The Visual Arts as a Partner Bridging Classrooms: a Cross-Curricular Approach Dustin Hoon

1. The Visual Arts as a Partner Bridging Classrooms: a Cross-Curricular ApproachDustin Hoon

2. Schedule of events Feb 26, 2009 • A 3-Hour Workshop By Dustin Hoon • Power Point Presentation : Academic Achievement: • 15 minute break • Power Point: Puppets, Mythology, Masks • 15 minute break • Acquire Materials • Create Shadow Puppets • Please Remember: Questions are always welcome.

3. RATIONALE FOR REACHING OUT WITH VISUAL ARTS • Art educators often find themselves in the position of defending their discipline and official curriculum in public school district, even at the national level.

4. Many in the art educational community believe, that the arts can measurably improve student achievement in core content areas. This assertion may stem from the defensive position that art often finds its self in. • Visual Arts • Academic Achievement

5. Educational researcher Elliot Eisner has considered the wider question of effective assessment and evaluation in schools and the impact that the arts have. An advocate for the arts , Eisner has of late researched the claim that the arts are directly related to improved academic achievement and found that the larger body of evidence may not support this • Educational researcher Elliot Eisner has considered the wider question of effective assessment and evaluation in schools and the impact that the arts have. An advocate for the arts , Eisner has researched the claim that the arts are directly related to improved academic achievement and found that the larger body of evidence may not support this

6. The Big Question: • Assuming that he is correct, is the question of art’s positive influence on academic achievement even relevant? How can the arts operate in a cross-curricular fashion, and why should it, in light of Eisner’s findings?

7. MISCONCEPTIONS CONCERNING A CORRELATION BETWEEN THE ARTS AND ACADEMIC ACHIEVEMENT IN CORE CONTENT AREAS I. How do we justify art in education? A.) Perceptions of the arts in American Public Schools: • Educational researcher Elliot Eisner asserts that: since many states don’t require any certification in order to teach art, many find the subject less important. Many wonder how core content areas e.g. Math, Science, English, are improved by the arts. Courses taken do not necessarily ensure a quality art experience (Eisner, 99)

8. Elliot Eisner http://ed.stanford.edu/suse/news-bureau/educator/spring2004/pages/eisner-awarded.html

9. B.) Looking at two studies that illustrate Eisner’s point: Eisner’s Meta Analysis Research in the Arts 1986-1996 (experimental if possible) correlational not including advocacy essays all studies chosen were in refereed journals: • Sherry DuPont studied targeted populations of 5th graders in need of improved reading standardized test scores. The design of the experiment provided the experimental group with a creative drama unit. “The program proved effective at the .05 level.” The population was compared to two other groups not using creative drama. Note: this was not a study that subjects random populations of students. The results of the study are limited to like populations.

10. C.) Study: Lufkin, Richard The School Mind: Do the Arts Make a difference, (1992-93) • Second study 1993-94 • Study Program called SPECTRA • Influences: self esteem, art appreciation, academic achievement, creative thinking. • Academic achievement: total reading score, reading comprehension, reading vocabulary, total math score, math comprehension, and math application. • NO significant difference in academic achievement, but differences among gender and in creativity and math scores, but no significant difference.

11. D.) Problems • 1. Transfer of learning is evidenced only in narrow scope. • 2. Anecdotal reports used for advocacy without much empirical support. • 3. Few studies have pointed to a correlation between art and academic achievement

12. E.) Solutions/Possibilities Perhaps experiences are just as important as academic achievement. Research questions should be developed around the following concepts: • risk taking • hard work • motivation • improve retention rates

13. These qualities and possibilities may be served by incorporating integrative lessons that combine art with classes in other content areas, by exploring the connectivity of the arts such as: dramatic performance, historic dialog, scripted language, multimedia, and the construction of knowledge.

14. Are the visual arts important on their own? • Even if research doesn’t show statistical significance, the results may be educationally significant • Need a theory that links experiences in the arts with improved aptitudes and skills not necessarily academic achievement in other courses.

15. What really matters: the arts encouraging meaning In light of this evidence, how do we then appraise an arts program when many studies are looking for performance in other areas and the effect the arts may have on those areas?

16. II. The arts are an area in and of themselves. If we defend the arts by claiming that they improve academic achievement in core content areas, we have diminished the arts, made them subservient. What happens if that cannot be proven or if another program or discipline claims the same thing and is accepted? (Eisner, 99)

17. A.) What the Arts Teach: Eisner’s Three Levels/Tiers • Arts-Based outcomes of arts education • Related to the subject matter and curriculum goals for assessment • Perceptions and discourse unique to the arts 2. Arts-Related outcomes of Arts Education • Perceptions/comprehension of features in general environment

18. Eisner’s Tiers Continued • Formal analysis of nature as opposed to formal analysis of artistic convention and tradition. Tree vs. Matisse 3. Ancillary outcomes of Arts education • Outcomes like the effects of art education on student achievement in other content areas.

19. B.) Eisner expands on his outcomes to be measured by the arts: Eisner’s Four Outcomes to 1st and 2nd tier Arts Rationale • Students acquire a feel for what it is to transform feelings and thoughts into an art form. Processes and tactile experiences are helpful in understanding the creative journey while making and constructing a product or realizing a concept.

20. 2. • Students should: refine awareness of aesthetic qualities in art and life • Develop an aesthetic frame of reference to see and hear. • Articulate reasons for the preferences, in understanding what they like and why.

21. 3. Connections: Connection between the content and form the art takes, and the time, context and culture in which it was created. 4. Dispositional outcomes: imagination, thinking outside the box, prolonging conclusions so you can look at multiple perceptions from varied perspectives. Not thinking in Black and white (Eisner,99).

22. Can You Think of Some Positive Outcomes for Cross-Curricular Activities ? • Continuing life-long learning by working with other educational professionals • Strengthening bonds between colleagues • Giving students multiple avenues for success and self confidence • Demonstrating the relationship and interconnectivity between philosophies, disciplines, analyses, and processes of thought (breaking down barriers)

23. Puppetry: combining literary arts and the visual arts Puppet Show Pandemonium

24. Shadow Puppetry Muliticulturral Art Children and Puppetry Shepherd Puppetry

25. Chinese Shadow Puppetry Puppeteers How are the stories unique?

26. Potential Grade Levels: 7-12 • Objective: Students will imagine a series of characters, creatures, and environments in order to compose a puppet show to be conceptualized, constructed and performed for a live audience. Students will group up to conceptualize and create. The show will be recorded for future viewing. The instructor has the option of assigning an environment and time period for the puppet play; or, the groups can develop their characters and scenes separate from each other. If groups choose the latter they will create a much more loose and disjointed play. The option to collaborate with the 7th or 8th grade English Teacher is also available. Another class can write the material while the art class produces and performs the visual component. The possibility of enlisting the help of a 5th or 6th grade homeroom class may prove beneficial to both age groups. Consider the option of incorporating a local story from an indigenous population for a multicultural opportunity to challenge stereotypes. All of the options will ensure a lively project, but the disjointed play will seem challenging by comparison.

27. POSSIBILITIES: • Students may choose a script by a master playwright from the past or contemporary times, acting out specific parts that they choose. • Students may choose a particular artist or personality to research in order to create a question/answer talk show. Each student must develop at least 5 questions and provide answers to these questions so they might be woven into the finished program. • Students may develop an infomercial or commercial that features a product, salesperson and catchphrase/slogan.

28. Duration: due to the differences in class times classroom period length may alter the schedule. Fourteen days of preparation may be required. Production and performance may demand more time. • Methods: • Day One: • 1. The instructor will demonstrate examples of puppets and scenes to the class. It is important that the students are aware of the materials at their disposal. This will help them envision their product.

29. Day One: • 2. Students will break up into groups of 4 to 5 individuals (at teacher’s discretion). Students are instructed to come up with puppet characters and props within their respective groups, i.e.: Group one will come up with a protagonist and friends, group two an antagonist and friends, group three an environment and scenery, group four a series of creatures and curiosities, and group five will devise a limited group of commoners or extras.

30. Day Two: • 3. The students are asked to provide a drawing of their characters and scenery; they must demonstrate how the puppets and scenes are to be constructed. They must create personas and characteristics associated with their characters or scenes. Students will then begin to draft dialog in their sketchbooks associated with their projects. • 4. Note: Students must have a clear understanding of the time constraints governing the project, so as to remain on task. A calendar may be helpful.

31. Day Three: 2. Groups will reveal their ideas to the entire class in order to effectively link the separate characters and themes into a cohesive story line. 2. The instructor will facilitate the weaving of separate group themes into a linear storyline. This process has the potential to be the most exciting and the most challenging likewise. Note: the teacher can take the various characters and themes into account while editing the first draft of the script. This can be achieved by: Requiring each group to feature their characters and scenarios, while recording all thoughts on paper or on a word processor in class. Creating a group storyboard that each group fills in while the various themes are revealed. Asking each group how they envision their characters relating to each other and drafting the majority’s concept of a complete story.

32. Days 3-7 1. Students will gather materials and construct their puppets in the form of hand puppets, marionettes, stick puppets, or some amalgamation of each. 2. Students will sculpt, paint, and otherwise decorate their puppets. 3. Students will consider the capabilities and limitations of their puppets in order to devise a stage for the final performance.

33. Days 8-14 1. The instructor will assign the groups tasks associated with the creation of a stage that conceals the puppeteers and accommodates the various types of puppets. 2. Students must take into consideration the size of each puppet and how these puppets will relate within the confines of the stage (to be constructed).

34. 3. Group responsibilities will include • Measuring the set and gathering materials: cardboard, felt, adhesive, stools etc. • Constructing the set (two groups can work together on this while others perfect puppets. • Preparing promotional material for the show. • Covering crowd control i.e. sound management, prop placement, narration, set changes, etc. • Reviewing the guidance, direction, and instruction of the instructor. The teacher will film the performance.  • Students will be graded independently based on: participation, ingenuity, focus, creativity, behavior, puppet building, craftsmanship, and professionalism. • Note: Often art teachers will include behavior into the overall project. Consider evaluation behavior on a separate rubric that does not damage the creative process, yet operates as a tool for the recording and management of behavior.

35. Materials: • Materials: • A tripod • Lights • Microphone • Every building material under the sun: cardboard, fabric (felt), foam, aluminum foil, clay, plaster, acrylic or tempera paint, beads, wood, plastic, plaster-cast, papier-mâché, brushes, markers, gloves, glue, staples, tape, spray paint, metal, paper, fasteners, tools (wire cutters, screwdrivers, pliers, hammers and so forth.

36. Shadow Puppetry Rationale: • Consider the many ways in which a student may experience great literary works or historical context of particular content. Shadow puppetry is an art form that is in use now and has been present in Anatolia, South-East Asia, Asia and the Asian Sub-Continent for hundreds of years. This medium is versatile in terms of what connections it is capable of making between geography, history, multiculturalism, language, writing, media literacy and performance. The shadow puppet show can be as complex or as simplistic as time and effort affords.

37. East Meets West: Artistic Sensibilities

38. OBJECTIVE: • Players (students) will develop/use a script using contemporary or regional/historical content in the context of the eastern shadow puppetry.

39. Objectives Continued: • Players may enjoy the anonymity of puppetry while letting their imagination break free of the restrictive confines of self-image and peer pressure. • Players will create a shadow puppet that is decorated and designed with their script in mind. Players will perform in front of a video camera, with their puppet and in line with the script.

40. POSSIBILITIES: • Students may choose a script by a master playwright from the past or contemporary times, acting out specific parts that they choose. • Students may choose a particular artist or personality to research in order to create a question/answer talk show. Each student must develop at least 5 questions and provide answers to these questions so they might be woven into the finished program. • Students may develop an infomercial or commercial that features a product, salesperson and catchphrase/slogan.

41. MATERIALS • One large role of newsprint or relatively transparent paper 48” x 72” approximately • Drawing and coloring tools: markers, pen, ink graphite, • Exacto knives, Scissors, Replacement Blades • Masking Tape, Glue sticks, Hot Glue, Wire • Two tungsten lamp stands • Two vertical poles that anchor to the floor or prop on a horizontal surface to attach the transparent paper to • A camera tripod and video camera • Optional: digital imagery software i.e. Widows Movie Maker, or Macintosh’s I-movie

42. MASK-MAKING: INJECTING HISTORY AND LITERARY EXPRESSION

43. OBJECTIVE: • Explore other personalities through imagination. Visualize how a developed persona might act, speak and move. Develop masks and experience 3D medium of sculpture. Perform dialog for camera.

44. METHOD: • Expose students to mask making throughout history. Ask student to conceptualize their finished mask and how it will be designed. Provide ample examples. Instructor may design mask along with students.

45. Evaluation • This exercise is an assessment tool. Instructor discretion is necessary. (Points Variable) • Note: Often art teachers will include behavior into the overall project. Consider evaluation behavior on a separate rubric that does not damage the creative process, yet operates as a tool for the recording and management of behavior.

46. MATERIALS: • Papier Maché, plaster, plaster casting, glue, acrylic or tempera paints, brushes, cardboard, 10-12 gauge wire, newspaper, and numerous drawing media. Digital Camera

47. Programs For Digital Manipulation of Film or Moving Imagery: http://www.microsoft.com/windowsxp/using/moviemaker/default.mspx http://www.apple.com/support/ilife/tutorials/imovie/

48. EVALUATION: Did the student develop a persona? Did the student complete a mask? Did the student consider the elements of the mask practically and symbolically? Did the student perform the function of the persona in front of the camera or peers, did the student write a brief indentifying their persona while contemplating: • Who they are when they wear the mask? • How they feel when they wear the mask? • What or who is the mask? • What is the mask capable of?

49. PLEASE CONSIDER When Devising a Rubric: • Composition & Character Development *see above criteria • Creation of Masks *see above criteria • Performance Dialog & Analysis

50. Using Myth, Folklore, and legend as a Catalyst for Collaborative Creativity. • Greco-Roman Myth • Native American Myth • Hindu, Chinese, Indonesian Mythology: • Shadow Puppetry • Making Cultural Connections • Establishing that Myth doesn’t necessarily mean fiction or untruths