 beats jumping, 8 beats stretching 8 beats skipping 8 beats holding in place 8 beats skipping, 8 beats bending and stretching 8 beats any kind of locomoto locomotorr, 8 beats of any kind of axial 8 beats any kind of locomoto locomotorr, 8 beats of any axial 10. Sharing and Closure: Half the class at a time watches the other as they perform any of the previous dances. Guide watching with appropriate audience behaviors and speciic concept questions. questio ns. Finish with a cool-down - one body part at a time relaxation or standing calf stretch. [On the second day review all of the activities above and add small group choreography.] Divide class into groups of 2, 3 or 4 (depending on cooperative learning interaction interaction skills). Give them similar movement problems to solve using locomotor movement through general space alternating with axial movements and and still shapes in self space. As students are working working with their partners (duets, trios, trios, quartets) have them create a form that equally shares the choices such as:
Duets, trios or quartets might do variations on an AB pattern: Shape - A – B – A – B - Shape (A = Locomotor B = Axial) [Each partner chooses one locomotor, locomotor, one axial, all collaborate on the beginning and ending shapes]
Others might do a hybrid pattern like: Shape – A – B – C – A – B – C – Shape [Partner 1 chooses a locomotor, locomotor, partner 2 chooses an axial and partner 3 combines an axial with a locomotor (i.e. skipping and twisting) all collaborate collaborate on beginning and ending shapes]
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Sharing: Each group group performs performs their choreograp choreography hy for for the rest rest of the the class. Play music and plan to have three groups start in the performing space holding shapes until it is their turn to dance and holding after they inish until all three groups are done. Audience should watch with appropriate audience behaviors and speciic concept questions to which they respond in discussion or writing. ASSESSMENT: Have students discuss or write how they feel about the decisions they made, how well ASSESSMENT: they remembered remembered their sequences, or how committed they were were as they showed their dances. Ask them to identify the locomotor steps and axial actions of others then respond to other group sequences. Ask student to describe what captured captured them as they watched. watched.
Extensions: 1. VISUAL ART: ART: Have Have students create colorful colorf ul abstract designs of the pathways they created on the loor in their dances. 2. MUSIC: Have Have students create a song or chant using the axial and locomotor words that describe their dances. Have the students dance to different genres genres of music and analyze the ones that work best for their artistic choices. 3. DRAMA: Have Have the students select dramatic gestures (axial (axial movement) and locomotor actions that portray emotions or a story. Have them perform their movement as a story – using a Narrative Dance form. 4. LANGUAGE ARTS: Have the students ind the verbs in any selected reading, categorize the words into axial or locomotor movements and create word walls, poetry, poetry, original stories or new dances from their discovered discovered words. (See example Acrostic Poem Poem below) 7. SCIENCE: Study the human skeleton and joints, joints, or the nerve nerve or muscle systems systems that allow the body to move and dance in an amazing variety of ways. 8. MA MATH: TH: Point out how patterns are used in both math and dance sequences like ABAB etc.
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ACTIVITY & MUSIC SEQUENCE Introductions: Establish learning climate EXPERIENCE/IDENTIFY Sensing Movement Identify & Claim “Self-space” - DRUM EXPLORE/INVESTIGATE Kinesthetic Kinest hetic Activator & Warm-up arm-up:: Axial Dance Words –Track 15 Explore: Place - Self Space– Track 3 IDENTIFY: Read and Say “General Space” (see, say, then do) Explore: Place-to-Place Shared Space - Track 2, 7 Build Skill: Locomotor - Track 2, 7 & DRUM CREATE/PERFORM Group Dance –Eight Count Patterns– DRUM Create Small Group Dances (2nd Day) - Music CONNECT/ANALYZE: Review & Discuss
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Beverley Taylor Sorenson BYU A.R.T.S. Partnership What and How when Teaching Dance or Integrating Integrati ng Social Studies while Creating Cultural Connections and Community in Dance
[email protected] u Israel – Zemer Atik Many Jewish Dances were and still are important to everyda everyday y religious and community life. Zemer Atik is characterized by a feeling of gratitude and connection to others. This dance can be danced in a single closed circle, single serpentine line, in several smaller lines or even in pairs. This version was choreographed by Rivka Sturman in 1958 and is included in Susanne Davis’ BYU Rhythm and Dance Manual (p 96). Phyllis Weikart Weikart demonstrates this dance on her Beginning Folk Dances DVD Series #2. Pronunciation: Pronunciatio n:
zeh-mehr zeh-me hr ahah-TEEK TEEK
Time Signature: 4/4
Formation: Forma tion:
Single circle facing CCW
Position:
Left hand on own L shoulder-palm up R hand stretched fwd touching neighbor’s L hand
Footwork:
All start R
Measure:
Music: Zemer Atik (Rhythmic (Rhythmically ally Moving IVtrack #7)
Say and do:
Notes:
Walk, walk, walk, walk Step clap-clap step clap Walk, walk, walk, walk Step clap-clap step clap Walk, walk, walk, walk Step clap-clap step clap Walk, walk, walk, walk Step clap-clap step face cntr Step snap step snap Back, back, back, back Step, snap, step, snap Back, back, back, back Step, snap, step, snap Back, back, back, back Step, snap, step, snap Back, back, back, back
Walk lightly and smoothly Body twists before snaps “ “
Intro:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
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“
“
“ “ Call ahead to face the center Arms high for snaps Lower arms smoothly “ “ “
“
“ “ Repeat from the beginning
After dancing the whole 16 measure sequence twice, consider breaking into lines that serpentine in curving pathways pathways around around the space. Smaller and smaller lines can be introduced with each repetition until pairs are dancing with alternating alternating leaders each time. Discover personal personal connections and meaning. Discuss the meaning of of the gestures in the dance. Ask questions like, like, “Why might these people want to express express these ideas?” “What movements or ideas might best illustrate illustrate who we are and what we value or believe as a group?” group?” “How would you start working on your dance?” dance?”
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Helpful Tips and Information about Why & How to Teach the Arts
Interested in upping high school graduation rates? Check out the roles the arts play in increasing graduation rates: A Report by The Center for Arts Education October 2009
Staying in School Arts Education and New York City High School Graduation Rates www.caenyc.org/Staying-in-School/Arts-and-Graduation-Report
For questions about the Status of Arts Education in Utah Survey for Elementary/Secondary Principals, Principals, please contact Alyssa Alyssa Hickman Grove
[email protected]
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Drawing: At the Heart of the Studio Experience Children, at any stage, are more involved involved with the process than the product. Encourage the exploration of media and provide ample time for experimentation. Help children express visual information by asking questions (accretion), but refrain from imposing pre-conceived outcomes, e.g., “Tell me about your drawing” drawing” rather than “Is that your house?” This not only helps the child develop descriptive descriptive language skills but it rewards the child’s creative efforts. Note: the bullets are numbered, not to establish a hierarchy, but to aid in discussion. The Manipulative (Mark-making) Stage (ages 2-5) 1. Children work quickly and spontaneously, often making marks that are placed randomly and overlap with no depiction of space. 2. Children work best with markers, pencils, and crayons, crayons, but any media that makes a mark is acceptable, e.g., a stick in wet sand, a house paintbrush dipped in water on a sidewalk. 3. Children enjoy repeating a mark and later will enclose the mark/line to create shapes. 4. Later in this stage children will name their marks and their subject matter is often related to their immediate life experiences and associations, e.g., me and my family family.. 5. Initially objects are created with one mark or line but later objects are formed by uniting a variety of shapes, e.g., a circle for the head, a triangle for the body and lines for legs. 6. Objects or details are not drawn to scale and those objects with the strongest emotional appeal are often displayed proportionally larger, e.g., head is larger than the body and myself or parent is larger than other people.
A Two-Year-Old’s Two-Year-Old’s Drawing of Her Mother
Symbol-making Stage (ages 6-10) Symbol-making 1. Initially subject matter is derived from their imagination with later works displaying inluences of visual culture, e.g., movies or TV characters, or vicarious experiences, e.g., a recent trip to a dinosaur museum. 2. Children often develop schemas, e.g., a lollipop tree shape, the sun in the corner of the format. Educators can help children recall the facts and features of depicted objects through accretion, e.g., “Does your house have bushes in front of it?” or by direct observation. 3. Initially children children will depict objects as loating and unrelated. In the later part of this stage children will organize their drawings by lining up objects along a A Ten-Year-Old’s Drawing baseline. Often a skyline is also also used within a drawing. drawing. of a Landscape Help the child by having them observe real-life real-life situations, e.g., the sky goes down to the ground and objects overlap, and by exploring varying viewpoints, e.g., a bird’s eye view.
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Realism Stage (ages 11-12) 1. Children become more critical of their art efforts and are eager to learn how to depict objects in a realistic manner. This is an ideal time to introduce perspective, value studies, and other drawing techniques such as rendering textures, igure drawing or facial features. 2. Subject matter is often derived from real life experiences or concerns. Art making often becomes an outlet for emotional and physical stress. Educators should promote themes for art making that involved involved the social and emotional concerns of the student. 3. Children should be able to master techniques, e.g., adding values to a circle to make it appear as a threedimensional object and to complete processes, e.g., printmaking, or brainstorming, sketching and composing an artwork. 4. Children should continue to explore and experiment with various media and art forms. In addition to skill development the child should be encouraged to develop expressive expressive qualities, e.g., what mood or emotion does a thick, black line portray? 5. Children can be taught to recognize and transfer com A Twelve-Year-Old’s Sll-Life Value positional/design elements of art by observing master Drawing works. Art making that combines various elements such as line, value and space space with principles such as emphasis,unity and and variety will help the child to understand the relationship of the parts to the whole. Appropriate Motivators: Appropriate Motivators: 1. Explore a wide variety of media and formats. Children should use large formats that invol involve ve the whole arm and hand in making marks. 2. Choose themes or subject matters that relate to the child’s experience. 3. Encourage individual expression/creativity. Do not promote pre-conceived pre-conceived ideas, i.e., coloring books or pattern work. 4. While there are some speciic skill-building techniques that should be learned such as creating a value scale hp://www.westbourneschool.com/pho or blending colors, promote the application of the skill tos/ChildrenPainng.jpg within a larger context, e.g., use of low-keyed values to produce a speciic mood or feeling within the artwork. 5. Younger children should be encouraged to describe de scribe their art making experience. Children should be made aware of the potential of art to create meaning or tell a story story.. Older children should be encouraged to take an abstract concept such as freedom or happiness and render the concept in a concrete, expressive art form. 6. Help the child to create a visual record of the experiences and images they have encountered. Promote sketchbooks and portfolios. 7. There is little merit in encouraging children of any age to make art with photographic accuracy; rather help the child make a distinction between working for a realistic rendering and the 122
development of skills to heighten their visual acuity. Often creativity is blocked when too much emphasis is placed on technique and skill. 8. Promote a variety of direct observations/accuracy activities with imagination, free-lowing free-lowing activities. As an educator you should be able to distinguish the need and purpose for both. 9. Provide a stress-free environment for art making. Promote the pleasurable nature of self-expression and the mastery of certain skills. 10. Promote the nature of successful art making while allowing for the option of re-doing or correcting an artwork too. Failure is permanent if children are not allowed to try again. 11. Provide art-making experiences that exercise the imaginative powers and memories of children with the skills of concentration and expression. Encourage Encourage the child to brainstor brainstorm, m, envision and produce. 12. Help the child to develop the vocabulary and skills necessary to succeed within their visual culture. Encourage critical thinking, problemsolving and evaluation/judgment skills learned from art making so they can thrive in the consumer, media-saturated world. 13. Promote direct observation when available. Children can observe contour (edges), details and structures easier when viewing an actual landscape, object or igure. 14. Encourage the students to move away from visual clichés to a fresh regard for subjects they may have lived with but never truly examined. 15. Reinfor Reinforce ce the art skills that promote eye-hand eye-hand coordination. Allow the children to “warm-up “ warm-up”” with sketches, brainstorming, etc. prior to beginning a big project. Most skills, when taught as individual techniques, should be put into the broader concept of art as a process.
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From the 2009 All-State High School Art Show Springville Museum of Art
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Why & How to Teach and Develop Creativity
One of the most valuable attributes an individual can possess is creativ creativity ity.. Creativity has often been associated with the ability to produce original artworks; but that is only one manifestation. The ability to problem-solve problem-solve and think creatively creatively can be learned and developed. Following are some general approaches to foster creativity by generating ideas: Fluency: Develop a large quantity of ideas. Use phrases such as: “How many ways ways . ..?” or “List all the possible . . .” Brainstorm Brainstorm,, look for alternative alternative solutions, list attributes or possibilities, ask a variety of appropriate questions, utilize synonyms, and accept the possibility of more than one right answer. answer. After students have generated their own ideas use group dynamics to foster more ideas or solutions. In art: create several sketches or thumbnails; use a realistic, abstract and non-objective non-objective approach; try impossible solutions and techniques (i.e., adding water to oil pastels); transform an ordinary ordinary object into a monument, symbol or logo; give an object an imaginary function or characteristic (i.e., a rainbow that snows); imagine the image in varying styles, timeframes, timeframes, cultures, and media; project how various artists would portray portray it; view it from varying viewpoints viewpoints (i.e., a child, an adult, a foreigner). Flexibility: Develop Develop a wide variety of ideas. Use ideas. Use phrases such as “How/What else . . .?” or “What other kind . . .?” View ideas in different ways ways or shift from one thought category to another. another. Reconsider the viewpoint by minifying or magnifying the problem, adapt the idea to alternative alternative situations or timeframes, and interpret the information in a variety of ways. Consider different perspectives perspectives or viewpoints; create preposterous hybrids hybrids or cross links (i.e., a skateboard and an alligator) In art: change the image (add another object, magnify part of the image, multiply or repeat an object, reverse the object, erase or dissolve part of the image, substitute one object for another another,, exaggerate, minimize or distort the image, show more that one viewpoint at the same time such as the top and side, fragment or split the image, change the background, setting or center of interest); design your artwork as a triptych with a before and after image; change it to another art form (i.e., print to sculpture Originality: Develop individualistic, individualistic, unique, unusual, different or new ideas. ideas. Use Use phrases such as “What unusual way . . ?” or “Come up with your very own . . .” Reverse the question/answer process, relate unconnected information, compare unlike objects, and promote stream of thought, daydreaming or unconscious thinking; transfer aspects from one item to another; note characteristics and then list the opposites; believe you are creative; be alert to problems, spot challenges and design solutions; transform ideas into action; use humor; foster curiosity and questioning attitude; get “outside the box.” 125
In art: transfer the object to a different setting, subject matter, matter, or media; combine two or more media or approaches (such as realistic and abstract); rearrange rearrange old ideas into new relationships; appropriate appropriate ideas from art history and put into contemporary settings or take a current issue and put it back into history,, use visual puns, oxymorons or unusual combinations (i.e., hot dog, military intelligence, history intelligence, loat ing walrus); transform one object into another (metamorphosis); imbue inanimate objects or animals with human characteristics; doodle; make photocopies of the image, cut them up and rearrange them; abstract the image; change it to an impossible setting; emphasize different elements or principles. Elaboration: Enrich existing ideas. Use Elaboration: ideas. Use phrases such as “What else . . .?” or “Give all the details . . .” Reine, expand with details, embellish, enhance a common object or idea by adding interesting details or extending its dimensions or setting. Expand on a concept by telling who, what, when, where, why or how.. Forecast all possibilities or outcomes. Describe it to someone who is not present. Use web design how to expand options or promote completeness. In art: intensify or add detail; expand the image into a three-dimensional form; portray it in photorealistic manner; write elaborate elaborate artists statements or didactic d idactic labels; make connections with other artworks.
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Visual Art A rt Tools Tools As there are numerous media choices in art this is an overview of some basic visual art media: Pencils -Most pencil leads are a combination of graphite and clay. Art pencils are classiied by their hardness. The letter designates hardness (H) or softness (B) and the number indicates the degree of hardness or softness. Pencils range from 9H (extremely hard) to 8B (extremely soft). One of the most universall pencils is an HB that combines hard and soft leads and can be dark or light depending on universa amount of pressure given. Pure graphite graphite has a shining metallic quality and even at its darkest is not a true black. Charcoal, ink, conte crayoncrayon - Charcoal comes in two formats, compressed and vine. Vine is available in stick only and compressed is available in pencil, stick or powdered. Compressed is less brittle and iner. Charcoal pencils come in black or white and in ive degrees of hardness: HB, 2B, 4B, 6B, and 8B. Conte crayon (drawing crayons) are similar to charcoal but are iner and come in numerous colors and hard nesses such as HB, B, and 2B. They also come in pencil or square sticks. Black drawing ink (India ink) is available in waterproof and soluble. Both types can be thinned with water. Inks are translucent
Paint Type
Characteristics
Clean-up
Cost
Brushes
Wat ater erco colo lorr
Usuall Usua lly y tr tran ansp spar aren ent, t, ca can n be be reconstituted w/water so there is not much waste. Dries lighter. Great for blending colors. Dificult to correct mistakes. Requires WC paper.
Cleans and thins with water. Should be exhibited under glass because it is not permanent. Some colors stain.
Relatively inexpensive, although the paper is costly, usually need at least 70# weight paper.
Soft, lexible of synthetic or natural bristles
Oil
Can be transparent or opaque. Takes several days to dry which makes it great for blending and numerous techniques. techniques. Once it is dried unable to reconstitute. Can be used on various supports, usually canvas.
Solvents or mineral spirits are used to thin or clean up. Dried paints are very permanent but usually requires varnish to protect from scratches
Relatively expensive, although oil pastels can be used an introductory media. Solvents are also dangerous and hazardous.
Stiffer bristle brushes usually made of natural ibers.
Acrylic
Usually transparent. Dries quickly and adheres to most surfaces. Usually has a glossy glossy,, plastic effect. Bright, clear colors.
Thins with water and cleans with soap and water. Dried paints are permanent but varnish will protect surface.
Heavy bodied (tubed) Synthetic paints are relatively expen- brushes sive but can be purchased in a liquid format. Mediums can thin. thicken or slow drying time
Tempera, and gouache (designer colors)
Opaque unless mixed with acrylic gel and then they are transparent. Usually dries darker. Surface is matte and paint dries quickly. Good for blending colors.
Cleans and thins with water. Should be sprayed with ixative to make surface more durable,
Relatively inexpensive and comes in a powder or liquid form. Temperas cannot be reconstituted but gouache can.
Soft, lexible of synthetic or natural bristles
Alkyd and Watermiscible oils
Similar to oils but dries faster, usually within 24 hours. Should follow fat-over-lean fat-ov er-lean rules and faster drying layers before slower drying.
Cleaned and thinned with water but watermixable linseed oil will make more transparent and luminous.
Similar in cost to oils, but less expensive to use because no need to use various mediums and solvents
Same as acrylic and/ or oil
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or opaque and come in a variety of colors. Paint-Most paints are classiied according to the ratio of pigment to binder. There are usually student, artist or professional grade paints and the prices accelerate accordingly. Brushes-Most brushes can be used for varying painting Brushes-Most painting media. Generally you need a variety of types, sizes (#8-#12 for larger areas, #3-#4 for detail) and stiffness. Round brushes can carry a lot of paint and come to a ine point. Filberts have a lattened ferrule and are curved at the tip in a soft U-shape. Filberts are versatile versatile because you can use the lat of the brush, the tip or the side. Riggers, liners, or script brushes usually come in smaller sizes (#1-#2/0) have long bristles and hold a lot of paint. Spotters are even smaller (#0-#18/0) with only a few hairs. They don’t hold much paint but require maximum control. A wash brush is usually large, wide and lat. They are good for covering large areas
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Art-related Art-relat ed words words for a Word Word Wall Wall Some terms are useful for elementary and others would be more useful at the secondary level. Use just in the classroom or have students make copies to take home. Include examples, if desired. Art Terms: Terms: Additive Advancing Acrylic Aesthetics Abstract Appropriate Assemblage Asymmetry Brush Bas Relief Batik Canvas Cast Cast shadow Center of Interest Coil Core shadow Chalk Charcoal Clay Complementary Composition Concept Content Contour Criticism Crosshatch Brayer Easel Edition Emotion Eraser Exhibition Express Feeling Figure Focus Foreshortening Frame Function Genre Gesture Gloss
Gradation Graphic Graphite Highlight Horizon line Ideas Imitate Ink Intent In-the-round Landscape Mass Matboard Matte Media Model Mold Monochromatic Neutral Non-objective Oil paint Palette Pastels Pen Pencil Perspective Pinch Plate Portrait Portraiture Process Proportion Purpose Ratio Realistic Receding Scale Shade Shadow Size Slab Still Life Stone Story Board
Subject Matter Subtractive Symbols Symmetry Triadic Technique 3-D Vanishing point Varnish Watercolor Processes: Brainstorm Visualize Sketch Compose Block-in Modify Adapt Reine Exhibit Etch Crave Create Print Paint Glaze Wash Draw Art Forms: Painting Drawing Sculpture Ceramics Photography Textiles Architecture Graphic Design Illustration New Media Printmaking Jewelry Collage Stain glass Fresco 129
Mosaic Elements: Line Horizontal Vertical Diagonal Straight Jagged Thin Thick Bold Fine Shape Geometric Natural Color Intensity Chroma Dull Bright Temperature Warm Cool Red Yellow Blue Green Orange Purple Turquoise Black White Gray Violet Yellow Orange Blue Green Red Violet Value Light Mid-tone Dark Space Aerial Linear
Vast Intimate Closed Crowded Empty Deep Shallow Form Flat Round Cut-out Texture Implied Actual Fuzzy Rough Smooth Soft Wavy Gritty Shining Bumpy Principles: Balance Repetition Rhythm Emphasis Unity Variety Movement Styles: Prehistoric Ancient Near East Aegean Egyptian Greek Roman Early Christian Byzantine Middle Ages Romanesque Gothic Renaissance Mannerism
Baroque Rococo Neo-Classicism Romanticism Realism Impressionism Expressionism Modern Post Modern Artists: * Giotto Van Eyck da Vinci Michelangelo Rueben El Greco Watteau David Goya Courbet Monet Manet Cezanne Van Gogh Gauguin Munch Kandinsky Wyeth Gehring Cassatt O’Keeffe Frankenthaler Kahlo Rivera Ringgold Nevelson Warhol Matisse Bearden Sargent Kruger Hokusia Koons Lange Oldenburg Peto Pollack Rauschenberg
Audubon Basquit Eakins Jimenez Botero Gentileschi Kollwitz
* The artists listed here are some of the artists with unusual names that students will need help pronouncing. You can also include any artists you are using. Some teachers choose to use what is an Americanized pronunciation, for example, Käthe Kollwitz, would be said like Kathy Kollwitz. Kollwitz. Secondary teachers may want to teach students a pronunciation that is at least close to how the name would be said in the artist’s language. In this case, her name would be prounced: ke’tu kôl’vits. You can ind the prounciation of various artists’ names at the following website: http://dictionary.infoplease.com
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t s . u d r t a r d m n e h e s o t f o f s s r a d n r u e ; e d s e o c s y s s s l t i e i r e a u e s u r i l n u g m s n e q o n e u n e u b c i ( o l i e m e r m e m i b u e o t e n f c t o s a b a n l a l t r e y n o e t e n i a t p a u b i h g . t h m e i m c d m c n a i ) n s u a e e e k s i f s e a h e n v m s n t o . i c c f s s e e t a . r h o x r s c e e o o p e t r e l i m m b e r s r n r u d b e k u g s e a m p i e r v n r g e a g l u e m e o l o g a c o p w e n u n v y r n x i i t i l t e k e n s e l t a y h n p h t p e e n u u O h T o h T c r A m • o c a • t • n t m r d e y o t , o i b t n t f t a n i t t n r s h l o a r s a s . n e t n g u e e i y m , m i o f d e i k r d s t a e o i l v c p i r d ” r s l l e e i n a . m l l r e a o o e u y p t e y d e o l l b i e r p i c h i c i w b c p e a o a a t d w m c l o o p c a l i t t m i f i d a t t d r . s s n v o p c m e s o e a e f 0 e h s o c b a . k p n e 1 w m o o f f c t s n a e l a i i n e , d p r s e d a r n l n u o s o i t d ( s e e a e a e n b e b o m o l e a n u r i d d n m p t c a s n o a r v t o n e r h e y i i i o o , a e u i l d y r a a y y u t c c o a q r e t o r c d p p t r t v h a a a s s n y u l e o r u e s c i c s e m n t a e a s n i i m p c c a m r m r m a m e o s c “ a h “ u a o m e a i s s , i i s y t e m m e s e 0 f s d t l d e u d e r r r d r p l r d y i . u 1 o u n e l o n u n a a e g e ) r s l o a r a e r r . o ” r , e f i y t t o e o a a g a i w n w m p l p s a t v s a r t a r d w a a r r i t t e i i a o f k d h s p t e f l t f b w p c b u t a m e h r p i r t l t a r o u d o m i h u L t S m f e c s a e o g S l U S L e i i d a t o r a t r f r o • o w m o s i • i r b d d e • p • m u • h • a d o s a f
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d t e n c h a - ( A t e s r t g d a h n i m l i u g d e u i c r u G t s r l i y s y c e C p o i n U s e e C , r c i l i e s b t a f h n F a c t O f ; t t o e ; c a i h m g 0 d A d i t n 1 r 1 e h e y m i p d m g t r l o n a i u C a t y s , n p M o e l e t 8 0 u C a a t 1 m n , q e o S 7 s t i i d 0 b u a n e u 1 t n i s s e c u n d l l d i U n E o n : a M r t s i ) c l o e e 6 a f c s r S 7 t u ; 9 i i e n o 1 1 g i S 2 ( D l
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How to Legally Copy Images for Classroom Use The following is a Windows vs Mac list of common keystrokes used to Save, Cut, Copy, Paste and Undo. These commands make it possible to copy items from websites. command
windows
mac
cut/delete (to clipboard)
control+x
command+x
copy (to clipboard)
control+c
command+c
paste from clipboard
control+v
command+v
undo last action
control+z
command+z
save
control+s
command+s
save as
control+shift+a
command+shift+a
select all
control+a
command+a
open
control+o
command+o
new
control+n
command+shift+n
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notes select whatever you want and cut it! will copy whatever you cut to the clipboard to put somewhere else. select something and copy it. leaves it there but creates a copy on the clipboard for use elsewhere. paste the last item copied to the clipboard. undo whatever you just did. in some applications you can undo several steps back, in others only one. save the document or ile you are currently working on. if you learn only one keystroke learn this one and use it a lot so you don’t loose work! save a copy of whatever you are working on and give it a different name. select all/everythi all/everything. ng. exactly how this works will depend on the application you are working in. open an existing document in the application you are working in. create a new ile, docu ment, web browser window, new “whatever” you are working in.
Free Programs for Editing Material Captured from the Web
Once you have captured images, webpages, text, or anything you are interested in sharing with your students, you will need to edit/crop what you have have captured. The following is top ten list of OpenSource Programs and Freeware for Photo Editing software. To access more information about any of these programs visit the web links for each progra program. m. 1 - GIMP http://www.gimp.org/features/ 2 - ImageForge http://www.cursorarts.com/ca_imw_b.html 3 - Paint.NET http://www.brighthub.com/multimedia/photography/reviews/12262.aspx 4 - PhotoFiltre http://www.brighthub.com/multimedia/photography/reviews/11968.aspx 5 - PhotoPlus 6 http://www.freeserifsoftware.com/software/PhotoPlus/key_features.asp 6 - Photoscape http://www.brighthub.com/multimedia/photography/reviews/12263.aspx 7 - Picasa http://picasa.google.com/mac/ 8 - Picnik http://www.picnik.com/ 9 - Pixia http://www.brighthub.com/multimedia/photography/reviews/12278.aspx 10 - VCW VicMan’s Photo Editor http://www.brighthub.com/multimedia/photography/reviews/12274.aspx Read more: http://www http://www.brighthub.com/multim .brighthub.com/multimedia/photogra edia/photography/arti phy/articles/4488. cles/4488. aspx#ixzz0WL3EHFIX Other useful programs that might be of interest: Jing Instantly Captures Images and Records Video Poladroid Create High Resolution Polaroid-like Pictures from Digital Photos Xee Lightweight, Fast and Convenient Image Viewer and Browser FrameByFrame Stop Motion Movie Creator for Mac
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Utah Arts Council Arts Education Program Grants Artist in Residence Arts Education Projects Teacher Initiated Projects ALL APPLICATIONS APPLICATIONS ARE DUE MARCH MARCH 1 of every year year.. UA UAC C is changing to an on-line application. application. PLEASE call and we’ll we’ll help!
Artist in Residence: Residence: The Artist in Residence Grant provides schools and organizations with the opportunity to have an artist come to their site for at least 40 hours, and more if there are available available matching funds. The hours can be condensed over a two week period, averaging averaging 4 hours a day; or the site might invite an in-state artist to come to the site two hours a week week for several several months until the 40 hours are deplete. The grantee/sponsor grantee /sponsor,, selects the artistic discipline of choice and the artist from the Utah Arts Council’s Artist Roster ( http://www.NowPlayingUtah.org ). The grantee/sponsor grantee/sponsor plans the residency with the artist and the grantee/sponsor grantee/spons or applies by March 1 to the UAC/AE program for an Artist in Residence Grant to be implemented the following iscal year (July 1/June 30). The grantee/sponsor pays for part of the artist’s salary through matching funds submitted to UAC/AE. UAC/AE. UAC/AE pays the remainder of the artist’s salary, and provides funds for artist preparation time, travel, lodging and per diem. The grantee/sponsor also pays for any instructional materials, such as, paint and particleboard for a mural. First time grantee/sponsors pay for 50% of the artist’s salary. salary. Second and third year year grantee/ sponsors pay for 65% of the artist’s salary. salary. Fourth year and beyond, grantee/sponsors pay 70% of the artist’s salary sala ry.. In all cases, regardless of number of years as a success successful ful grantee/sponsor grantee/sponso r, the UAC/AE UAC/AE pays all remaining salary, preparation time costs, lodging, travel and per diem.
Arts Education Projects: Projects: Arts Education Project grants provide provide funds to schools and organizations to do more complex projects than the artist-in-residence. Projects may combine combine more than one discipline, integrate artistic artistic disciplines into other core subject areas, stress professional development development for staff and teachers, facilitate participant created site-speciic permanent work, etc. It is strongly suggested that grantee/sponso grantee/sponsors rs apply in the residency area for at least one or two years before applying for an arts education project. Funds primarily primarily are used to pay an artist or artists and/or artistic companies for their services in implementing the project. project. A small portion of the funds may may be used for consumable supplies necessary for the project. PLEASE see the grant guidelines for a list of components that UAC/AE UAC/AE is unable to fund.
Teacher Initiated Projects: TIP grants provide teachers with $500 to pursue their own adva advancement ncement in a particular artistic discipline through one-on-one instruction with an artist. Teachers Teachers may also use the funds to pursue other opportunities for professional professional development as long as it supports the artistic development of the teacher as artist and/or teacher as arts educator. For on-site technical assistance, brainstorming about your programs and exploring arts education ideas for ALL grant applications, call Jean - 801.320.9794 or email Jean at jirwin@ arts.utah.gov
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NATIONAL NA TIONAL and ST STA ATE ARTS EDUCATION WEBSITE W EBSITES S ·
UTAH ARTS COUNCIL (state arts agency) www.arts.utah.gov www.artseducationutah.org For grants, technical assistance and information about professional development for teachers
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UTAH STATE OFFICE OF EDUCATION DIVISION OF FINE ARTS www.schools.utah.gov/curr/FineArt For ine arts core curriculum and teacher guides, curriculum maps, resource resourcess for teachers in dance, music, theatre and visual arts.
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National Endowment for the Arts Arts Learning grants, due dates, applications, and other information. http://arts.endow.gov
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The Arts Education Partnership (Council of Chief State School Oficers, National Endowment for the Arts and National Assembly of States Arts Agencies) A primary source for research and advocacy advoca cy materials that can be downloaded and shared. (currently in transition) transition) www.aep-arts.org/
· Americans for the Arts (AFT (AFTA) is the leading association in America for local arts organizations.
They have an electronic arts education newsletter that often includes new and obscure funding for artists and teachers. http://www.artsusa.org/ ·
The Kennedy Center ARTSEDGE terriic arts education lesson plans and instructional resources in dance, music, theatre and visual visual arts and multi-disciplinary multi-disciplinary resources. Also has a terriic list of links to other resources in all of the disciplines. http://artsedge.kennedy-center.org/
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Music Educators National Conference (MENC) (for educators) http://www.menc.org
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National Arts Education Association (NAEA) http://www.naea-reston.org
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National Dance Education Organization (NDEO) http://www.ndeo.org
· American Alliance Alliance for Theatre Theatre Education Education (AATE) (AATE)
http://www.aate.com ·
National Gallery of Art http://www.nga.gov/education
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The Getty Museum Teacher resources, lesson plans……. http://www.getty.edu/education/for_teachers/building_lessons/guide
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The Metropolitan Museum of Art (NY) Art history timelines http://www.metmuseum.org/toah/?HomePageLink=toah_l
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CRAYOLA DREAMMAKERS http://www.crayola.com/products/splash/dreammakers/ Utah’s own Mary Wells is the representative for Crayola and she also provides FREE workshops for for teachers/students. Mary can be be reached
[email protected]
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Utah Book Arts Program Highly qualiied artists from the Utah Calligraphic Artists come to schools and offer free workshops workshops to schools in the the book arts. Contact Book Arts Outreach
[email protected]
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Utah PTA arts education grants ($500 maximum) for units in good standing (paid dues and submitted by-laws and membership fees) http://www.utahpta.org/artseducationgrant.htm
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Mr . Holland’s Opus Foundation Mr.. Holland’s Opus Foundation - A non-proit organization dedicated to promoting music Mr through donation of musical instruments to young musicians. To apply for a grant…….g grant…….go o to http://www.mhopus.org
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The Dana Foundation - Arts Education Education Information regarding grants grants procedures procedures and deadlines for arts education grants ... ... To To learn more about current and former Dana arts education grants and grants and ... www.dana.org/artseducation
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Partners in Excellence Through the MetLife Foundation Partners in in Arts Arts Education Education Program, Program, the Guild distributes best-practices guides, makes grants grants and and produces training ... nationalguild.org/programs/partner
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TeachersCount > I’m a Teacher > > Grants Grants. For the Classroom. Art Grants. Classroom. Art . Character Grants Grants.. General Grants ... ... Search Search for the latest classroom and teacher grants or grants or sign up for the monthly Grant Grant ... ... www.teacherscount.org/teacher/grants.shtml
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Teacher Grants: Other The Fund for Teachers Teachers makes makes direct grants grants to to teachers teachers for for summer learning ... ... requests requests for grants from nonproit organizations that focus on art , literacy, ... www.teachersnetwork.org/Grants/grants_other.htm
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Target - Grants Grants For For Teachers Grants For Teachers Grants For Teachers.. » Biz Startup Funding. Grants Grants For For Teachers ... ... Target Target support for the arts includes arts includes grants grants to to make art exhibitions, exhibitions, ... www.grantsalert.com/gsft
UAC.AE.10.09
Key Arts Education Websites (click on sites below) ·
National Endowment for the Arts To direct link every arts council/commission website and staff directories in the U.S. and territories including arts arts education managers: managers: Home page: www.arts.endow.gov
To link to your state’s arts agency: www.arts.endow.gov/partner/state/SAA_RAO_list.html ·
The Arts Education Partnership (Council of Chief State School Oficers, National Endowment for the Arts and National Assembly of States Arts Agencies) One of the primary sources for arts education research and advocacy advocacy materials that can be downloaded, copies and passed out to teachers, administrators, policy makers:
http://www.aep-arts.org/ · Americans for the Arts (AFT (AFTA) is the leading association in America for local arts organizations.
They have a national arts education advocacy campaign underway and are currently inviting individuals to respond to NCLB by advocating for the arts. There executive director, Bob Lynch spoke at the NPTA NPTA’s arts luncheon in Phoenix. Their arts education person perso n is John Abodeely. Abodeely. AFTA http://www.artsusa.org/ To have input about No Child Left Behind and the arts: http://capwiz.com/artsusa/issues/alert/ http://capwiz.com/ artsusa/issues/alert/?alertid=8912656&type=ML ?alertid=8912656&type=ML.. ·
For information about the new National PTA Relections categories, Utah has a 10- year history with that in dance, theatre and ilm video. Utah PTA PTA’s current chair is Patsy Chandler (she was at the Phoenix session). The Utah Arts Council and Utah PTA PTA also started PTA PTA’s own arts education grant program program for grants to schools with local units in good standing. Utah PTA’s PTA’s website websi te is:
www.utahpta.org
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Professional Outreach Programs in the Schools Statement of Purpose Professionall Arts education groups provide opportunities for students to develop and use the knowlProfessiona edge, skills, and understanding speciied in the Utah Fine Arts Core Curriculum. Introduction to POPS The cultural richness of the state of Utah allows valuable and otherwise unattainable educational opportunities in the arts for students and teachers. These instructional services are driven driven by the core curriculum and assume the forms of inservice for teachers, workshops for students and teachers, educator modeling, peer tutoring with teachers, integration of the arts, performances, and enhanced arts instruction and applications. Objectives 1. Enhance State Fine Arts core curriculum instruction through school visits and in-depth educational services 2. Collaborate with USOE, each other, and the school community in designing, implementing, and continuously evaluating evaluating these professional services relativ relative e to the desired outcomes for students and teachers. 3. Offer services to all forty districts in a balanced and comprehensive way way within each discipline over a three-year period including every school within a reasonable time frame through coordination and planning with sister organizations in the respectiv respective e disciplines.
POPS Organizations and Programs BALLET WEST Ballet West is committed to providing providing quality educational programs that allow teachers and students of all ages to experience the joy and magic of live ballet regardless of inancial or geographical barriers. I CAN DO: This program, an acronym for Inspiring Children About Not Dropping Out, offers ifth-grade students a hands-on dance experience with a six-month six-month residency and a year-end performance, as well as opportunities for further training and involvement. involvement.
Ballet West for Children: Designed for all levels of Elementary and Secondary students, this program affords students the experience of a fully-produced fully-produced ballet performance in a theatrical setting. Ballet West In-Theatre In-Theatre Performances: This lecture demonstration is designed to give elementary school audiences an introduction to the art of ballet as well as address key dance core curriculum and life skills concepts. First Look: This program provides High School students the opportunity to attend full-length ballets and Repertory programs, programs, with discussion held throughout to enhance the learning experience. For more information contact: Peter Christie 50 W. 200 S., Salt Lake City, UT 84101 Phone: (801) 323-6911 E-mail: pchristie@balle
[email protected] twest.org www.balletwest.org 141
REPERTORY DANCE THEATER RDT has over 40 years of experience developing and performing AIE activities. We We feel that it is important to offer activities that serve individuals, schools, districts and communities and develop community partnerships that can share resources, ideas, facilities, and funding to meet the educational needs of Utah’s students and teachers. • Performances: Students are inspired by seeing professional excellence that offers a unique perspec tive of the world • Movement Classes: Students experience the joy of moving, creating, experimenting, achieving and growing • In-Service Workshops: Teachers develop skills to use movement as a tool to enhance learning. • In-Depth Residencies: Students/teachers and administrators gain skills to help them integrate dance into the life of the school and expand learning possibilities.
For more information contact: Linda C. Smith P. O. Box 510427, SLC, UT 84151-0427 Phone: (801) 534-1000 E-mail:
[email protected] www.repertorydance.org RIRIE-WOODBURY DANCE COMPANY • Step Lively: Six two-week residency programs in elementary schools consisting of: a lecture dem onstration and a student performance for the whole school, core classes for students, a parent-chi parent-child ld evening, and a visit to a fully produced show at the Capitol Theatre, all offered by Company dancers. Single lecture demonstrations are available. • Step Up: A pre-professional program for high school students considering dance as a career or major. It meets bi-monthly for 3 hours on Saturdays. • Step Out: Choreography by Company dancers for high school dance companies, consisting of at least 15 hours of choreography to produce produce a dance work to be used on the high school concert • Move-It Summer Workshop Series: 2-Day Young dancer workshops for high school or middle school students, 1-Week Teacher Development Workshop, 3-Week Workshop for Aspiring Professional Dancers • Rural Touring: Tours to rural communities organized with two other modern dance companies to cover the state every three to four years. • Ininity: Free teacher workshops aligned with Capitol Theatre performance. •Step, Hop, Jump: Classes for young children. For more information contact: Shirley Ririe & Gigi Arrington 138 W. Broadway, Salt Lake City, UT 84101 Phone: (801) 297-4241 E-mail:
[email protected] [email protected] www.ririewoodbury.com 142
SPRINGVILLE MUSEUM OF ART As the host of the StateWide Art Partnershi Partnership, p, the Springville Museum of Art enthusiastically supports art education by providing varied resources and educational materials, both in-house and throughout the state of Utah, for teachers and students alike. • Evenings for Educators: Held at various locations in the state throughout the school year, featuring keynote speakers speakers and hands-on workshops to help teachers integrate integrate art into their curriculum. Lesson plan packets and USOE recertiication credit are also available. • Art Talks: Certiied art educators visit schools throughout Utah and provide workshops for students and teachers of all grades. • All-State High School Show: This annual juried exhibition displays displays over pieces from high school juniors and seniors in every school district in the state. Entrants may may receive scholarships, scholarships, cash prizes, and an invaluable opportunity to display their work in a professional museum environment. • Portfolio Day: University and College representatives from across the state and beyond are invited to come to the Museum to meet with High School seniors to discuss their portfolios and scholarship opportunities. • Museum Tours: The Museum offers docent-led tours for groups of up to 60 people visiting the Mu seum; our docents are expertly trained trained and can tailor a tour to your groups needs.
For more information contact: Virgil Jacobsen & Jessica Weiss 126 E. 400 S., Springville, UT 84663 Phone: (801) 489-2727 Email: vjacobsen@smof
[email protected] a.org
[email protected] www.smofa.org
TANNER DANCE The Tanner Dance Program, a seventy-two-year-old, nationally and internationally respected arts organization, organization, is an auxiliary of the College of Fine Arts at the University University of Utah and member of the Youth Arts Division, a coordinating body representing all university arts programs—academic and professional—that professional—that provide youth arts education and professional development. • Professional Development: Tanner Dance offers a variety of professional development delivery mod els that are proven to have a profound profound impact on the ways educators teach. Workshop options vary in length from a week long to a full year, in addition to an Ininity Model workshop. • Performances: The Visions of Children program, presented to an entire elementary school, is de signed to introduce students and teachers teachers to the elements of dance. In addition, special School MatiMatinees are held at the Capitol Theatre and throughout the state during the school year. year. • School Residencies: Schools with a irm commitment to arts in education may participate participate in the Side-
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by-Side Dance Residency Program. Tanner Dance also offers a variety of short-term in-school residencies as well. For more information contact: Mary Ann Lee & Rebecca Meadows 1901 E South Campus Dr., Rm 1215, Salt Lake City, UT 84112 Phone: (801) 581-7370 or 585-9111 E-mail: MaryAnn.Le
[email protected] [email protected] [email protected] www.tannerdance.utah.edu
UTAH FESTIVAL OPERA COMPANY When can students dress like monkeys monkeys and sing like them too? When they are performing an original opera they created themselves! Teachers Teachers across the state of Utah have found a unique tool to use throughout an entire school year to bring unity, unity, self discovery and enthusiasm for learning in their classrooms. classroom s. Utilizing the Utah Festival Opera Company’s Opera by by Children program students them selves lead the imaginative imaginative development of their arts project; writing, drawing, singing, acting and dancing their way through the creation of a new opera work while directing their own learning not only in all the art forms but also in language arts, social studies, science, math, reading and in life skills development. For more information contact: Susan Ames & Pam Gee 59 S. 100 W., Logan, UT 84321 Susan: (435) 750-0300 xt118 Pam: (435) 750-0300 xt126 E-mail:
[email protected] Susan:
[email protected] [email protected] g www.ufoc.org
UTAH MUSEUM OF FINE ARTS The UMFA offers a variety of programs and tours aimed at sparking curiosity and creativity for students of all ages. We hope you and your students join us today and dive into a wonderful world of art and adventure! • Art-in-a-Box: An outreach program that gives the Utah Museum of Fine Arts an opportunity to of fer visual arts education training to teachers and the resources to transform their classrooms into art studios and provide students with hands-on art-making opportunities. • pARTners: the Salt Lake City School District supports this art appreciation program for all fourthgrade students. The program includes two class visits to the Museum each year year,, and two curricula related, in-classroom presentations by Museum Docents. • Teacher Resource Center: loans museum objects, reproductions, DVD’s and videos, free of charge, to educators for use in school settings.
For more information contact: Megan Hallet 144
410 Campus Center Drive, SLC, UT 84112-0350 Phone: (801) 585-7190 E-mail:
[email protected] [email protected] ah.edu www.umfa.utah.edu UTAH UT AH OPERA OPER A Utah Opera invites people of all ages to explore and share the emotion and expressiveness of opera— its music, drama, dance and visual arts. • “Music! Words! Opera!”: Teachers Teachers attend a week-long summer workshop, and then guide their stu dents through a year-long process of creating and producing and original opera. • Opera-tunities: Opera-tunities: Secondary high school students attend inal dress rehearsals rehearsals of all mainstage operas in the Capitol Theatre. • Introducti Introduction-to-Opera on-to-Opera Assemblies: Utah Opera offers three different assemblies with demonstra tions of arias and scenes by professional professional opera artists.
For more information contact: Paula Fowler & Beverly Hawkins 336 N 400 W, W, SLC, UT 84103 Paula : (801) 869-9090 Beverly : (801) 869-9092
[email protected] [email protected] www.utahsymphony.org
UTAH UT AH SHAKESPEAREAN SHAKE SPEAREAN FESTIVAL • Shakespeare Competition: a two day event where students perform Shakespeare monologues, monologu es, duo scenes, ensemble scenes and dance pieces which are coached and adjudicated by professionals. professionals. • Shakespeare-in-the Shakespeare-in-the-Schools -Schools Touring Touring Productions and Workshops: The Festival Festival presents a fully-moun fully-mounted ted production of a Shakespeare play for schools throughout the state of Utah. • Shakespearience: The Festival provides opportunities for students to attend performances of plays within the Summer and Fall season. a backstage tour workshops are also provided for the students. • Bard’s B-day Bash: Held over over two days, the Festival provides elementary students with the opportu nity to celebrate Shakespeare’s Birthday by presenting their own scenes, observe other schools per formances, dance the maypole, attend improvisation improvisation and text workshops and have cake with Queen Elizabeth. • Playmakers and Playmakers Performances: The Festival Festival teaches theatre to students ages 6 - 18 18 through a series of performances and workshops which vary in length from two week to eight week sessions.
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• Theatre Methods for the Classroom: The Fes Festival provides workshops and in-services for educators. Teachers are given teaching strategies that incorporate creative dramatics within their curriculum. • Elementary Shakespeare Showcase: Elementary school groups that have successfully performed Shakespeare’s plays at their school are selected and invited to perform on the stages of the festival during the summer season.
For more information contact: Paula Fowler & Beverly Hawkins 336 N 400 W, W, SLC, UT 84103 Paula : (801) 869-9090 Beverly : (801) 869-9092
[email protected] [email protected] www.utahsymphony.org
For more information contact: Michael Bahr 351 West Center Cedar City, City, UT 84720-2498 Phone: (435) 865-8333 E-mail:
[email protected] www.bard.org
UTAH UT AH SYMPHONY SYMPHO NY Utah Symphony invites people of all ages to explore and share the emotion and expressiveness of symphonic music. • Performance Opportunities: Salute to Youth gives select students the opportunity to perform as soloists with the Utah Symphony, while the All-Star Evening Evening gives high school students the opportunity to perform side-by-side and as soloists with the Utah Symphony. Symphony. A high school choir performs in the December family concert wach year. • Concerts: Concerts : Fifth graders are are invited to hear the Symphony perform in Abravanel Hall, while concerts held throughout the state give students the opportunity to experience a professional symphony performance. performance. On Autism Night, the Utah Symphony and Utah Opera performs for autistic children and their families in the Capitol Theatre. • Music Outreach: The Utah Symphony Guild gives free violin lessons to interested students. The Youth Guild gives students performance, education and service service opportunities. Teacher workshops give give teachers skills they can take back to their classrooms.
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