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AUTHOR Marschalek, Douglas, Ed. TITLE Multicultural Education and the Arts. INSTITUTION Wisconsin Art Education Association, Madison. PUB DATE 90 NOTE 41p. AVAILABLE FROMSpectrum, Journal of Wisconsin Art Education Association, Art Department, 7231 Humanities Building, 455 North Park Street, University of Wisconsin-Madison, Madison, WI 53706 ($8.00). PUB TYPE Collected Works - Serials (022) JOURNAL CIT Spectrum; v2 1990

EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Aesthotic Values; *Art Appreciation; *Art Education; Art 1:kpression; Cultural Activities; *Educational Philosophy; Elementary Secondary Education; *Enrichment Activities; Fine Arts; Handicrafts; *Multicultural Education

ABSTRAC: This issue os Spectrum contains six articles devoted to the theme of helping teachers devellp multicultural teaching methods by examining the relationship ,f art, culture, and art education. In "Multi-cultural Art: A Learning Process," Linda Kreft addresses the problem of cultural biases that children acquire over time. Patricia Stuhr in "Wisconsin's Native American Visual Art" presents a rationale for studying the art of other cultures, in particular the art of Wisconsin Native Americans. The third article, "Chicano Murals: A Continuing Cultural Tradition" by Ronald Neperud and Rochelle Robkin outlines the communication ftinction of murals in Chicano society. In "An American Art Teacher in India: Educational Travel as a Cultural Resource," Vicki Samulyk describes India's educational system and the events and philosophies that shape art education in another country. Richard March's paper, "Close to Home and Close to the Heart: Exploring Folk Arts in Education," profiles three Wisconsin folk artists. The final paper, "Art, Culture, and Vital Issues: A Middle School Art Program" Ly Rae Prescott, describes a middle school art program that fosters team teaching, student iper-teaching, and an interdisciplinary approach to cultural learning. (KM)

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2 BEST COPY AVAILABLE Editor Douglas Marschalek Editorial Board Kent Anderson David Baker Katherine Belling Virgilyn Driscoll Susan Goodney Randy Hopkins John Jacoby Leslie Nelson Martin Rayala Bill Schulman &cram Jane Jones CONTENTS Art Elvehjem Museum of Art Helen L. Allen Textile Collection Volume 2.1990 Kohler Arts Center 3 Patricia St uhr Art and Culture: The Tree of Lip. Ronald Neperud Douglas Marschalek Doran H. Ross Vicki Samolyk Multi-cultural Art: A Learning Process. 4 Financial Contributors SPECTRUM is partially funded through Linda Kreft contributions from Sax Arts and Crafts; Shorewood Fine Art Productions: Naseo: Wisconsin!s Native American Visual Art. 9 Dillman's Lodge; Seymour Davis Seymor: Arehitects-Engineers. Inc.; and Senator Patricia L. Stuhr i. Kohl. SPEC IR 'M is published by the Wisconsin Chicano Murals: A Continuing Cultural Tradition. 17 Art Education Association and can he Ronald W. Neperud & Rochelle Robkin purchased for VW) from: SPECTRUM. Journal of Wisconsin Art Education Association, Art Department. An American Art Teacher in India: Educational Travel 24 7231 Humanities Building. 455 North Park Street, University of Wisconsin-Madison, as a Multi-cultural Resource. Madison, Wisconsin 53706. Vicki Samolyk

Close to Home and Close to the Heart: 29 Exploring Folk Arts in Education. Richard March

Art, Culture, and Vital Issues: A Middle School Art Program. 35 Rae Prescott

Cowr Kimono; Japan; late 19th-early 20th century; silk; woyen, creped. vat dyed, paste resist ty Limn). and Painted: blues with multicolor designs. red lining. The subtle coloration in the fish and wisteria contrast with the bright blue ground to create an elegant impremion. .1. he long sleeves indicate this is a furisode or formal kimono worn by a young woman.

-2- Indian. (:hicano. and Folk artists should not be excluded from the respectively. Pat Swill. provides a analysis of the physical appearance historical context for tmderstanding of the object. If this is done with three types of Visconsin Indian art depth. then thc second approach forms vhich are produced today. becomes the approach. In this ap- Let's start in our own backyard withproach. the art objects are studied the first peopk of Our state. Ron in a cultural context. The reason fin Neperud and Rochelle Robkin a certain ctudiguration of design, delineate the social function of use of color. or !Unction of the ob. Chicano murals. highlighting muralsject. are rooted in the fabric of the found in Los Angeles which have culture. This occurs here because... relevance to most Chicano cow- This is a study of cause and effect. Inunits. Richard March profiles \Ve must begin to examine art of three Visconsin folk artists. their both Vestern and Non-western personal history and descriptions of-countries. with equal weighting. their specialized forms of art. equal intensity. cymal interest. and Each author reveals a particular equal investment of time. For exam- function of art within a social and ple when teaching about painting. cultural context. Personal or world the same level ()I involvement should events. materials. techniques. educa-be placed ill the study of japanese. tion. tradition. values, needs, sense Chinese. Iiichiaii. or Aborigines art tof beautY. and PhilusuPhy 'If a Par- as that of abstract art. pointalisiii . ticular time influelav the making ofimpressionism. or colon. theory. art and determine the role of the ar- There are many themes that elloss tist in society. They advocate the different periods of art and cultures. study of art beyond formal analysis.each is interpreted in a unique man- that is lo come to grips with why ner by artists. For example in most the art object is created, who isit cultures. artists have produced made for. how does it truly functitmworks of art that illustrate the at a particular time in the lives of universal theme 'the tree of life'. In This issue ot Spc-truni examines people. and vhat is the special placeRoger Cook's book. 71w Tfri ul hit the relationship Of art. culture. atal of the visual artist in society. (Avcm Books). vc can scc how ar- at education. ()Ia. of the niissions Understanding the context in whichtists have interpreted anct symboliz- of lilt' 111.1V1(It' works of art are created is para- ed this theme from early humankind Of 11() Icachur drytqui) (UI- mount to irl? lath InterpITI11144 WOrkS to contemporary tittles. from the lit11111111. and peciaguw.ill of at. hands of vestern and iloil-Wt'stcill tilticatkm. Linda \\lien reflecting on the instructitmartists. Obiec t. ciriitutals. plants. and K.reft provide. an exemplary model of art. two Major uthicepts oofteii people are organized in a tree like t)j tiltural ait education in .1 lot in part of a rationale fiir teachingconfiguration to express balance step-by-step prt )cess. from art: I) art reveals all forms of within Ow universe. Those things generalizations. to concepts, ((intent.human experienc('. and 2) the sttalvessential and mcaningfill that pro- and instill( tional materials. Rae of art aids in our understanding of duce harmony in the universe are ott shares insights of licr mid- the world. In order to teach these expressed: philosophy. myth. t reit- dle sc hool art program hit 11 Ittltr concepts. a true perspec tke of the tam. values. mysteries. Wain Ira( 11111:4. ptvi- art world must Im}tilt\ ided to oul truths. eolith( I. and ideals. The ;tit tcat 1111114. aliti all illitltlim11)1111.11 students: \Vestern and Non-\Vestern( urri:ulum tan be, in a appl'oa( 11It) (1111111A ical111111.4. ki art. Ve t an approach thc study o1 metaphorical sense. a Tree ofI ate. Samolvk illuminates the important e these two t ins in two (lifferent Onr teat hing must retie( tIde and tra\ el to broaden onc's base of avs: I1 search for commonalities allillIts bruadvI klio ledge and (Aperient (..I ler among works tot 111)111 dinull'111 des( ription of Indio's (lila ational t 1111111"0:.;()I2) examine the par- stunt. tl cm. v% Iiit ii shape edit( .0- ticulars (of the t ulture in relation no tional poll( V. (eat hint; tnethodolog. their art. Vliat are the ramifit adults and ailt onlent prm ale us \ er\ of each apploat h.' \Viten comparing tfittcrent sense ol \\ hat general works of art from differentt ultures (lint ation and art edut ation Is to which possess similar strut lure. col- hildren in .0 differentc ithure. o form o theme. a universalit tt .\ semnd locus of the journal is tothe (read\ e spiritis revealed. Vet enhance (inc., knowledge of art in .1 when (ink the ph\ sit al :ippealant ( ultural t ontexi. Pat Stiihr. Ron of the art ()Heel «impared «in- Nep('rnd and Rot hull, IW)kin. and tl.:isn't!. the meaning of the objec t hard Mart ii delineate the (then not apparent. or the real cle\ elopincin. sot jai ieltAant . and meaning may be un ()rye, tk hurt educ ational unpot 1.1111 e of \\ 1st onsin pleted. The meaning of the obi 1 I education to the broader and more general goals ol inulti-cultural edut (Cullins,1 117(0. Thu following multi-cultural goals are taken from Tht. States Prepares fin. its Future: Global Edult al jun. Report tl tile Study Culiallissioll in Educatiun ( 1987),

1. Know ledge: examinadun ut a variety (II hnth paq alld present, at home and abroad, and knowledge of the t(lols (i.e.. con- "1") t" "ITV "In 111.11 VIE t%xaminatimr, knowledge uI histurv, the arts, and literature of mil. own and utile!. vultures: knowledge ut the bask attics ex- pressed in our natiun's eumloillic. and social institutions. 2. Language: communication skills, including '1* awareness of and Li3preciation tor language other than English: age° I multiple language competencies Arsivir within cultural COMVXIS. (e.g.: The word hatukvim comes from the Akan language meaning royal do not trarlslate - tuhnilsb.:1)11'lLi. Vc

3.(;eugrapily: kmAyledge basit physical and cultural geography. Ve must teach the dynamit nature ut ultures. Tit, tnitruun cultures the 1)juka. the Saraillaka. the Mata\ai. the Runi, the l'aramaka and the kwinti - e ill the present «mil- u nit In al.11 I try uI Suriname. Smith Anlerit .1. de\ (.1(9). students' During the mid-seventeenth ten- aw at enc.., and t In.v, the ant Vst()I's (11 (hest. pe(ple untiei standi nu, nt alt VS( ap('d 111)111 Ille plalliali" *IS SU011 thatI'sIIIII(111(' alter their IlTiVal fit till VeSl shal I'd at Inss .\lrit .1 and !led intu the tUrested ultures, and um \sal nt all interim. (11 the arid

kultinesC(1lttnal leattung is a plo- deVellyed ) t es, whit It in\ ok es students nt stiategies that \\ill lead them to I. (dolial [Atria( dist (Art and undetstand 14ent.1,111/a- introdut (ion basitt ont tins HI t.t)Ils and ( Inn Ci)ts that !date tt) sot ial stitches., stich as lii- sit:Jut-a ant inch\ ttlii.ii. sut tetal. and (11111il I. (

en\ nullillental ideasI he 1111 and perSpeCti\ CS: 0 pultant Idttnal ait li«' ills()( nun edut attun is the student,de\ clip- skills, int luding «mperati\ e learn- mem ut ()penile., tu whet peuplt ing, methuds ul listening and luuk- Genctah/anuns nd t uin,t pts ( an bt ing at dlings trmil anuther puint

d1.1.n (Its( ittlines hi ie\, that lay the gruntid111.1. ptIP id( means tut telatIng .11 1 1m denim rad( ductsiml-inaktllg. 5 -4- 5. Values: ating. activities that lilt 3.vit.\\ ,-niturt. as dynanne rather hat IsInds III

(if bulli the than slant. (3) Isno ledge, thinking, student's t)\\11 and those of othur 1)11 lerent factors (i.e., pcoplc. understanding, and peoples. plilet's, and cvunts) oft., Iiht, skinsmild one \\ ;MI deselopment of a unhurt. in dd.- SIUdelllS It) acquire iii , Ill'(t1 Ow pH)- letent \says. The dynamit 11;11111'e it'arI111112, abt)(11t he arl 4 IHeins 111 cle\ eloping td t tilt tin' and the elle(t hat it (II another t tilt Me! \Vhal I 1)1 and implementing a hits on art Forms should lie slrale1.4it'sI Oldd tine 11Ne tiluiral an pro. er1' t 1111111.i' has a past, (See 1 11111-t 1111nral Strall')4ies It)! grani is die bias that present, and [until.. The art (il Teat 1111114 Art', by Daniel and t-hil(lren t tilnire should lw studied sithin I Link], 1979. )I !ere is ( ont eptual over time anti adults possess. Bias is and a( loss ( Unit al perItIdS and iii- stl Meg\ 01.11IcllIplu\ !LIN exemplilied Imith itthat t. t watt. 1111ent t's in die de\ eltli)na'111 (11tilt been \ slit III Ibis and ill \\ hal e per( rive that other t 111111re. sirdIet.0 ,tint't Lzenet ahiza- ( liet'anse it1S inIpt)r 1.1:A.1111111e Nile( t)1tile 11(111,t Unt tIlts,aliti ()Het II\ es. tarnIt)t(ns( itittsly 1111)1416M' ihe .111 1)hill \% 1111111 the (11 RestIllrt eskit 1111114ill tlt esses, and realed I)\ aetht111111 die t ( 1 .2) at II\ il it's are 511(1 tt'd and Ur14,1111/ed: NONA'S, ( ( 19118) tilldilles se\ ell Sim'elrit art nun str.itt.vics hit IiIals() usc as art Iledler 111Ill(' }LIS(III' Unt cpts. These art( on( (ins \\Inc], t ;11111(11 he 1111l 1111derslut1d ()in- relate to die multi-( ultural side the t t1111C\I t s'1'Ep 1, generalizations alreatl enumerated ket ())4111te dial Ille (.\ 14t.11(1..11i/mit)iu is a «mtplele sel'Vt' as 1)1111dIng ilIfli ks III CltAtit)1)- .111d ddlerellt es \\ It11111 a ( thought that es, pressus 11111 led 11;Lt a alld ill-dep1111it 1t lis1411 arc as (Iiurse as the similarilics 11 nth, Ilas all C1(1111'111 id U111\ ers.111- 11111111-t'llhUral art led( 1111114..1.10' and dill(1.1.111(.5 attiont; ( 1 and ti:11,111indicates 1111111ber5 111 parentheses 14111!) 1IN just its there are similarities 1e1;111t111Nilli's. 1 t tint rig intlitaIt' lilt' EV1;1111)11- and (Uneven( es ,1111()111.; 1111111es, EX.4.1IPLE: 10111 ship Ut the t tint VIA It)lilt11111111- there are sinlilarnieN and dd.* rthni, Find 11,11141,11 0,/, t 14eller,111/011ulls. 1(11'11( es \\ 1111111 ell1(Ure5. ill, I, Igo, if awl

F.\,1111111e t 1111111;11 pal It Iditis stUden1 5 IIIllst Iliad(' ,1 are (11 h, b)111, /nth/hal and 1,:ia befilre Illt)\ int.;lt1 ersals. (1 ,-)) !Ile danger III sleret11 yI)11114 Itital lama! inhlilltlian% T(:Idlers SlIt(ldd hell) stlidellIs I IdIllre bas('d 111)(111 e\anlina-

It) t 111.1,111/e tli,ttlilt' Sind 111 1111I1 111 Une art tdliet t111)111 a STEP 2. (1antis(' t tint 111. ( t IN 11111(11'11d\ laden. t t)Ilsisls 1)1 (1)1is anrd tir phrase t Uil\t'IlLL ( )11e pert t'l\ tile ,1111es 1111111ertills 111dI\ 1(111,11s eat 11111 Nile( jiltasilet IN(It 14eller,111/at11)11. (11 antithr 11111Ire 111)111 the \\ liutitIt'N andaim, dial A I uPt "la\(ICt 1.11)e, 11ersitet 11\ e 111 (We's tit 11Vallit's; ( ninny nom his or her A\ 11 tir dassik ;slit) 1(.1,(111111- Illis 'Inhibits 111e t)1 Teel Ives. ships alining ideas 011(1 t (1111- lilt' tidier (11111111:N art. Illerelt )1V. Rct tilt't 111t tthttiitl 11,11'isulls: tA111,611..itIstil int"Prt't the Inure klic) letiLte ...Indents c an . (1-5) lir predit I. I 111e less (1(1111111,11U ill he .\tt art 111)1(1 Igains t [hal bids (11 .111t1 the hell Itis studied in Eel& 11111re likek the snIdellt ''ill tionship ii) t4cogra1)hhistinA, rt ())411i/e til par- latil4mtge and gm et min ntkat ti lit Illar art11)1111.NItireti\ die ( tiltiiit 11111stIitapple( lated 1111 spet dit .M111)111(11 In ;111 tit\ IIAla N and (Apt( ssIt111

Hi )jt' I illIle distuilet1 and iii 7 I )isto et that mina! letet 11(111 Int urret IitIcalltres 11111 ersal 1t) .111.11 1()hie( t(11 .111e1 11.111\ t' 111Illres art' list'dIt) 111-tiide t 1111111'01 It'\\ 1)(11111I all he (1\ el Ille,1111111; lt) the \\ (ilk ()I;111. \\ 1111 }WI NI sten( t' and WA\

Stlidents 1111INI Made a \\are id 1.11»Vt let114e I 1 11,1111( Ulals beitire Rids IN 111)1(.111,411I Inn at 411111 ell iiit.iiiii'is,tls 1)1. die\ till MINN 1)\ t \l)el tt)(bel1114 ilt)1 11 the al t1(11111. 10 (A\ 11)14alld lt 11114 1111111 a 2.V11'111111 II) seeI lu.11 Ini tidier 1).111 it HIM ALIN(' I)las IN

t 111111res as t !rat I\ pr('ssi011s t)I de\ [, t 1 11)111; pet It)d (11

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\\ int 11 the INt 1)11111111111- t 111Illlt 5al IIt)1 Ills

-5-1; EXAMPLES: jhr hamkrim (ruyal urnbrella) is one of the royal arts qf the Akan itwople of Ghana,1 t'est 4frica. The hamkrirn iA used .for an rnitoolment (installment into office), yam hurials, or to honor a tisitm will have color symbolism to (vInce.) a rnessaRe. STEP 3, I)_etermine the content and instructionid objectives. (The c911- tent objectives relate to specific art contem, knowledge, techniques. and skills to be learned., instructional ob- jectives relate to what the student will do or experience during instru( - (ion.) EXAA1PLES: To inhmluer 4urlent.% the art of On:alter culture. To hap ludent% undentand halt' the '.?),NCk royal florid). and thy' royal arh hrlp perpfluale the tralition% and cuqcon, in thy' culture of the .44an people% of thr .4kan culture.Tel/ about ex- EXAMPLE: .4.,a culmination ac- Ghana, iVe%1 Africa. perience.% al Meeli11g in many tivity la The Royal Art% of Ghana, a z aryl explain the calor rm- T. i% developed "Ur 0111 .4 001.0 lu a%%ist %tudent% in gaining ap- holiim of their banikrim. Celebration. The purpoir of dm oc- pnciation of how the royal art% are :0scon is to brink all the students and hplain to the otarlento that the learned .tormally and infOrmalli I)) teacher% together to share. celebnqr, the c'uldrrn of Ghana today. children in (;hana make hamk formally in ichool and in fillninlb. and demonstrate the dillerent .fignis %tudent% will maAr their own art. Wile?? in the .14e% I working (111 the banikyim %bowing pattern and %yrn- .larm. cl:ilthen in (;hana call the Indic (oho-. haniA.yini'their cirmrrlihle ail' multi-cultural art The %Indent% will write' a paragraph anIc the bamkrint ahen (10%14 and proach must IA' 011 or describe and di%cu%% thy' in; erted become% a tropical "lower thought of and hamAyim - ih color, liattern, and lamillar 10 111011 .10071e1 in the rain developed in relation to %V??? holim, .joreq. the broader comtext of ghibal studies, 1101in,4t STEP 4. Identi f .Y and select infor- Ne.vt tali, aliont the harokyim 0% an to a narrower context which is more mation/motivational resources. (Ille all .101m, irlentrlr th a frequently used, i.e., the ethnic Iculpture1111' 1.!efl7??etrie %ham.% awl resources are related directly to the make-up of a specific sclumd's generalizations. c0 )neepts. and objec- .tree:lorrn% uord in the iaterim;%, the armature, Ihrt(11 (Ind thi' population. In this broader context tiv('s.) the students ha\ e a %illicit't hrough I)1indrical EXAAIPLES:liamAyim and..1%alf, which they learn abcnit, appreciate. itraing% landa Kieft (SIT FiApOr' 1)iIc14 the iymholic meanink tlic anti value themselves as well as an(1 2). color to the AAan. Tal4 about hole other people. They acquire owner- STEP 5. Select and organize learn- the) mli;h1 Mei? rat n ham4 yin? of speo ill(art skills as well as ing pro(esses and activities relating Icilh can?I min,/ i In?l,maAini: fur- ( Foss-disciplinary skills in the areas to the ()I)jectives and covering the y:nal rf..fire'ae% %rah (10,'Thr% of knowledge, language, geographic basic content of art. (The processe. remind% 110- 01 literacy, global literacy, and values, include any techniques, materials, Demon%tratr con %trio non tec lino/ice% Usingi suquentiallv-developed skills, facts, dialogue, or group in- in the maAing 14 the hamAyini awl strategy aspresented ill this article teraction essential to art l(arning.) the 11.1ot material, that t(111 he 101,1 insUres the art teacher of a \ ;did 11p,10,ii II1111101' (111011101 beneficial approach that makes the EXAAIPLES: Imola, a ll,,,a%%jan art class ati essential element of the an Om mikla 14%,. an ton/ire/la and '/'i?lItbilIl 111%10111 11071111111(1' 11011 st floors 01 erall prugratn, \\ nether ahat parpor% it ?night be avyl Oit'1111(11114)11n I1101( ink P(1111711 and the art is taught in isolation or as a ;Orr Ihr qwlerito half. evhan 001 1h11 part otitlearn eifort.ith Ott' other fivi o'hlleo, lama/air the hamArim el thy' .4Aary Show ekamplr% of the STEP 6. Idcmik .111 evahiati(m prl)- hamAyimfillet led:mach' hy ,liddren vcss, (This prucess \\ill :dim\ the in Ichool in GhanaTal4 aboict the .indents and teat hers to e1ilittille, 1?amli1inc a% a ?oral art tor m. Understand, and assimilate the ShfIltSI irk% and WWII% learning experience. This determine. halliArini brink II11(1 loc /unction% in diether the unit as situ( essfull Figure Figure 2 tional sake; not for art's sake. Asia() IheBamkylm (Royal Umbrella) The Asa() (sa = war: fo= people) gives the artist a means to use the arts l'unetionally. 'Fhe largest, most striking item of Asafo is a military institution Festivals are open.air museullis regalia is the multi-colored bamkyini found in most Akan stptes, especial- wiaTt all forms of art are displayed (royal umlwella) used to shade kings ly among the Fantse in the southernfor the enjoy. lent of the entire com- and chiefs whenever they appear in part of Ghana. The original and munity. As festivals Occur only once public. primary flinction of Asafii was state a year, artists have the chance to Kings anti chick using bainkyiln defense. As there are no longer create their best work for critics to were observed on tiw coast of wars, Asafo now exercise uon- judge during the occasion and Ghana in the seventeenth century. It siderable peaceful, political, and ar- award prizes Of praise and honor. is possible that the Akan learned of tistic influence in the state.Itis in- The most outstanding features of the the banikyitn from the North. A volved in the selection and enstool- occasion are music and dance in- barn' irn topped by a golden bird ment (installment into office) of the volving all kinds of line art. Asafo was used to shade the ruler of Mali head of state, the Chief. The elders festivals scryt as a means to make in the fimrteenth century. of Asafo serve as royal advisors on public symbolic achievements of in- The bainkyini, seen by nineteenth matters concerning the fine arts, dividuals or groups or individuals century visitors, wellr generally cir- perfOrming arts, and artifacts. for judgment and enjoyment of all. cular hut a few square or rec. Today Asafo and its annual The institution of Asalo .needs tanguliw ones were also reported. festivals provkle a great incentive fiwnone of the ehtism charauteristic of Bamkyhn-making is a royal task. creativity among all artists. These Fantse royaltV. Whilv chierialicy is In the early nineteenth century, festivals promote the essential mean-aristocratic and !nuked to only one there was a village of banikyim- ing of African Art - art for cum- matrilineage, the patrilineal Asafo is makers outside the capital, Kumasi. supplying the palace and the senior

chick. Today most states seem to . . . have their own bamkyini-makers. fori,11-111 .. The coverings for bainkyiin are clearly intended to be spectacular. Imported cloth is mainly used. The predominant color in Inaiw is red. In addition. each banikyini has a color symbolism owing to its func- tion. Thus. the bainkyith is used for enstoolment (installment into of- Ike). yam festival, burial, or to honor a visitor will each have a cer- tain set of colors to convey a message from the king or chief. The finial (top of the bainkyini) collies in a variety of images. A few examples of these finials are crescents, pelicans, elephants. bar- rels, firearms, and swords of gold. The best-known artist making finials for the royal bamkvim was Osei Btnisu of Kumasi. When a chief walks, his bainkyini-bearer (kviinie) makes the bainkyim 'dance to the mu..ic of the drums and horns that accom- pany him. The kvimie raises, lowers, and spins the banikyim pole to make the valance flap and twirl, producing a cool breeze and show- ing tlw bamkvim's colors to its best advantage. The bainkvini thus com- bines elements of display andspec- tacle with the practical necessity of keeping the king cool.

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his article \yin present dusion of the dmninant American Sion of the Visconsin Naiiyc it rationale, based on it imd \Vestern Fam)pean perspectives. ;\merican ;Irish rafts into art cur- belief in the ittipor- but the inclusion and consideration riculum will bc made. tante of" multi-cultural of their values and traditions in Much would be gained through art education and societx and in the educational the study of the arts and ( rafts of il(stht't itiiit hrt)pology. system. In order to make this kiml other t ultures by the dinninate for Ntudving the art ot other cultures of addition to the art currit ultiiii.it North merican society. At present, with particular emphasis on the art is first necessary to knowhitt the art as dll arca of interest and study of the \Visconsin Native mericans. aestheti(allies and traditions of theholds it precarious position in The population of Native Amcrieans Visk Native .Atnert( ans are. It mainstream society. The art educa- in the state is on the increase. with is Unpin tant to understand %liv they tion prot.;ratiis in our public schools. about halt" their 325000 population per( eive theinsek es to be different art museums. and galleries arc con- consisting. of school age children from the general population. and at stand\ in danger of being financiallx (I.Visconsin Department of I Jult}i times. in direct conflict \yith them. ( lit bat I, or abolish('d. 1)is«)Yering and Social Servic(s, 1981). Some I'lleir history and art hist(n.v the arioos w\ s that the artsicialts \Visconsio N;itiye Anicrit ans have lie briefly presented. I'lle types ()I and sot ieties .ntitu(!es towards them expres.:ed tlik authort desire to artt tirtentlx. being produced by div in«,rp()rated int() the fabrit of hay(' theirlestlictii tradi- (instil Nati\ c Anierit ails and ( ) t h e !( ultures' dad. (Aperient es of- tions presented in the schools. Itis the embodied in their h.1 s suggestions as to how the posi- important to note that the Natix( \\ ill be explained. Suggestions and tion of mist( raftsi n our () n ( ulture mericans arc not asking for the ex- ( onsidcrations foitf)fitifIli.t(tliii Iti. Hid%11('si 1111Ett

9- I o H. he study (il' the Native Americans' visual artskratts makes .; apparentthe impor- t,: tatter, concern, and respetl for the environ- men! and materials used to iiirm them. The elitist attitudes that are prevalent and plague sunie art educators in refilling to a separa- tion bl'IWel'n art and craft, ort in' higher level of the 'tine arts' in rela- tionship to craft, can be seen in a different light through the study of aesthetic values of other cultures. In the contemporary Visconsin Native American artist's evaluation of thrse both4idiiiitt terms, an opposing point of view te emerges in terms of aesthetic value 010Mth - -#11Ff,P1/441-Wrifl*Let* hierarchy. Because must non- d 14304; ;tiralttl. \ALL,4414 S, western cultures make nu distint cept tile notion that art is a record countries. Museums and galleries between art and crali, the work pro- of the respective culture, then the did not exist until approximately (hived bv artists Ut. isconsin Indian study of cultures through their art two hundred vears ago. Before that heritage will be denoted as art, must become one of the missions of time, art was viewed in the context rather than art ur craft. The art education, starting with the and by the people for which it was abolishment of the supposed ine- cultural arts in the community and produced and used. With the quality between the 'line arts' and the state. To begin to understand development of galleries and 'erafts' in the field of art education tht: art of other cultures So that we museums, the category of fine art would g() a long way in opening up ca11 111(1111101'ille this knowkdge into was conceived; the purpose of this opportunities to redefine and con- art curriculums, itis necessary tt) itrt was to be viewed and con- sider what 'good art' is. look atit from an culthropological templated for an individual's perspective. aesthetic pleasure. The aesthetic product S Of earlier periods and those of other cultures were removed from their Original context and placed ill- he United States is to museums and galleries; this at-- becoming increasingly auques Maquet t ilm eaused a metamorphosis in ap- multi-cultural. liv the (197 1), an aesthetic an- plitation to the perceived function of year 2000, an average thropologist, suggests the art work. This art, which had of une uut of c\ cry that %ye keep our fOrtnerly hung in 3 Cathedral Or four students in our understanding ot art in palaCe to) give social prestige and classrooms is expected to be front a perspective and glorifieation to institutions ur in- different ethnic or cultural ucktimvledge our biases %%hell 10(1);- dividuals, now became works of art background ((:artiegie Rep( 3rt, int; at tile art (if ()titer cultures. lie tu be contemplated in isolation fruin 1 98fi). NIust art tetchers in the ( (Intends that acstiletit pruduction itc original context and function. L.'llited States eve in tOstering Ilas been taking place since .111.1 to be considered and analyzed egalitarian SVSte,11 of art education. prehistoric times by all people in .tll tortling to the saille standards and ;V, the lint arts. It\\.t. want students from different tiltures. Herta I Iaselbertzer 1 ifu 1), baukimnitl(!s tt) pa111(1pate al`d (1(3 an art historian, indicates that shut. Aesthetic anthropologists gellera4 N\ ell 111 u111 s\ schnoling, Own the beginning ul man's and thatll'ee id.' /11t)(1e111 allt1 Nt 11111st111( 111(1(' ;111(1 present their woman's ae.thetit. prldnetion. the\ \Vestet'll it eatilleht of art ()Het ts t 1111111%11 bellek ;111(1 VaIllt'S 1111() the have been creating Olen art and \\Inch -ert. produt et! prior to the all L11111(11111111 and instrut The ( raft furtnc ftir different purposes: nineteenth century ;111(1 by non- att. are an excellent a\ emu) to ex- utilitarian, ritual, educat.(mal,otn- \%esteril cultures. ,Iltst \yolks (31 art amine utiltural distinctiuns .nid to nlercial (trade). sot ial pl'estiw. t)r aestiletit produt ts do nut titint() aid in fustering an understanding mit ial (untrul, and tit re( ent \ ears, into the contenipnrary contemplative and respet t among people. FA ellit 'art fur art's sake'Mayn't ( ategur\ (Ittitle art. This manner (It ha\ ettitletits ot a homogeneous dest-libt's this art tor art's sake a. presentation ,111(1 illterpretation backgrntllttl ill um. classrooms, stud- untemplatne .trt, and (min(m. II. art k all ethhot el111'1(' ying the culture And ilestheti(alues II) remember thatit a very retent \\*(,:tct.ti (1)11;itrics 'who ret)ltWlIt the III olllel 1114;1\ 1. sllIdellts (le\ elupnientI It industI hilized thinliilate per.pe( tiNe icw their uwn t .ut lune. ulaink in the Vestern 1.1111Ipea11 and North .\nierivall art \\mik and ae.thetit \\,.. F.urupeali and North American Is PrethIlltillated

1 1 scuipture, printmaking, ,ind draw- tribe can be traced to the Upper 1 983). In1 834. the forced migration ing, this has not always by,n Culture which had been of Ow Oneida anti Stockbridge- ase ill \Vestern art, nor is it true of Pn'sunt in the \V(wonsin area as Munsee into Wisconsin frotn the other cultures which often integrate early as 800 A.I). Tribes such as thestate of Nov York took place aesthetics anti ar production into Nlenominve and Ow Siston division (Ritzelithaler, 1953) their arts and litiThe following of the Dakota Sante Sims; are The NIasuouten and the Kickapoo discussion ()l' the Native mericans. modem representatives of the moved out of Wisconsin and into indigenous to whin is now referred Woodland culture who are present what is now Illinois imd Indiana in to as thy state 01' Visuonsin, is based ill the Wisconsin region since 1 00 the mid- 1 700's. After the Black on the belie! that an anthropological B.C. (Ritzenthaler, Hi53). The Hawk \Vars of the early1 830's, View of a society's mitieti (-An be the southwestern Chippewa started settl- those members of the Fox and Sauk most ctimplele means of deciphering ing in Wisconsin anti the upper tribes, who were mg ,..xtertnimat,,,d and understanding the art of a Mitiwvsi around 1640. and at cor- bV United States soldiers, were culture anti providing insights into ding to Henry Rowe Schoolcraft. removed from the state (Douglas, 0I1C.N MVII. This }Mini Of VIM is the Chippewa agent, their popula- 1 951 ), From the1 820's through Ow

SUN littilti an C1111- tion was estimated at 4,000 in- 1 tlw Federal Goerlinient nent anthropologist , who dividuals in seven major centers by plat oti the Inthan groups residing in states; the1 820'(Iiickerson,1 9621. the state of Wisconsin on reserva- .4iiiiimpa/00 brin abic in The Mascoutol. Potawatomi. tions within the state's btiondaries: fraCh(171111.11.lact, that arr improtant kickapoo. Sauk, and Fox startetl the Chippewa to the Red Cliff. Had our (Immo?? reerf-daY Ou'Ing moving into Wisconsin belOre 1 654 River, St. Croix, Imc Court(' to 1hr b,eadth of it% outlook an- due to lighting between the French ()milks, Lac Du Fhtinbeati. anti thropology teadre% hetter than any anti tlw Indians, and among tlw In- NIole Lake Reset vations: the other AfirInr 110 rclaticill of the dian tribes t Douglas, 1954; Spicer, Menominee to the Menominee value% of ent11:atton.II enable10 /0 fief'OW 1eh e% "'WMthe prqiidife.1 ariliZa1100, and10UM* %tan' dard% in Inea%Uling achietment% that hall. a greater ahholute truth than Move firmed from a hay (if our IUilizatton alone Thi) broader * I)111)%ta outlook may help a10 reogni:n the 1m.) 1;,I1.9) Ping/dal. of fine.% progrt.%, whidi do not happen to he in accord with the dominant Idea.% of ow time% (I) 2811)_ To understand the an of any Rod I2.1.1* culture, wit must first know something (0 the people and their I..it social values. The following brief oNerview concerning the history ol %11111) the Native \Visronsin Indians will 10\kir I.okt * only begin to illuminate the signifi- cant relationship that exist among their history, values. and art Forms, Nit

".C;1 11(11 Ole lit si\\ man. a Frent Jean Nicolet. ariied tit the area called \Vise(in- .. sin in1 nil. only three tribes %very kitimil reside in the state. These tribes were the \Vitincl)ago. Menominee, and Sante Sioux Woliglas.1 954). I ill\\ l' cr. art haeologists report that people of Indians st(1( \\CIA' Ii \ 1114.; ill\\ 11.0Is Ilt)\\ klItM II.ts \Vitit .111t1I lit111)11(1 Mit i\\ t'2.000 R.C. present-day \Vinneliago lt

Reservation; the Stockbridge- Wisconsin had not even left the (Ritzenthaler, 1953). These authors Munsee to the Stockbridge-Munsee shores of Europe by the 1850's base most of their information on reservatim: and the Oneida to the when reservation allotments were archaeological evidence and the Oneida Reservation (See Figure 1) taking plate. Although the majority written records from immigrants of During this period, the government of the Native American population the early historic period who had continually changed the veservation of the state live on reservations or intraded or settled in the Northwest borders. always decreasing their rural communities, many have Territory (Kohl, 1885; Morse, 1822; tribe migrated to the cities, usually for Schookraft, 1851; Winger, 1939). exception. with a reservation being employnwnt (Wisconsin Department The writers who described and assigned to them in Nebraska. of Health and Social Services, recorded art forms of the prehistoric Almnit hall of the Winnebago tribe, 1983). Northwest Peoples credit Indians which had been relocated to that with the production of objects that state. returned to Wisconsin and were more concerned with utility petitioned to have a reservation than aesthetics (see Figure 2). The created for them in their native gender role in the production of art state. This was denied. Presently. forms for the various tribes was also most of the Winnebago People live noted. Many of these traditional art in Visconsin rural communities forms, which were being produced where they have individually pur- nformation on the by the Native Americans before the chased land in Fairchild, Wit- prehistoric and early arrival of the white man, are still tenberg. Wisconsin Rapids, Black historic art production being made today. River Falls, Tomah, LaCrosse, and of the indigenous Visconsin Dells. By the time that prehistoric Native the Indians met the white man, American peoples of their lands had been claimed by the what is presently known as the state h.ench, Briti.:11, and United States of Wisconsin and the Upper Great became interested in governments. Despite this, many of Lakes area is described in Ancient Art conducting research the Indian tribes members continue of the American Woodland Indians with contemporary to live on the land of their (Brose, Brown, & Penney, 1985), Wisconsin Native ancestors. Some Native Americans American Indian Art: Form and Tradi- American artists as a still hunt, fish, and harvest natural tion (Walker Art Center & Min- result of my experience vegetation from the forests and otherneapolis Institute of Arts, 1984), In- in lecturing to Wisconsin Native natural resources as had been done dian Art in America (Docstadler, American groups in the Wisconsin traditionally (Douglas, 1954). It is 1962), Indian and Eskimo Artifaas of prison system. After lectures dealing important to note that most of the North America (Miles, 1962), and with the art forms produced by con- immigrants who were to move into Prehistoric Indians of Wisconsin temporary North American Native Americans from almost every geographic section of the United States except the Great Lakes, the L'AIW question arose as to whether there *IA a were any contemporary Wisconsin angf..0 '+1 Native American artists. The reply < 41it was that there were, but that only c scant information existed on the 1P444110 1;i:Nailbli. subject. The recognition of this in- formational gap in art history led to an initial three year study of Wisconsin Indian artists. The research was an investigation and analysis of the common qualities and differences in philosophies, values, and methods of production between contemporary Western European/Anglo American and contemporary Wisconsin Native American artists and their art forms. Most of these artists are represen- tatives of the major Indian tribes in ---7-111K Wis«msin: Chippewa, Menominee, Oneida, Potawatomi, Stockbridge- Munsee, and Winnebago. .43,1 To discover who are Wisconsin native artists, one-hundred-forty- fbur separate information sources

3BEST COPY AVAILABLE Fig. 2: Art Forms Produced by Prehitoric Historic Historic Historic Historic Historic Wisconsin Native Americans Peoples Menominee Chippewa Potowatomi Winnebago Oneida were contacted. These sources were Mounds affiliated with the Wowing: Native Effigy Conical American Higher Education Staff Linear and Native American Groups at Temple Engrived Rock, Carving ik Painting Wisconsin universities and colleges, Cliffs Milwaukee Area Indian Organiza- Caves Boulders tions, Great Lakes Inter Tribal - Body Ornaments Shell Council, Inc., Tribal Chairpersons, Beads Tribal Planners, Indian Spiritual Bone Teeth Leaders, Indian Contact persons or Pearl representatives, Wisconsin Indian Painting Copper Work Agencies, and Wisconsin Indian Covered Beads Pendants Newsletters and Newspapers. Head & Breast Plates From the infbrmants' responses, Ear Spools Weevil% eighty individuals were identified as Mats contemporary Wisconsin Native Bags Sashes American ardsts and interviews Bands a were conducted with them over a Corn Husk Sandals three and a half year period. The Masks artists and their work were Dolls Baskets photographed and their explanations Willow of their work were recorded. Cedar Root Splint Ash a As a result of these interviews, Sweet Grass three categories were devised to help Birch Bark Leatherwork explain the aesthetic production of Clothing & Ceremonial Outfits Moccasins a the Wisconsin Native Americans. Rattles These categories were the Tradi- Drums Animal Skins tionalist, Derivative, and Modern Mide (medicine bag) artists. Dr. Lurie, President ofthe Bags Rattles American Anthropological Associa- Pipe Bag Storage tion, who is currently employed by Headdress the County of Milwaukee Public Fur Coats Rafts Museum, com.urred with two of Engrevings these factions, the Traditionalist and Stone Palettes Sea Shells the Modern artist. From the Birch Bark analyses of the findings of my Pottery Storage Pots research, a third category was Cooking Pots created, the Derivative artists, to ac- Serving Vessels Pipes count for differences in the types of Stone Work Banner Stones materials used in the production of Amulets modern fmins of traditional Native Gorgets Effigysculptures Amcrican art. Pipes Th'iugh the artists and their pro- Wood Work Clubs ducts arc presented according to Ladles technical production, function. and Spoons Flutes goals, this categorization is not Sculptures Cradleboards meant to pigeon-hole an artist. ma. Witchcraft Dolls his or her work. The fictors influen- Fish Lures & Decoys a Grave Markers dug any artist's production are too Pipes complex and transitional to be simp- Snowshoes Drums a ly defined. The personal narrative of Mnemonic Boards each artist, which resulted from the Snow Snake (carved & painted stick used in a game) interviews, testifies that within the Shaman Puppets Masks three categories a broad scope of Canoes (decorated with sculptural complexities similar to that fimnd in designs & painted) Effigy Bowls the art of the dominant culture ex- Birch Bark Work ists. Miderolls(scrolls) Mats Containers hc Traditionalist ar- Canoes Dental Graphs tists produce art forms Cut-Out Decorations Quill Work 1 based on the original Embroidery types of all work and Birch Bark Containers materials einployed bv Decorated Tools Northwoods Indians Knives/Daggers Spears Blades Axes 1 41 befbre the arrival of the Anglo munit v. Traditionalists' art forms Derivative art forms which are still (Ritzt hthaler & Ritzenthaler, 1983). currently being produced by the being produced are: beadwork, The original art forms are generally Wisconsin Native Americans in- costumes, dance batons, feather utilitarian, sometimes possessing cli,de: baskets (sweetgrass, birch work, dream drums, finger weaving, great spiritual po'vers, and often bark, split ash), leatherwork (moc- jewelry, woven rugs, and yarn bags. fashioned in the 'old way'. The (asins, costutnes), quill work, pot- tools used to construct these arts tery, snowshoes, lacrosse sticks anti he Modern artists fbrms have changed, although the balls, cradleboards, war clubs, dolls, produce art forms and processes in making these forms has wooden spoons and bowls, wooden , usematerials based on not. effigy sculptures, hoes, spearlishing or influenced by the These art forms are usually made decoys, canoes, flutes, and pipes. twentieth century by anti for individuals living on the Some of the prehistoric and early Anglo culture. These Indian reservations or in the tradi- historic art and craft forms previous-forms vary widely, but generally tional, ethnic Native Anwrican com- ly mentioned (see Figure 2) were have lost their utilitarian purpose munities. These art fbrms embody not being made by the artists which while retaining aesthetic values. The the values of the traditional Native I surveyed. This does not mean thatModern artists reflect their cultural American community. According to they are not currently being made background in their work, but the Suhr (1983). a sociologist, these by the state's native peoples, but materials can be novel and are not values can be classified into three only that the artists identifkd by myused in accordance with the more categories: sdiritual, cultural, and infbrmants are not making them. traditional Native American values. social. Spiritual values include the Tlw values embodied in their work importance of religion or spirituality he Derivative artists are usually those of the Anglo in everyday life, the significance of produce art forms bas- culture, those being the quest for Indian ceremonies and healing pro- ed on the original typeswealth, success, and upward mobili- cesses. and thc emphasis on unity of art work made by ty (Chapman. 1978). Modernist with nature. Cultural values include the woodland Indians Native American artists, who are the fbcus on sharing, the importance betbre the arrival of financially successful, do not usually of 'noninterference', the use of' the Anglos. Their art forms are live on the reservations or in Native humor, and emphasis on cyclical modified from those of' the Tradi- American communities, but rather time concept. Social values denote tionalists, in that they employ, in Anglo communities, often urban, the importance of the exte lded either partially or totally, materials where they can find employment in finnily, the child and the aged. and in the production of' their fbrms that their field of interest. The main goal the Native view of lead:I-ship as ser- were acculturated after they were in-of these artists is to gain individual ving the people and being chosen to troduced to them by the Europeans. fame and monetary success in the serve based on personal wisdom. These art forms generally embody art world through marketing their Wax (1971), an anthropologist, in- the values of the traditional ethnic work in Anglo communities. cludes the importance of close peer Wisconsin Native American com- Modern art work being produced by group relationships and the rejection munities. They are ofien produced the Wisconsin Native Americans are of competition at an individual level by and for individuals living on usually in the areas of drawing, il- while accepting it at a group level. reservations or in Native American lustration. painting, jewelry, pot- The goal of most of the Tradi- communities. The goals of the tery, printmaking, sculpture, tional artists in producing their art Derivative artists in producing their photography and stained glass. forms is to insure the continuance ofart work are basically the same as There have not been any books these values and the Indian corn- that of the Traditionalists. specifically written about contem- porary Wisconsin Native American artists. This. however, is currently being undertaken by the author. While information about Wisconsin Indian artists is sparse, it can be ac- quired through newspaper or journal articles, or brmhures and catalogs from art exhibits. Excellent resources exist which document art fOrms of the Native Atnerican peoples and the asshnihtion of the Western European and dominant White American cultural values into tht..ir art: in the journal, Four Winds: e International Forum fir Native American Ad: Literature and Ilistorr (Hundred Arrows Press, Incor- porated. 1976-1987); Amaican Indian Painters and White Patrons (Brody, 1971); an(I Indian Art of the l'nited

;) IL ! .1I! I!, 1 !; 1!!

,

\( .0111)11 '111 \ I i'!: 1 1. rr resenting the past and present art linnis of the Wisconsin Native American artists in our classrooms may help .411111... give the Native American students a sense of their

011111110.- WOrtil and identity. For the L Native .American,, Anglos, and other ethnic and cultural groups un- 40i- familiar with the traditional artists, s it would be a cornerstone on vhich 4 4tr- to) base criticism and appreciation of the modern Native American artists and those Of the Vestern Europeans k 171.4. and Anglo Americans. and to) , . ., recognize mom. hilly !he part of the fipp, Native .American culture heritage. To know the artifacts of the past .- gives one a sense eil the finure (Highwater, 1976). As Vincent Lani('r (1987) points out .itis not always necessary to produce a pro- duct vhen teaching art; studying and discussing aesthetic forms is im- portant in itself. Having students '2: make superficial projects. such as States (Douglas & D'Harnoneourt, construction paper headbands, 1941). 'nese ,111thors base most of without explaining the spiritual their information On ph\ sical significance of the feather as a sym- c\ hien( e (al t products). dialogue bol in Native American art and life. with artigs. and written Ifistorn :f is a stercotipic and worthless activi- remrds. The assimilation of these ty. NIost art teachers whe) have had art forms b\ the Nati\ e American thcir teacher pr .paratiem in the artists is attiibuted to the initial and universities and colleges in \Viscon- «mtinuing ethic anon clfoits, and sin are ill-prepared to) include the poll( les othurc h so( ienes and the study of the Traditional and Western European 41nd AniCri( 4111 Derivative art fOrms of Visconsin go\ ernments w hie h ha\ c ad- Native Americans into their enr- ministrated these ser\ ices ricultuns. A teacher's preparedness Most of the contempoiar\ artists for this task is dependent upon his welt, oategorired as either hach- or her ethnic background, courses tionalist or Dei i\ an\ e 41111\1%. w hu h taken in higher educalion. and their demonstrates that the oulturalk exposure to the cultural alues. art signifie ant ails of the \\ iscomsin forms. anti histories of the Indian Native Amen( an peoples are not dy- ethnic groups iStuhr, 1f186). ing out. nor are their forms being If the art values of the o (num- rapidly amalgamated with those of porary Traditionalist and Derivati e Western art forms. Their views, \Visconsin Native artists are to be values and art fe)rms ill mtinue brought lip in a home where tradi- given conlsideration in regard to to be passed on as a vital part nf thr tional Native. American values are their aesthetic and art heritage in culture through the tradithmal men- not stressed. o vliert. great impor- the so-111)01s, changes will have to) (n- tor figure.. However. as long as tance is gi\ en to) formal so hoofing. um. Itis advisable for indb, iduals Native American children t ontinue the competitive art world mav be from state universities anol colleges to'be taught art in the current man- quite attractive to) them. All three of to conduct workshops in this area. ner, influenced by the dominant these categories of art may ((minim. An explanation of Native American alue systems, their tradi- white eulture's ideology, there will It; bt't (11tilt'ariations peoples' also be Modern artists. Among in experience and backgronind of thetions, and art forms is essential. In hildren and adolescents who) are Native Americans. addition. Nati\ e American artists 1 f; 1, -15- should be utilized as guest artists. Relerent Native American students should be encouraged to express their culture Boas. E. (1974Shut:me id.4771e11c anAn R,,din. P. (1916).It'innebakt, Cidnire a. thropoIogy. Stocking. (, jr.(Ed.) New l' %lobed h) Thenochr3.Baltimore. through their art production and York: Basic Books. NIaryland: Waverly Press. teachers should design projects to Brody. .1.(1171).Indian Painter, and Whin. Ritzenthalet. R.E. (1953).The Potati.atonn In- allow for this type of' expression. Patnao.Albuquerque. New NIesit o: dian, Wiwi:ion.NIilwaukee: 7.1ilwattkec More emphasis should be placed on University tif New NIesiro Pr('ss. Publit NIus('tim. (* Pi)taw:noun) students' analysis of why different Brom% D.S.. Brown. & Penne. D.W Ritienthalet. R.E. (19. 3).Pn-htstron 1,385). Ancient Art /)./ the Anterwm11.00dland iii ll'isionsin.NIIIssaukve: Ahlwaukre Publn cultures value certain art forms than Indian,.New York: Harry N. Abrams. N1usetnn. is previously done. Mc Fee and Int .. and the Detroit Institute of Arts. Ritzenthaler. P . & Rit/enthalcr. R.E. Degge (1977) support this idea: Carnegie Forum on Education and the (1983)7tr11'i:oil/and Indian, id the 11Il Evonomit s Task Forte tin Teat-hint!, a G Ilia La Ar MIR% \\*IS((111.111: Historical roots and cultural Profession. (198n). .1.VationPrrparrd'Ihe Mik Pll HI( f Oneida. traditions are made more 'real' Ruport ol the Cainten Forum on Edraatwn and NIentininue. ( Potassatonn) when they are taught to children thr Rionlany', Taii( Foni. on Tonkin; a, a Pro- S(11(11)111)111. 11.R. t 1851). 7hrAnoinan In /room. 1Vashington.D.C.: Ihe Forum i/la iiRiohtSIrr. Ness York: New Edinon. and reassert the cultural identity Chapman. 1..11. (1978). Approm lir,to Ailiii sIncer F. (1983). Short !Irina) ot Mr Iry of groups. They provide a sense Edniatron.New York: Elaruourt. Brate. dian, ol dirI',wed .Ctatr7N13I3ba.Honda: of belonging by giving people an ids-antis-it h. Robert E. Krieger Publishing Co. opportunity to participate and Densnpire. F. (1979). OupprwaCri,tono. Spitullet. (. &Spindler. L. (bk.) t1977). by showing outsiders who the MIlinem)1,1 I IIMUFICal n irt . (Original Name Anothan (..rdnin%.Holt. Rinchatt and work published in 19231 Winston. (` NIenunninee) insiders are (p. 293). Dot kstadler. 1.J(11162).Indian Art to Stuhr. V.I.. (198n). A field wsearth studs If we are ever to dissolve the bigotry Anie:nn.NeW York: Promontor Press. "hit!! -91.11Y/A-s alues and aesthetn that exists between the dominant Douglas. F.11.. & D'Harnoncourt. R edination: as obsersed in Wlmonsul Indian (1941).Indian Art af the1'rated St(lhl Nr%% st hook. Art,and barium; culture and differing ethnic and York: New York NIuseurn of NIodern Art. kilran h Alnerit hint ationitI Research racial groups in the state, then we 1)ouglas. J.NI. (1'154).Thi Indian. in 11',on. A,..outation-SpetiiiILearning Group. must attempt to discover and ftwaryNIadison, 'WI: University ol Untsersus ot South ( :arolina Press. .12-17. understand the common grounds %Visuonsin.NIadison Extention. Stair. 1. (1983).V1111 r :lineman I'abie, and th, Haselberger. H. (1961). NIethod of stndYing Applhation iii Doota-r Therap) Con- between us. Art, as a visual means ethnokigical art.Curnwt ..Inthropology. 2(4). (N1astersThests. University of of communication, is an excellent 341385. onsm. Liss aukce. ) tool to aid in this discovery. Hi( kerson. IIt 19b2). I'he southwestern rhe International Forum tot Native Itis important for Native (:hypessa: .An etnnollistornal studs Anwrit an .Art. Literature. and History. Anthroholain«d ()4 (I). 119761987). raw Irtru/s. Austin. Tevts: Americans and the rest of the I -1(Iti Ihnulred Arniws Press. Int orporated. population of the state to understand Ilighw met% J. (197n).Sual!From the Earth. Walker Art Center & Minneapolis Institute the arts of the Native American ar- Boston. NI)tssathusetts: New York Graphit of Arts. (1972). ..Imrri«inIndian .4:1 ham tists so that they may appreciate Sot let y. and Tradition. NIinnuaindis. Minnesota. more fully an important part of Jones. IA. (1974).Winne/lake, Indians. New W,o,. ( 1117 I ).Indian Anamon, York: Garland Pubhshers, Englewood sank. New ersey: Prentit Wisconsin's cultural heritage. For 1ul-11..1.G. (1985).Ki.:111 Gann Lit, :banns.; the Hall the Native Americans, this affords Lab. .Cuperior ())rhuw)(I.. Wrasall, R. ,Vinger, 0. (193(3).The Potanatoni the opportunity to develop a sense Nrulang. U. Bot ker. Erans.) St. Paul: Elgin. Illinois: Elgin Press of their own identity and self.worth, N1intiesota Historital Souicts Pr(ss. Wim onsin Department ul Ilealth which has been sorely damaged by (Original work published in 1885.) Ser. j es (1983). Lanier, V. (1987). .Art rthlt alum at the buitaro:n Ikath, and Popula. the imposition of mainstream rossroads: How tO get that morikes off non.1 WC. 1 M.! NIddison. Is( onstn. American cultural values on them. bin ksSpectrum.II 'tstwont Art Education .enter 111a1thStatistit Remember that we also teach :loom:tom. I,14-19. Lurie. N 0 ()972).lhe Irinnehao Indian.4 something by what we (10 not teach. Studi-In Cid t Cha lay Chi(ago: Nor By excluding the Native Americans' thwestern Ifni\ ('rsitv (()llation of the Rut ommended Readings art and aesthetics, we are in fact original Thesis (Phi)). NIadison: State saying that they are not worth Histori( al Sot iety of 1\*Im I lc won( )11..1. I 142(11 teaching and learning about. (Distrilmtor) I (: (1(11 i) Lvford. C A (1941 17u-Glatt, ot tlu ()Oa, 1.(n/enthaler. P. & Rit/en Teachers and students do not have Thippen a )(Inv. .Ari/ona: Printing R E 11981) to rely on the relics of museums to Department Phoenix Inthan Subool t Spindlet. & I. understand the aesthetics, art, and (:hippessa) 11977) culture of the Native American (1945) /moat, Cram. Kansas R11/entlialet. P & Rit/en- Ptinting Department Haskell Institute t R 1..(1983) peoples of the state, because Native ( )nrida) Lunt.. N.() (1972) Raclin. American art is a living art which NIatplet..1 I (171 non Ftc Ar.tbdt( (IiiIn) loin,. J. A (197)) continues to be produced by the 0,70p11/170 19111i1)iIl(''s cIdisc Wesles P & hands of these W isconsin artists. Publishing .Int ( P181) NI( Fee..1 N... & Deggr. R (1977).1(t. Lsford, (: (191; & (or)) Cap(If and Ent Mon Me niNew 'tcu k 1.tit/enthalta. & 1.(11/eti- Wadswooll Publishing Co. Int thalet. R E (198f) \Ides. ( :(193)2)Indian Arida, t. iI.i%s 'UMW & Rit/en- .Voith Aniema N(*\%York. Clow ti dialet. I(I.. 1198 /) Publishing. hn Aloise..1 (1822) Rquql ti, thr Obi, Iof 11at on F/i.Initoi Shit*bithairMM. Washington. 1).(: : Das is & Four 1 7 eTt- .t

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()day. Chicano morals cultural identity and history. may he seen in a The Chicano is a Mexican- number of large American living in the United :XIIICriCini cities where States. III a broader sense. the hicallos of the there is a sizable (:hicano is also part of Hispanic American Southwest Chicano population. ultural traditions sharing Hispanic and California have Tfu.se murals are shuatedfl language, «minion religious tradi- never been isolated storefronts. sides of buildings, in tions. ethnic origins. and a (oninmn town, from their culture in business «immunities. and on iniblic geographical regions affinity. One that they lived in these housing where dies constitute a part conjecture is that the term Chicami areas before the Conquestand were of the Chicano's everyday visual im- is contraction of Chihatthati. a state introduced to Christianity and ager\ . Ilw initial imagery ranges ill northern Nlexico. and Tejano Spanish customs and language by from traditional Hispanic c ulture to meaning Texan which was adopted the Franciscans. Spanish cultures documentation ot the Chicano's bv Mexicans living in Texas. blended with the Indian cultures to struggles in contemporary .\ineritan Another view is that Chicalu, is a hirin the Mexican heritage. In the so( ietv. The thesis of this paperis sh(ntened term lin Mexican (Alex- industrial north, such as in Chicago. that these murals function in i( aims). What is important is that Alilwaukce and other large cities the Chicano is a relative newcomer (:hic min so( lt\ as a means ( the Chi( alio mural movements draw- nitwit ation within nd beyond their upon sources that are both visual isolated from their land and their ( ommunit \ and as aan\ ing point an(I so( ial in nature. First. the st it ial language. Often, the first stage in lor S( )4 led 41( titili in la( dilating need lin the murals will be examined.emigratimi from California. Texas,

-17- 8 and the Southwest was as migrant reliance upon welfare where The Hispanic heritage of Los agricultural workers or harvesters. available and if one is eligible. It is Angeles is obvitnis in formal ar- later moving into the uthan barrio., not surprising that Chicanos have chitecture from Mission churches where the support of a comnum sought MU Meill1S of creating and and the pueblo to the civic buildings language and heritage was possible. maintaining a sense of' community of' the 1930's and 1940's. Mexican In effect, the Chicano has often which in mirthern urban areas are inural movement's big three: Si- been in a transitional state between separated from the 1111(1, religion. qneiros, Orozco and Rivera, painted rural and urban orientations, ex- and common heritage of another murals about Mexican history, isting at the base of the social and place. Iblklore and politics throughout the economic totem poly. The Chicano Pmbably the most important con- city and its neighhoring com- is also in a transitional state centration or Chicano murals is munities. Sequeiros' mural on tlw culturally: Quirate (1973) indicates Icwated in the LOS Angeles area, wall of Olvera Street was considered that their community is a part of particularly in Last Los Angelo's. 'subversive' in 1950's a..d was Mexieo as well as this country. Be- The social, cultural, and educational painted over. (It is now being ing neither Mexican or Anglo, the clintyxts of growing up in I MS restored). There has always been a search for identity is of utmost con- Angeles are examined as a large group of' Mexican-Amerkans cern. background against whiell to better who were ignored or used by the Political and social aspirations and understand the Chicano mural rest of I..A. even as this heritage is expectations of (:hicano were low movement. acknowledged. until events of the 1960's: the Civil Los Angeles' population is fluid Rights movement, United Farm . ; : and multicultural. The city is always Workers' organization, and changing. Poor and working class establishment 0)1 Ia Raza Unita Par- irst, itis important to areas near the center are the first ty. These developments instilled a remember that Los homes of immigrants, who, as they new awareness and sense of direc- Angeles was part of prosper, move on. Signs and tion in the Chicano community or Spanish Califiirnia. restaurants change from Japanese to barrio. ust as now, the Chicano then or Mexico and Chinese to Korean, and now to ommunity was often plagued by qt finally an American Central American and Southeast poor housing, lack of jobs, delin- state in 1850. Immigrants from the sian, Still, East Los Angeles has quency and gang asmiciated ac- East and the Midwest and the been the working class Chicano area tivities centering on 'turfs, South, from Europe have all made of the city fOr many years. alcoholism and drugs. Thu Chicano important contributions to the city, In older parts of the city, barrio is often a transitional area but the influence of Latin America bungalcms, and single finnily stucco pressured by other ethnic groups, is strong. Mexico has long served as houses decorated with iron grill urban renewal projects, and a a SOUITC of labor for Califbrnia. work, red tile roofs and tiles, as well

9IVAI as newer ranch style houses, have tinv yards filled with bright flowers, treys and pets. Neighborhood grocery stores open their fronts on the sidewalk displaying fruits and vegetables to passers-by. Much of' the Barrio looks comfiirtable and in- finitely more livable than the poor areas of eastern and midwesteril 4 cities. eminfr ' City Terrace is a small unincor- porated area of the northern edge of East Li is Angeles. Small single fami- ly homes are built into steep hills that border thy fiveway. To the east, the towns of Alhambra and Monterey Park are finind. Boyle Heights and the rest of the Barrio have bectione the section! largest Spanish speaking community. after Mexico City. in I.atin America. Semi-isolated by geography. suhool district and public transporta- tion routes, (:itv Terrace had a reputation. from the 30's on. as a good plae to bring up children. It had a strong sense of community and it certainly did not look urban. People Owned their own homes. had

1 ;1 their own backyards and evryone c(Immunity. there were many fiestas Drugs and gang warfare are com- grew fruit and vegetables as %yell as and picnics that were held in parks mon among the young peoplewho flowers. The Parent Teachers or school grounds. Picnic and fiesta are caught betweenconflicting Association was active and children fc)od came from stands that sold cultures and who do not have access were expected to achieve. The policecorn on the cob, hot dogs and to the affluence they see around and fire deparnnents were family raspa(las (shaved ice with bright them since the days of Zoot Suits. friends. People were politically in- syrup on top), little taquitos. The movement of La Raza has volved in a variety of local. naticmal lemcmade, and really sweet fudgy been a source of the political con- and international issues. camly made from pumpkins or cac- sciousness and strength to Chicanos In the 1930s and 40's, City Ter- tus and brown sugar. Lollipops all over the United States. A race was primarily a workingclass shaped like red and yellow and cultural renaissance was envisioned Jewish neighborhood. It began to green cones were wrapped in wax by many Chicanos, and the mural change in the early 1950's as the paper. As the neighborhood chang- movement. so much a part of the majority of Jewish. ,Japanese ed. homes became brighter inside Revolution and Postrevolutionary American and Italian American and outside. Families seemed to be expressive and educational needs in families moved. It became a (Ion- larger and multigenerational: grand- Mexico (Goldman, 1981) became an munity of upwardly mobile working parents. uncles and ccaisins lived hnportant cultural expression fin. class Chicano families. In the nearby. Birthdays. weddings, and Chicanos especially for the youth. holidays brought large gnmps of 1950s. the first Latina to become a .i!- member of the Los Angeles city people food and music and dancing fI C hit .111., council lived there. A large universi-to backyards and front yards to ty campus had grown up acrossthe share celebrations. he mural has emerg- freeway and a correctional institu- The environment changed also: ed in Chicano b2rrios as tion was built on the open hills to small shrines with the Madonna a major visual art the east. This environment is very began to appear in backyards: form. Located as they different from the 'projects'. or sub- brightly colored Santos had small are within community sidized housing units. altars in homes. Walls had housing projects, and The Immal and informal cur- sculptures made of brightly painted on stores and schools, they serve riculum at City Terrace School in paper mache. There was an em- daily to remind Chicanos of their late 40's and early 50's reflected thephasis on the Latin concept of heritage in an often hostile environ- multi-ethnic flavor of the cotntnunityMacho, a strict division between the ment separated by time and distance and the ideals of the United Na- roles of men and women. Women from familiar cultural surroundings tions. Mexico was 'our closest and girls dressed for special occa- (especially characteristic of Northern neighbor' and many of the customs sions in extremely feminine. urban settings). Most importantly. of Mexico were emphasized. In up- elaborate, and colorful ways. The the Chicano mural movement per elementary grades the Aztecandelaborate stylized graffiti of the developed new visual imagery, a Nlavan civilizations were studied. youth gangs from the 'Projects* ap- new art form, which provided avi- The history of Nlexico and Cortez peared on the blank walls and sion for a new audience. According was much more exciting thanthe billboards. In the early 70's, a to Castellanos (1974. p. 40),director mention of the original inhabitants mural was painted on the side of of the Mechicano art center. 'The of the Los Angeles area who were Barbanel's corner drugstore, cover- Chicano artistas are assuming other hunter-gatherers and who were ;:n- ing some of the grafitti. In the new roles besides that of an artista. They nihilated by the Spanish. The peoplelibrary, ceramic murals were created want to effect change and they and customs of NIexico are NIestizo, on the walk. recognized the necessity of doing it a combination ofIndian and A recent ctmversatitin with the themselves. Thus, they cannot help Spanish. These heritages were principal of City Terrace School hut develop new institutional alter- reflected in folk dancing and singing (Mr. Martinez. 1988) provided con- natives since they are applying that celebrated Mexican holidays trasts and similarities to the (Inn- creativity to a sc wial context.' such as Cinco de Mayo as well as nninity of the 1940's and .50's. The Chicano murals must also be the traditional American ones like population is primarily Chicano. butseen in the context of mural Halloween. While there is stric t the area is changing again; now, movements originating in the 1960's separatitin of clnirch and state in there aie two Black families, a \'iet- during a period of rising expecta- NIexico. in Terrace schools, then- namese family and a Chinesefamily tions among Blacks, Chicanos. and was a Posada ;It Christmas as well in the coninnnht%. The principal other ethnic groups supported by as the Chanukah Nlenorah.There was prcmal Iht' mural on the new the Civil Rights movement. en- were tu) auditcwituns. gymnasiums big building and of the pride Ins vim onment al concerns. recognition or cafeterias in elementaryschools. students took in it. and appreciation of' cultural nons, Eating. and playing gaines were out- While much of East I.os Angeles and a growing militarism which door activities as were many other seeins almost semi-rural,with in- these movements helped foster school activities since it seldion rainsdividual family hinises aml bright (Sommer, 1975). It is not surpris- in Los Angefes, flowers. the projects are Intosing ing, then, that murals began to \lot hers and children walked units with urban problems of voting emerge as a means of extending everywhere: to school. to the stc)re. people who are not motivated IA Chicano aspirations, expectations and to friends' homes. Within the schtuil and who cannot find jobs. and the growing sense of frustratior with existing social and environmen- tal inequities. While the Chicano murals developed against the background of contemporary chang- ing social conditions, the Chicano artists reacted not only to tlwir social environment, but began to create new visionary images drawing upon a rich and complex symbolism assodated with their Mexican heritage, the Church, Mexican mural traditions, and their own ex- periences as Chicanos in contem- porary society. Some murals wt1(. ,:ie!:gned and painted by professional artists; others were clesigned by artists and executed by crews of neighborhood youth; and. most importantly, others \very designed and painted by young people. Young artists in East Los Angeles fused a distinctive graffiti style with traditional symbols to claim turf in the city by putting their 'placas' (gang symbols) names, nicknames and the names of their gangs or dubs on walls. The mural move- ment became a productive, creative ported group projects involving and promoted Chicano solidarity way to channel this important func- youth. senior citizens and children through culture. Mural themes in- tion of naming and claiming withan to promote communication. Artists clude symbols and forma, dements honored political as well as aesthetic and teachers organized these pro- of Aztec and Mayan iconography as form while giving young peoplea jects throughout the city and well as Catholic religious imagery constructive alternative to drugs and negotiated the procedures tbr design that mirrors the Mestizo culture of fighting. Some murals became peace and site approval. paynwnt for Mexico and the Chicano Southwest. treaties between gangs. The goals of materials and equipment. The A Madonna painted on a wall at the organizers of gang murals. ar- Citywide project was coordinated by tists like Judy Caba and social Casa Marvella by social worker Sam Judy Baca who organized gang Zepeda and the Arizona gang workers from EPIC (Educational members to paint a series of murals Participation In Communities), on the walls of the Los Angeles became a loc al icon, as people in the seemed to be successful in solving neighborhood presented her with River. More recently, Judy Baca fresh flowers and plants. sonw of the problems of young peo- coordinated the NIural projects fin' ple in Los Angeles (Coekroft. 1977). the 1984 Olympics that involved In the beginning of the 70's the In 1971. The Mechicano Art many prolessional artists and the styliz.ed graffiti of munes and plum.% Center. a cooperative gallery and galleries showing the work of ming was incorporated into the lower sec- art CCIIRT in Last Los Angeles open- artists and coin IntinitV based public tions of many murals. %Vithout the ed its doors: directed by Leonard art in Los .Angeles. graffiti'. tlw painter Herl'on says. Castellanos. he coordinated murals The most and best known concen- 'the wall is too untouched. too bare, On its own building and on tration of Chicano murals are those and not really a pan of thy buildings in the twighborhood for at the Estrada Courts housing pro- neighborhood (Coukroft, %Veber. & which Machicano provided scaf- ject. At least 40 murals on Estrada Cockroft. p. 6:3). Herron treats the folding and paint. Gallery artists courts housing project were coor- nmes Yyith respect and when a boy coordinated murals done by local dinated by Charles limo' Felix of dirs. he reportedly paints a cross gang members on a grocery store the Goez gallery. a private gallery over the name. and then the walls of the Ramona fOr Chicano artists in East Los The (:hicano mural iconography Gardens. a federal housing project Angeles. draws upon a variety of visual of six humired families. The walls of The Chicano ultural renaissance sources. sOttle s(nne of im- the two story inulti-family buildings of l.a Raza gaYe impetus to OW mediate social content and some were covered with the signatures of Mural movement in all of ihu adaptations including graffiti. These rival gangs in one of the most run- Southwest. The murals in tlw barrio. images represent an amalg,am an- down and victlent areas of the barrio. particularly the murals executed by cient and COMICIllporary iconography The Citywide Mural Project. gang members. brcnight gangs and serve as a visual record of the 1Ounded in 1974 and funckd by the together in constructive creatiy - Chicano's social and political strug- Los Angeles City Council, sup- tivitY. that diffused gang violcnce gles.

-201 4) . 1tt, \ 11. I humbkd themselves, as if the bird garrison at Polores in 1810 crying, were divine. According to the 'Long live our Lady of Gaudalupe, legend, the eagle upon seeing them long live independence', Hidalgo uch of the bowed in their direction. Observing rallied thousands to the cause before iconography of this, the Aztecs believed that they being captured and executed on July 31 Chicano murals is had come to the end of their 31, 1811. V drawn from four tradi- journey. They marked the site and Other heroes to Mexican in- ,tional sources, as well rested at what was to become the dependence include Juarez and as utilizing contem- present site of Mexico City. The use Zapata. Benito Juarez (1806-1872) porary graphic and social commen- of the eagle on a cactus reminds the was president from 1867 to 1871. A tary: the Pre-Conquest mural tradi- Chicano of ties to a distant heritage poor Indian lawyer from Oaxaca, tions of the Mayan and Toltec as does the use of stepped pyramids Juarez ordered the execution of civilizations, Mexican church art. and other syinbols front their Aztec Maximillian after dekating the Posada and other Mexican social roots. French. Juarez is depicted as dark comtnentauirs, andI.os Tres GrandeA, Quetzalcoatl, also of ancient skinned and with slicked-down black the muralists, Rivera, Orozco, and legends, is depicted as a plumed ser- hair wearing a black frock coat car- Siqueiros. The iconography pent in a number of the murals. rying a book. Emiliano Zapata employed in Chicano murals ranges The most important of the Aztec (1833-1919). a warrior hero of the from contemporary social commen- gods, Quetzalcoatl is a combination Revolution, is also known as a tary depicting the treatment of of serpent, the rain god of the earth, champion of agrarian reform. Chicanos at the h am.s 1 .aw1 en- and his enemy the eagle (Smith, Popular Mexican prints, such as forcenwnt groups and racist groups 1968). by Jose Posada, have been a potent 'to depiction of very traditional im- Various religious, political, and force in Mexican culture and have ages with little or no obvious social inilitary leaders are often depicted in had an impact on the iconography commentary. The images developed the Chicano murals, particularly in of Chicano murals. Posada, born in for a mural depend a great deal the more traditionally oriented im- 1852, worked as a printmaker for about the social, political orie.itationagery. Among these, the Virgin of over Ihrty years contributing very of the artist and the purpose of the Guadalupe, patron saint of Mexico, inexpensive, but broadly distributed mural, The murals themselves is shown as a madonna-like figure prints (zinc etching) to development reflect a broad range of artistic com-with arms outstretched, dressed in of a national consciousness. Posada's petencies ranging from those blue, and radiating light from her images that irreverent of political as displaying a higher level of profes- body. Hidalgo (1753-1811) is shown well as common human foibles. His sional accomplishment to those as a balding, sunken-eyed cleric thousands of images illustrating crudely applied images in which the ofien carrying a torch is known as stories, book covers, and found in a social message outweighs painterly the Father of Mexican Indepen- variety of broadsides, newspapers, ability. dence. He was a Creole priest who and periodicals dealt with disasters, What we especially want to ex- led the first major attack against the national events, everyday life, amine here are the types of imagery Spaniards. In the attack against the miracks, and especiallycalaveras. employed, the meaning of the iconography used, and how these 7177371"--,. serve to establish and enhance the meaning of being a Chicano in a contemporary urbanized society. An eagle sitting on a prickly pear cactus with outstretched wings is a frequently used symbol of the Chicano's ties to the ancient Indian cultures. Aztlan. the ancient legen- dary home and origin of the Aztecs Inan which they began their wanderings in search of a home. eventually settling at the present day site of Mexico Citv. In their wanderings initiated by their god Huitzelopochtli. the Aztecs con- tinued to seek the omen of the eagle which was discovered On a prickly pear cactus with its wings out- stretched toward the rays of the sun. basking in tlw warmth and fieshness of the morning. In its talons. the eagle held a bird with very fine feathers, precious, and shining. Vhen people saw the eagle they t7"13.75711:477777

THE SOCIAL FUNCTIONS OF ART: THE FOUR-FUNCTION PARADIGM

IV Cultural Maintenance

II FUNCTIONS: Environmental I. NORMATIVE Adaptation Establishes values, meanings Defines role models Channels actions Rewards and sanctions Goal Expectations Attainment Controls disruptive Influences II. ENVIRONMENTAL ADAPTATION Creation of new signs Adaptation of signs to change ENVIRONMENT Changed values, norms, expectations Change in meanings III. COAL ATTAINMENT Aesthetic Economic Moral Social IV. CULTURAL MAINTENANCE System of symbols and moaning' Constitution of RAM relafionshIPII )teilil Mooned Provides unifying features

Calacera means skull in Spanish, and green, white, and red. The Mexican and other cultural developments by extension skeleton. In Posada's flag is adapted to some of the from the framework of a four- calaceras prints, all of the characters murals. The image of the eagle function paradigm (Neperud, 1981) are skeletons that deal with every shows up again as the symbol of' which has also been used for analyz- type of human activity. Most of Cesar Chavez's Farmers Unions. ing the cultural maintenance func- these prints were done for All Soul's Chavez is also often depicted along tions of Wisconsin Native American Dav Day of the Dead and satirize with other heroes of Chicanos' art (Neperud & Stuhr, 1987). social and political issues. Posada's struggles. Social systems such as the con- Calateras prints are important in that temporary urban Chicano communi- they tap sources that are typically ty functions to maintain its integrity Nlexican, !Or both the Indian (hit alit, .1:H.i;. through development and promulga- heritage (skulls and death-goddesses tion of normative values, meanings, are common in pre-Columbian art) tfirst glance, it might and expectations in an environment anti the Spanish heritage (the death seem sufficient to simp- in which certain adaptations are orientation of the monastic orders, ly sav that Chicano necessary fin. survival (See Figure and the dance-of-death and Memen- murals serve to provide above). The normative Mnction is to mori traditi( tns) have blended in cultural identity and represented as Point I and en- the average Mexican's stoic, but far continuity. vironmental adaptation as Point II. from humorless. view of death' However, to do that is to gloss over A social system also exists on a time (Berdecio & Appelbaum, 1972, p. some of the particular ways that the dimension in which goals are xviii). The skulls and skeletons that Chicano mural movement has func- sought, Point III, and which is can be finind in Chicano murals, tioned anti thus loose sight of inaintained as a culture over time, thus. demonstrate the iconographic perspectives that provide insights in- Point IV, through common symbols cultural continuity. to the functioning of other cultures and meanings. The use of this Some of the s% mbols are constant- as wrll. itis important to see the paradigm provides a perspective ly being recycled to serve more con- Chicano mural movement as part of from which to examine how teinporarneeds. For instance. an a broader cultural context which Chicano mural imagery and its eagle pemhed on a cactus, clutching gave it direction and an imagery iconography functions within the a writhing snake is at the center of that could be adapted to contem- Chicano connnunity. the \lexican flag ctnisisting f porary problems. Itis helpful to tical hands, trom left to right, of consider the social functitms of this Of what importance are murals to taining social goals. Tied into this that mauy people are involved in Chicanos and their conununitv ? movement were the clevelopment of planning and painting them, is an irst, murals represent direct in- the educational workshops and important creative alternative to in- Ivement by many people of a par- organizations that began to serve as dividual self-expression that is often , ular commuuity. ethnic origin, or a means of obtaining social cohe- theI" way creativity iu art is group. Participation in creation and sion. Realistically the mural move- Presented Murals are a verY Puwer- painting of the murals means that ment has not always continued as a ful educathmal tool. Years after Chicanos have a direct relationship strong social movement, but one can their creation they are often the only to visuals, not just art which is oftenspeculate that it served as a baFis tbrart projects that young people and regarded as separate from people. some of the political gains in tht the members of their community This participation in painting the form of stronger %likes that Chicano reinember. murals results in community pride political leaders have begun to exert The effect of youths' involvement among the Chicanos. Prestige results in recent years toward attaining in a meaningful artistic venture has from the fact that others come to seesocial goals of Chicanos. surely been demonstrated in defus- and talk about the murals. Addi- Without a doubt, the Chicano ing some of the hostility and asocial tionally, communities tend to protect muralists have drawn heavily upon behavioir of Chicano youth. The their murals from defacement, and the symbols and ineanings of the In- strong educational function of the thus, people are defending their own dian, Hispanic. and Mexican Chicano mural movements communities. Perhaps. of greatest cultures of which they are an exten- demonstrates how an artistic activity importance is the identity that the sion. A strong visual history of with direct ties to life is capable ,of murals provide the people of a com- Chicanos has been presented by the vitally involving Chicano youth in munity People's lives are reflected imagery and iconography employed purposefl activities. Perhaps, we in the murals: they can identify with in the murals. This has been a might give more attention to art the murals and with the community. strong visual communication of who whose purposes arises with the peo- Furthermore, the artists identify they are. where they have come ple instead of sifting art from the with the ctimmunity and in the pro- from, and the struggles through top down until it has been cess art is demystified in the sense which they have prevailed as a peo- anesthetized of potent social content that art becomes a part of their lives ple. Other cultures and ethnic and functions by the time it reaches rather than existing in a separate groups should be so fortunate as to students in classrooms. and meaningless manner. Art have this complex rich visual history becomes a vital human process in of who they are in terms of a contrast to a view of art as a cultural identity and history (Point separate object removed from mean- IN% Cultural Maintenance). The 16,1!.11,1 . N( lit sot/ ing fbr many.people (Cockroft, Chicano muralists in the sense that 55/ 111 r ilut.Itill 01%11 Weber, & Cockroft, 1977). In these they have recycled, adapted, and II 1.,1,17417 Vac/Aim. t' hi( ways, the Chicano murals function created new forms have extended .II1 111, III.i I1 .111 in a normative sense. Point I and continued their visual presence It at 1,1-1'1+111 (paradigm) to establish values, and cultural continuity. meaning, and expectations that give the Chicano a sense of who they The murals in East Los Angeles Rt. lc runt s are. Creation of murals also chan- functioned as powerful educational nels actions of youth in a socially tools. giving their painters an educa- IlenIct in. R & 11tt.11).linti, S. acceptable manner. tion in their cultural background (1972). l'awa1a.% .lb than l'unh. No% and potential political power in the Ymk, N1'. 1)()%1.1 The Chicano mural movement opportnnity to teach the people ill I. (1(171). Chit :inn«.ntrti.. tioll,11. and ,11-1..171, in Su( , 12. April. fumihmed to bring the Chicano their own neighborhoods what they community together in the sense were leaming. Stmlying an art him (.,)( Hitt. ..1 & (.m1,11(111..1 that they realized that they could be su(h as this can enable other young 1`177) rwiaid a l'copl,-'s ,Irt. NIA% Yuri.. a force to be re, kotwd with as they people to) understand the edit( a- I' & (:1)., St1(1)t11. ibupl faced the future. In providing for a tional, political, and religious as well sense of identity. Chicanos began to 1%1INline us a runt 14 (.11aul:, as decowative and aesthetic functionts ...11% ()I 'Ursa.. realize that there was some hope of of public art in society. Nt.prni(1. R (10H1) 77a 11,, stalls at art attaining goals. ( :astelhmos (1974. .1 Iwo Isualuat pahaltvls p.40) recognized this: 'A few BY creating their own public art itiatill. I ). Chicano artists and organizers have liased On issues that are important R & Sililti. (10H:l . awakened the dormant world of art in society, oung people call clarify .ffialq,HII tiltinal In.tillitnatItt illit their Own ideas, deal with the func- (11.ttiging .114 let\/atonal ,,1 huh, ,,,Itaral and politics into one of activity and ( ,i,Ittisal .lit 1...,11e,,thaas,.1(1). deep controversy on all issues mn- tion of symbols and understand the cerning the arts'. This 'new art important function of fOrmal and II"731 technital values in expressing and \tislin.I N.L'illri.it% III 1 (5,1%. fronthas the potential of creating smith. it l'108 .1 Iluhal ii, .1,1 institutional change. In effect, communicating ideas to other people in the community through rt. N'mk. NY- 1)ntililt41,1% Chicano mural movement has filmic- RI 1(17-0 MI"!,jr/\o% dolled at Point III. Goal Attain- The fact that murals are tolnip I ink. 11,..,1%, ment. particularly in developing of projects. that litany people may %ision of thenisek es as a force in at- have it hand in designing them and

-23- 24 BEST COPY AVAILABLE

nwnts ofte. ovi rseas study or com- he ultimate multi- parative edmatioa courses that in- cultural experience is elude visits to f,Ireign schools either immersing oneself in to observe, teach, or both. This another culture by liv- route can offer a chance to interact ing in it. For the art with foreign teachers as well as react teacher who enjoys with American colleagues about the travel there are many ways in which experience. A good travel agent may to structure a first-hand multi- lw able to put .ou itt touch with cultural experience that will provide educational groups overseas. The experiences relevant to the National Education Association classroom. One might wish to ar- (NEA), National Art Education range to spend some time, either Association (NAEA), and Interna- teaching or observing, in the schools tional Society for Education through of the area chosen to visit. The Art (INSEA) are organizations that school, as a microcosm of society, can provide information about travel exhibits the kind of social and opportunities that could introduce cultural values that are important to you to schools and art programs in the culture of which itis a part. the area you wish to visit. Do not The style of interaction between overlook friends and relatives that teacher and students, the methods oforiginate from other places. 'Hwy instruction, and the nature of cur- may be happy to assist with letters riculum can all provide insights into of introduction to personal contacts a culture. in their homeland. In planning an experience in It is important that all parties in- foreign schools, or even in schools in volved communicate about expecta- another part of this country, one tions on the part of the host and the can explore a number of sources. visiting teacher. Length of visit, Many university education depart- amount of time and responsibilities in thts classroom, (.m11(11111111, (-yen the simplest villager could ap- pressionist India paintings in at Mat:Via:S. and SOCIal pl'ittliCeS arts preciate art tOr its cultural valuts. museums. Glass and sttsel strut tures among the areas that netsd to be In t he late nineteenth century the stand side by side with ornately .71 discussed prior to and at the begin- British rule and educational system carved stone temples. Everywhere ning of a visit. Above all.itis im- came to India. Art WAS taught as a there is an element of artistry and portant for the visiting teadwr to go Sehool subject and the concept of craft of the hand: the arrangement into the experience with an open drawing was based on rigorous prac- 0. Vegetables fOr salts on a blanket . mind and an attitude of flexibility. tice fin. skill devtslopment to be small tooled nastal images of deities The purpose of this kind of ex- pru(' isdY folk)Wed Lind" perspoctive on kitchtsn walls, intricate designs in perience is to learn about the rules. Repetitive geometrical design henna (red dyestu(f) on the backs of culture of the host, not to perpetrate was another aspect of the drawing young girls hands, large day puts to One's own values. course (\ 'irmani. 1984). The pur- cool drinking water. For three Weeks during a summer pose of this was It) train draftsmen The political situation in in India. 1hild the Opportunity to and engineers who would fill the ap- .Nhnwdabad Was less than desirable live with an Indian family in propriate positiims in colonial so og iny visit and impacted Ilea\ 1- Ahmedabad and work as a visiting ty. Todav, thirty years Ater in- ='y the educational systems. Since teacher inI Wo ddThrelltt ypesof dependence. art in the Indian school la.the Indian government has Schools there. I arranged this ex- bears the distinutive mark of British identified 'scheduled castes and perience through the University of influence. At the sante time, the tribes', it group including un- Visconsin-River Falls and Dr. Ross Child Art movement. advocating touchables and others who had Korsgaard in this School of Educa- freedom of self-expressions and the historically been deprived of normal tiOn there. MV encounter with In- revival ()I' Indian art lwritage hay(' Sot ial interaction and opportunities dian culture proved most enriching broaden('d the purpose and ap- in this mainstream of sot ietv. This and enlightening. pritach It) art education. group comprises abtatt 22 pen ent of Education is five and compulsory the population. This state of Gujarat

I t1:1i.t. : +I to all children in India up to the age proclaimed that ten percent of all of 1 4 or Standard IX (comparable medical iind engineering openings in Ithitugh the arts bay(' to grade 9). This union and staus the university be reserved for these always been tsducative governments arts jointly responsible 'socially backward classes'. II iglu's.- and essential in Indian for (sducational matters. A large caste Hindus have inotested life, the place of art number of middle and upper class policy, since they dominate the education as a school families are willing to pay tuition for university admissions. liut the most subject is fairly recent. private schools 111 hopt'S Of a higher violent demonstrations cam after In order to assess changes in Imlian quality education for their children. the new goyernmem raised the art education. the position of the The literacy rate hovered around 28 quota to 28 percent. Riots, looting. arts in ancient India must be percent ill 1981. varying greatly and killing put the city u imoli'iocim few understood. In prehistoric India of hinn state to state. Oyer-population and all schools save one were 1 losed 3000 B.C.. art was closely connected and P"ertY umkts (1)Inpulsory At last an agreement was made to with religion and ritual. In fact art education fairly unenforceable. rescind the additional 18 pen cm was not separate from liks:it was an especially in this rural villages. Some reservatiom. Federal trtlops were essential part of the daily living pro- kind of art seems to be prevalent in withdrawn. schools reopened. stud cess. Through the arts...traditional most schools. although there is no the city began a slow return to nom- values found expression. the arts mandated requirement and no state maluy. reinforced age-old traditions. or national curriculum. The Central Si !tool is one strengthtsned cultural identities and system of central st !tools throutzhoot nuale for harmonious social relation- \ India and several 4 )t Imo'mo ountries ships (Sens 1985). An example of that serves oer 300,000 (hildren t,f tins is rangolis a kind of painting hmedabad isit city of transferable go\ ernment emplmer. made thts ground or floor with met' IWO miiilliiim people including the military. The s stem colored sand. The images arts made situated in the western by artists for the celebration of state of Gujarat. Itis a atmd 1)111.t1.}1)iii..tmsIsmsst vitiIli'iltsLmmtss'moiftiur t..Iliokl:;-f holidays and sptscial occasions, ts11- blend of Hindu and Secondary `)(!sool Certifliate Ex-dia ioVed for awhile. then swel)t away. Moslem cultures in a amination. Fmnatilm is free thrtaigh Rangoli artists use tradititinal renowned connntsrcial and textiles the eight s: ondard and a nominal themes as \yell as modern ()nes. link- production center. Mahatnut Gandhi tuition iso !target] for the ninth ing the past with the prescilt ill founded his Ashram there and, through twelfth. Tin language of c011111111111IV Celtsbration. Artists like unlike many other partS of India, structiim is Hindi but English is thests historically have had a definite there is little evidence of British col- taught as a required subjei t. The place in society and tilt' onial occupational. Life reflects the contral So hool in Ahmedabad sciA( wry. Training in this arts was pass- variety and cimtilluitv of traditions abold 1200 students imi Standards 1 ed on uartsti .romf the maslesr both old and new. Cattle, cars. and thmugh XII and is staffed hsixt (guru) to the student (shishva). ri( kshav.s share the same roadways. teachers. In the long buildings Slim Because art semIl to manifest \VIttnisti \\rapped ill hand-printed rounding a inurtvard. students sit philosophic thought in daily gestures ,ai.O.,, it"% abstrat.t and osx.. quite (lose together at desks in then r) \

1983). This is certainly carried out in art education. The primary em- phasis is on the development of ap- preciation for the very art that is an integral part of Indian culture. Here was one area where I saw little evidence of Western European in- fluence. Students itthese drawing classes showed !non. attentiveness and con- cern about fbllowing directions than most American students do. I in- troduced contour drawing, the use of one continuous line, to a sixth standard class. Although the concept was foreign to them, they made a supreme effort to draw as they were instructed to. Another dine I had each student draw a running man. Many of them consulted their notebooks fbr the appropriate stick figure to copy. If I presented a topic and made some quick sketches on the board, the students were puzzled that I erased my drawings and en- couraged their own ideas. The op- portunity to copy an example pro-

, vides some confidence that the task , is being completed correctly. Perhaps in the discipline of school- ing a little spontaneity has been lost. Craft, taught in the sixth through twelfth standards, fall into the category called Socially Useful and Productive Work (SUPW) rather than Finc Arts. The purpose of SUPW is 'to provide a corrective to the predominantly bookish character classmoms. Each room has a single Drawing class for the sixth of education so that the ethos and chalkboard and not much decora- through ninth standards meets two dignity of labor pervade the school tion. As the principal, Mr. Rathore or three times a week'. Mrs. T.M. atmosphere' (Kendrya Vidyalaya, stated, 'Please excuse us if' you find Desai, a very accomplished artist in 1983). This category also includes it crowded or if there be her own right, teaches drawing home economics and industrial arts, broken desks. but you will not find through a variety of subject matter each student must induct,. sonie among us any broken hearts.' He from figures in action to still-life andclass from this gmup every year. In was quite correct. landscape. In the lessons that I the middle school, students' work Art in one. kiln or another is part witnessed, she drew and explained rangy(' from drawing and painting of the. curriculum for all students. Inseveral items on the board which thedesigns to cutting paper anti prin- the first thmugh fifth standards itis students copied into their tuuebooks. ting with objects. They also learned taught in the classroom. At the sixth After this they usually do 'free-hand calligraphy anti stylized lettering. In standard the. students begin to followdrawing' or drawing munething India many things are still done and one. of three streams. either Science, original along the lines of the ex- made by hand, in spite of the grow- Commerce. Or IltunaMties. and this ample's. The styles encouraged are ing industrialization. These courses determines the amount of art in the very traditional, including stylized teach children how to produce curriculum. Students bring their appearance of Indian facial katures, decorative items as a hobby or uWn Stipplit'S (1.C., !MI6's. paints. figure's which mimic the gracefid diversion from academic studies. It sketchpa(ls) althimgh the tearher rhythm of temple carvings, and or- also teaches them to respect the provides a few things from time to nate flowers resembling those oi the. value of hand-made things, no mat- bine. Resourcefidness is so instilled Islamic miniature paintings of the te] how simple in origin. in them from eady childhood on 16th century. One of the objectives Secondary craft class consisted en- that children use :heir materials of the Central schoid is, 'To develop tirely of girls. H ere too, drawing sparingly.awful not to waste paint a spirit of national integration and anti design work predominated, but and seldom disposing Of paper create a sense of Indianness anumg sewing and other textile. (Tails are without first using both sides, children (Kendriya \r'idyalaya, also practiced. Whether or in It a girl ) 7 -26- goes on into higher education, and students to purchase but these are reproductions decorate many of' the many at this school will, it is still andesigned for schools with no art classrooms. Emphasis on aesthetics asset for her to be able to sew and teacher and are used here primarily and art learning in conjunction with make decorative things for the as supplementary exercise. studio skills parallel current home. Batik has a long tradition in I taught a number of primary American thought in aft education. India and many of the student classes at Amrit-jyoti and found the pieces reflect a synthesis of produc- same desire to follow the teacher's Other Schools tion and appreciation of cultural directions but to a lesser degree. tradition. Images of the deity After making a presentation with a was fortunate to be Krishna in various stages of his life, theme I found these students full of introduced to two other scenes of village life, and the ideas to draw and fairly unrestrain- schools with unique art classically beautiful Indian woman ed in expressing them. Themes programs. The first were among the subject matter relating to Indian life experience, was the Shreyas skillfully portrayed with wax and such as holidays, recreation, the School, part of a dye. monsoon, and the marketplace, pro- philanthropic foundation instituted duced better results than fantasy im- and managed by Lena Mangaldas Amrit-Joti St houl ages. Although most of' these with monetary support from family- children are of a socioeconomic class owned textile industries. In addition mrit-jyoti School is a that watches a lotf television they to tuition-paying students, Shreyas private, non-sectarian were less inclined to draw monsters, educates a number of' orphans who school with about 500 superheroes, and fantasy creatures live at the school. Low, rambling students, ages t*o and than their American counterparts. buildings and lush acreage dotted a half to fourteen. The Many of the symbols used in these with play equipment create a park- two founding principalsdrawings were similar to American like setting. Children learn by have extensive educational training children's symbols for the same Montessori method in nursery and experience in the United States things: animals, people, plants, school and primary classes. and India. The school was founded vehicles. The exceptions were those Academic subjects are taught in self- with the idea of bringing the best of which depicted something uniquely contained classrooms and children the two worlds together in educa- Indian: turbans, sarees, rickshaws, move to different buildings for art, tional philosophy and practice. Like or unusual kinds of trees. Indian music, dance, and physical training most well-reputed private schools, children like to use rulers as an aid where they are taught by specialists. Amrit-Jyoti has a long waiting list ofto drawing, no matter what the sub- The art teacher was in the midst of prospective students. Tuition is ject is, and I strongly discouraged string design project when I visited. graduated according to family in- this during my lessons. He showed me a number of pain- come. Facilities include two cam- My only communication problems tings and drawings by children puses less than a mile from each were with the young primary depicting urban and village life and other. Conditions are a little crowd- children. Although English is the images from folklore. The school has ed but bright and attract;ve. Extra- medium of instruction here, the a weaving workshop, also a pottery curricular activities include young ones do not yet have the and a kiln. Student-made earthen- horseback riding, skating, dance, vocabulary to communicate freely. ware forms showed vitality and music, crafts, and sports. Yoga and At times they would rush up to me creativity in the use of three- meditation are required for all with pictures in hand and unleashed dimensional space. This collection of students. excited commentary in Gujarati, animal forms and various decorated Two art teachers are on the staff, their home language. If' I failed to vessels are among the most spon- one for the preschool and primary understand they would repeat it taneous clay pieces I have ever seen levels, one fir the upper primary anxiously. After all. the other adults in a primary school. Each year the and secondary levels. Although the in their lives spoke Gujarati, so why school holds a festival for the sur- primary art teacher was moving to not this one? rounding community involving per- another city. I had a chance to Swati Mazumtlar, the upper level fOrmances and student-made art. speak with her. Much of the art teacher made a strong case for Continued private support and in- primary art education here consists art education in the schools. More tensive energy of the staff and ad- of developing motor skills by using than providing recreation or training ministration keep Shreyas School an tools and creative expression. There future artists, she believes that art exemplary learning environment. is sotne influence of the Montessori education serves to integrate the Like the Shreyas School. the C.N. system. She begins lessons with a visual world into each student's life. School is also a private institution. picture talk or a so -y and the Her curriculum includes various It includes a primary and secondary children respond by doing their own types of drawing (still-life. nature. school. colkge, art school, and drawn composition or design work. Indian life), design, color theory, school of architecture. I came to this Sometimes they go on short field perspective, composition, art theory, place to observe the classes of trips for artistic observation. Art and art appreciation. This is the Rashmi Khatri, a well-known art lessons take place in the classroom first indication of art history, both educator in Ahmedabad. Mr. Khatri with the teacher moving from room Indian and Western, that I have has done several studies for the state to room. A set of design-coloring seen at this level. A projector is on children's artwork and creativity. books is required for primary available for showing slides and art Iie maintains that children do not

-27- need to be taught how and what to do but need to be guided to express what is already in them. Children seemed extremely happy working in his crowded art room and were reluctant to leave at lunchtime. He allowed me to look through a huge pile of student paintings done in tempera and choose several to take with me. I chose one of a political event, a dance scene with girls in traditional costumes, and several paintings of sports and school life Mr. Khatri also encourages free- 1brm compositions and work in mix- ed media. The work produced in this program is more expressionistic and abstract than what is usually done in the school drawing classes. 'personal space' is at a premium of goods in stores and shopping necessitates a more gentile social at- malls, the forms and spaces in our titude with less selfish interest. In a own architecture, we have a rich Conclusion country known fbr its caste system, visual milit ux that expresses the everything has its teachers are each values of' our own culture. This kind s India continues to respected for their contributions to of renewal can revitalize the ways in establish itself as society. In teaching art to children, which we present the world to our among developing na- the continuity of culture through students. tions. educational self-expression takes precedence over Perhaps the greatest reward of priorities promise to inmwation. this experience has been the expand- continue and with that Through interaction with people ed vision I have developed of a revised approach to art education. and the environment, I gained a profession as an educator. Interac- A committee was appointed in 1967 deep appreciation fbr the fabric of ting with students and teachers half' to make a study on improvement of everyday life in India. As in any way around the world gave me a art education, but financial place. there is a iythni to the pat- profound sense of' the universal ac- restraints of vital national priorities tern of daily existence and a way of tivity called education of' which we have delayed the implementation of' 'being' that is unique to that are all a part.I gained an increased curriculum and conceptual culture. Indians value their tradi- scOse of confidence in my own pro- I'rainework pritnary and secon- tional arts and iconography, the fessional abilities and much respect dary levels, the inclusion of roots of which date back tnany cen- for my Indian colleagues. One of aesthetics as well as creative artistic turies.I became intligued with the the most rewarding aspects of expression through traditional draw- colors, patterns, textures, and im- educational travel is that it makes ing and craft activities, and in- ages I encountered, as well as social you reflect upon yonrseIl and your service teacher training. nuances and mannerisms. Itis Inv own culture. The challenge is to in- My short experience of living in sense of 'Indianness' that I hope to tegrate the unique experience into India gave me some insight into its communicate to my students when I one's persona and to create new culture and values as they are introduce an area of art or craft personal and professional meanings reflected in the educational systems. from that c(anitry to them. There from whi('h to operate. Respect fiw authority and self- are slides to show, stories to tell. discipline are very evident in the and art works to compare with our students demeam)r. In competition own. h)r many children, the world to attain places in universities with is a small, limited place. as is the limited enrollments, the student's selecti(m of art they see. Learning struggle fin. excellence is intense. about children from another coun- Parents agonize over limg waiting try, their schools and art w()rk can lists and pay high tuition to get teach them to appreciate the univer- RI:It:rent I-% their y(ning children int() private sal aspe('ts of the human race. schools. tbr this is seen as the best The kin)wledge gained thrlugh Ki.ndri%Vidvala%Sangadian nnial this experience has led me to ap- Ri-port 1911:-83. (1483). Nrlirui Ilonsr. 4, preparati(m for acceptance int() the liahailtir Shah /Mon Nfarg. Dr1 university. Nliddle-class parents preciate Inv own culture and en- Si-n.I'. (10870'Inclia Chant:Jut), Norm know that their children's education vironment in a new way. The Ari rdniation.. in.lit Ethuntum :In Into is the key to their own Mture as wellreturn home can lead mie to ex- national In, .( )t R W & Hum it/, as that of their offspring. for there isamine the many sinall things we ihki Punnsykania Stait: lnhersii% no social security in India. Each take f(n. granted. perhaps iwcause Vutlialii. (PIM') AdsEducation Pro- family is responsible Ibr its own they seem less exotic lw comparison. Ltt ViaUlna ii Adill Whined members welfare. Perhaps living in If we explore the ways in which we h and Traumal.Ne- Dt-Iln. India: crowded cities and dwellings where ad(on our bodies. the arrangements iotininunt Publit _18_ 4)(1 44. idney Wadina Lee's Slovak woven wheat crucifixes are an in- tricate symmetrical web of fibre and seed, nature's life fbrCe 5 , bending to humankind's geometry and symbolic thought but not break- ing or losing its grassy identity. Jerry Hawpetoss' Menominee roach headdress is a study in the contrast of softness and hardness, with its billow of woven porcupine and deer- tail hair attached to a long triangle of elk horn pierced with heart- nr>, shaped holes edged in bright red. Edith Hakamaa's Finnish rag rugs using the traditional 'big lake wave' pattern vibrate with color, the repeated pattern building upon itself like visible harmonic sound waves. These are only three examples of intellectually challenging and sublime Wisconsin folk art by masters of their traditions. Dozens more could be mentioned. In addi- tion to such highly skilled artists, it is also true that most people par- ticipate LI a folk art of some sort, be it needlework, whittling, carving a pumpkin at Halloween, or coloring eggs in Spring. Unlike academy trained fine ar- tists, folk artists rarely have any for- mal training but learn from their own elders and peers in a family or community setting, absorbing the aesthetics and techniques of their art form which is at once an expression of their individual creativity as well as the heritage of a communal group. Also unlike fine artists. folk artists are seldom powerfill ad- vocates of the importance of their To be satisfied that folk arts are work. Indeed, most are uncomfin.- true art and can be extraordinary. table with the very term 'artist'. In- fascinating, and higt lv valuable stead they tend to think of educatitmallv. one need only take a themselves as people who know how closer look at some of the traditions to do something well. The works areand the work of their outstanding meant to ix. appreciated on their practitioners. As is true in !he fine own terms, mostly within the small arts. not all folk artists are exollent. comnmnity or sub-culture which However even those who are already knows and understands the outstanding. typically are little- genre. celebrated. close-to-hoine creator.;. As a result. the fblk arts tend to Since knowledge of who are the be little known or appn-ciated out- good woodual yens and lacemakers side their traditional comimmities. tends to be in-group inlimnation. and the folk arts of the local area the dilemma for an outsider is to usually get short shrift in arts educa- ev i know how or where tofind tion programs. But isn't this sort of' such artists. They generally do not wor': common and uninteresting? belong to art associations or show Why should schools even bother t heir works in galleries. with this fblk art material? Is it real- Recently. in Wisconsin. the task ly art. anyway.' has been made a little easier. Ve -29- 3(1 Or---,a-,f4t,,7- -

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now hilVe the beginnings of a com- artists, but they practice distinctly were made for her to marry her prehensive picture of Wisconsin folk different traditions. Mrs. Keosian is husband-to-be sight unseen, an artists and the genres of their work. carrying on an Old World art form. Armenian immigrant shoemaker, in The first systematic statewide field Armenian needle lace, much as she Milwaukee. Her sister, however, documentation effort of folk artists learned it in Ler Middle Eastern who had already immigrated to was conducted by tblklorists.james homeland, while Mrs. Crumble's Milwaukee, tnet and approved of Leary and Janet Gilmore in 1985-86 African-American quilting represents him befbrehand. to ident4 potential participants a New World synthesis of African Working as a housewife and an exhibit developed by the .JOhn and European elements with a assisting her husband in his shoe Michael Kohler Arts Center of decidedly African aesthetic repair business, she still had time to underpinning. pursue lacetnaking. her lifelong ar- In tifty %Visconsin's counties. tistic pursuit. She has made fine they documented more than two lizaheth Keosian trimmings for wedding attire and hundred folk anists. Seventy had brought her lacemakingundergarments, doilies and dresser works int hided in the exhibit which skills to NIilwaukee scarves. Her home is tilled with her was shown in Shebmgan. NIadison. when she immigrated lace. her embroidery and crochet and 11ilwaukee during 1987. to the United States in work. Reports On the artists and slides of 1929 as a 'mail order She makes the items mostly for their work are still ac«.ssible to the bride.' Indeed. her hope chest filled her own and her extended familv's .it the Kohler Arts Center. It with lace was cerellumially integral use. She makes Christmas and wed- is important to Feillellther thuttgh. to the process of taking a spouse. ding presents of her work for nieces e\tet1SI\ e its their stll'Ve .1s. it She was litwn in Turkey in 1909 and grandnieces. While for a time. Ildhelhdess Oldd unk St rah h the and while she was still an infant. tiwshe says, people thought of her work Stilfitt r. There are still thousands of male members of NIrs. Keosian's as 'old fashioned,' now all of her signilu ant \Vim onsin folk artists family perished in Turkish younger relatives are clamoring for who ha\ cr been (lot umented. massacres ot the Armenian it. and the Milwaukee Annenian t. )1 the man\ pnssihlv vpod cx- populace. Soon after. her mitther community has asked her to aniples.Iwill dist uss the mirk td went blind. due to the emotional dcmonstrate her skills to represent hIlir artists dm in this stress. NIrs. Keosian reasons. \\*hen their ethnic traditions at the Interna- n.1111)1,1/1111; stir\ CV. Eli/aheth Kett .1s years (0d. the family tional Institute's Holiday Folk Fair. stall .111(1 Attie NI. CI-11110de are trom ilifAed to Lebanon w here she lived Her needle lace is particularly Nhlwailkee and are Imtli folk tiber tor nine years until arrangements stunning. The technique, which she -3(1- 31 began to learn from an older sister at the age of five, is technically demanding. Only the thread, a thin needle, and a lot of skill are used. The needle lace consists of concen- tric rings around a circular or oval central motif. Mrs. Keosian knows a wide array of geometric patterns. When creating a piece, though she may have a general idea of the eventual outcome, she uses a great deal of improvisation in selecting from her repertoire of design pat- terns and placing them in an order of concentric rings. Like a jazz solo in slow motion, each unique piece grows out of a never to be duplicated thought process which is frozen in time in the completed piece of lace.

ike Mrs. Keosian, Al lie Crumble began to learn her quilting skills quite early, when still a little girl in Newton County, Mississippi. She learned to piece cloth beginning 1at age seven and to quilt at nine. In 1944, while in her early thirties, she and her husband moved to Milwaukee where he worked at Milwaukee Boiler and A. 0. Smith. Later he started his own carpentry business and Al lie would make quilts in the sawtooth pattern in his honor. Mrs. Crumble has remained an active quilter throughout her life, making and selling about a dozen quilts per year. She never worked outside the home where she was always very much occupied in rais- ing ten children along with her TO ing cottage industry. Her quilt tops we generally composed of ty of concept, as in her necktie began to whittle right away, (his squares identical in pattern, dif- quilt, which features a tie per square first piece was a toad of pine) and ferent in color scheme, encksed in [ruin each male member of the has continued whittling on and off an intricately patterned edge. Nlost Metropolitan Baptist Church. throughout his lifea whimsical side of her quilts are made from brand to his serious occupation with wood. new material though sonw are com- I.ike his father. Art %vas a building posed of scraps provided by her he traditional division c(ultractor for 26 years. Mr. Moe seamstress daughtf.r. of labor in manv world rehwated to Haman! in I961 where Mrs. Crumble adheres to fixed cultures predisposes he continued as a builder until geometric patterns: the quilts are women towards 1970. At that time. he and his wife then filled with a tnultiplicity of creative work in fibre bought a dilapidated old resort on vivid colors particularly her 'Aunt and fabric and men the shores of Lac Comics Oreil les Sooky' quilts. (apparently Aunt towards wood and metal. When Art here he has used his skills to Sookv's wardrobe involves flam- NIoe was a six year old bov in La substantially improve and has b)yant tastes) and the 'broken Crosse. hk father Clarence. a re( hristened 'Fhor's Kitchen' in dishes' pattern rendered in practical-carpenter and cabinetmaker. gave honor Of his Norwegian-American ly luminescent triangles of tall'eta him a pocketknife with the tradi- roots. and silk. Her striking use of color is tional inhuonition. 'Keep it sharp It%\ as also) annual 190! thiu Art also sometitnes matched in twiginali- and you'll never cut yourself. lie first attempted a thaihsaw -31- .12 7 ,7 :`,S

k1

carvingwhittling on a grand scale sculptural work of 'chopping and He completed a building few a camp tis apparent from the 'channeling the bodies to alter their in Oneida County and wanted to previous examples that basic shape, since they must still leave a special personal mark. He lblk arts are not static function as vehicle's, he must also noticed a nearby stump and decided and Iblk artists do not build new rear ends, replace straight to carve the figure of a bear in it. slavishly adhere to a axk. front ends with those having in- Since then he has continued to make rigid traditional model. dependent suspension, `drop' in a chainsaw carvings, manv decorate Nor do the folk arts necessarily difkrent engine and sometime's do the grminds at his resort and evoke an old timely, venerable im- paint .jobs. restaurant and he has donated age. Tim Anderson of Madison Chopping and channeling involve others to groups like the Lion's would scarcely have thought of removing or occasionally adding to Club, Chamber of Commerce and himself as a folk artist, yet his work parts of tlw car's cab so as to alter Birchwood Bluegill Festival to lw as a car customizer who 'chops' and its geometric shape. Tim studies a raffled off. Mr. Moe reckons that he channels' hot rods is firmly ground- car for several days lx.fore beginning has carved roughly 1.000 figures. ed ill the aesthetic traditions of a evork. Sometimes he takes picture's For the most part, they are symbolicsub-culture and there is no question of the cars and cuts tlwin as a way of the important factors in the ar- that his artistry is highly to visualize. what he intends to tist's life. They include northwoo(Is sophisticated and requires great create. The work is complex evildlife (bear. eagles. muskellunges. skill. because. lowering the top, for exam- snapping turtles). regional types (In- A young num in his early thirties. ple. involves removal of several in- dians. lumberjacks, farmers and Tim manages a custom welding and ches from the side of the cab, fishermen), and in celebration of his fabrication slit p. He also has a shortening the roof, and compress- Norwegian roots. Vikings and garage/slutp adjacent to his home ing the upper part of the door fram- figures from Nordic folklore. where he d(WS his hot md work oil ing the window, all the while All \hue is a member of the first eyeekends and evenings. Like other creating the flow of line that Tim is generation of chainsaw carvers. In folk artists. Tim began to acquire seeking. this sense itis a relatively new folk his skills at an early age. His father The seldom articulated aesthetics art form, but chainsaw carving is a mechanic and by the time he ot- l.,ot rods entail the creation of a draws On earlier woodworking skills, w as eh.ven. Tim too was working as .sharp' or 'tough' looking, unique occupational. ethnic. and regional a pit mechanic. About that time he machine out of a standardized in- traditions. The chainsaw allows the also learned to welt!. dustrial product. Itis a struggle for carver to work on a larger scale and Tim creates a complex form of the assertion of the individualized like whittling. represents a creative, kinetic sculpture when he falnicates and the hand (railed in the very whimsical application of the skills hot rods from standard cars that realm of the mass-produced product assot laird with practical. kinctional date roughly from the mid-l930's to hic h gave birth to the assembly tools, and materials. the mid-1950's. In addition to the line.

CIt 3 experience and the heritage of fami- The next step is finding out about hen one begins to ly. community and ethnic group. the folk arts practiced in your com- consider the Art experiences which build upon munity. One need not look only for significance of the art- and compare various manikstations exotic, unusual or very old tradi- work of creators like of these traditions promote students' tions. Many significant forms of folk Keosian, Crumble. positive self identity, a sense of the art are so common that we hardly Moe and Anderson it importance of their family and com- notice them. Who does not know becomes apparent that the lack of munal ties as well as tolerance fin. people who embroider, crochet, do scholastic attention to the folk arts is others' differences. woodwork or metal craft? Much of a missed opportunity. In thefirst For example, a 'log cabin' quilt this activity may have been passed place, bringing folk artists to school made in a Euro-American household down in a traditional manner. In- or involving students in a folk art can be compared to an African- deed school children are often prinw activity can validate and enhance American strip quilt and both of carriers of folkhire. Folding paper the status of artistic traditions with these to a Hmong reverse applique airplanes or 'cootie catchers' and which the students may already be pandau ihmer clotl:.' The differing decorating tennis shoes with beaded familiar. The family-based folk arts styles of design, presence or absence 'friendship pins' are but a couple often involve some of the most for- or synnnetry, and various techni- exainples of contemporary children's mative aesthetic experiences in a ques of construction andstitching folk art. The fish may be the last child's devehyment. The hook rugs can all be compared along with a one to to realize thatit is in water .which contimially seemed to flow discussion of the basic function and that it swims. Folk arts are foun(I from my grandmother's ever-movingcultural origin of the object. hands were the first art objects I It is a relatively simple matter to ever observed in the processof crea- n sunnnary. the ap- survey students and the members of tion. I rementher plunging my hand plication of what is their families for the folk arts they into her overflowing basket of scraps learned in school to practice. A survey form is available to hand her the next piece andbe- home and community frcnn the Traditional and Ethnic ing told it was the 'wrong color. life is a basic underly- Arts program or the xviseonsm Arts until gradually I came to understand ing goal of educa- Board or one can develop a ques- her concept of coinplententing col- tion. Integrating the culture of home tionnaire tailored to your own com- ors. and community as it is expressed in munity. Nlanv helpful ideas are also Secondly, since their practice is sothe folk arts into the school cur- «nitained in a pamphlet.Fo and widespread, folk aits ale a way of riculum is a tangible way to connect Fieldworkby Peter Barns available demonstrating the great extent of the varied facets of a student's life free of charge front the American aesthetic concern in everyday life. and advances this goal. If these h)lklife Center at the Library of Everyone is involved in making ar- reasons are compellingenough. Congress. tistic judgements and expressions. there is still the daunting task of how usually based on their folk to teach the folk arts. Feweducators Students can be assigned to con- aesthetics: from as simple stateinent have had any specific training in duct fiehhvork using a survey form as parting one's hairwith a comb tothis regard. There are some courses, and then share with the class the the creation of the complex en- workshops and institutes as well oF traditions from their own homes un- vironmental pieces known as our ongoing efforts to develop more piv- covered in the process. %%lien the homes. Students need to become otal post-certification courses on folk initial results are in, a teacher can aware that these are artistic con- arts in education. (For more infor- focus on One or more of the most cerns. While relatively few people mation contact the Traditional and intriguing practitioners of folk arts become prolessiomil artists, students Ethnic Arts coordinator at the disuovered in the surveyperhaps a should realize that they themselves Wisconsin Arts Boar( I.) Though for- student him or herself, a parent. and members of their families or mal training opportunities are still grau.lparent or even somecnie's communities are (glen involved with too 4ew. interested teachers can nrighInn.. \lake an appointment to the creation of expressive or wmethelessbegin to tap the fi)lk meet the person. your fieldwork in- beautiful Objects. resources of their ownschool's com- fOrniant. preicrably in his or her Also, since the unique variants of munity. own home to learn more about the folk tradition are specific to the One should begin with alittle art form. Remember it is just as im- groups in which they originate,folk reading. There exist a number of portant to ask a')ont the cultural arts study can !Oster greater accep- excellent written sources available to meaning and use oftheobjects as to tance and understanding of various teachers. Some of the best (and very learn about the materials. methods cultures and experiences. Children inexpensive) materials have been and teehniques involved Ill their do not arrive at school as 'blank developed bv folklorists at the reation. slates'waiting Ica. the formal school Nlichigan State University Museum. Follow the fieldwork suggest hnis institution to shape them but bring .-Irt% in Education: RoonnT inFo lklik and Firldwor4 (n- inthe with them an acquired cultural or 1 landhoo4 1wNIarsho Mac Dowell NIichigan .1-II leader's guide and be ethnic tradition. School curriculum (1987) is a good place to start. Also sensitive to vonr infOrmant's sen- is not neutrally superimposed upon theFol4patter7, 4-11 lawden Guideby sibilities. The informant may insist a child's belief system but is du. same author is a fount of ideas that he or she is not the best person refracted through tile prism of lite fOr specific- activities. inter%iew. Usually these protesta-

f -33- lions are an expected fOrm of Follow up on the visit with a There is a 'folk' dimension to all modesty. Do not be deterred. related activity. Maybe the students people: aspects of' our personal If you determine that this person can try their hands at the art form. culture which are acquired informal- would be suitable to present his or Remember that there is no one cor- ly on the.basis of in-group ideas and her art form to your students, make rect way to do a folk art. Some aesthetics. This dimension may arrangements to either bring the klkstudents may do a variant form bas- underpin our basic thinking artist to the students or vice versa. ed on their own cultural regardless of how much or little we There is a guiding principle in background. Remember also that are exposed to the omnipresent com- designing the activity: try to folk arts are folk because there is nwrcial popular culture or to the replicate for the students the sort of' not one 'correct' form taught in for- elite culture of the European line experience you had in visiting the mal institutions. By incorporating arts. Bringing the folk arts and ar- folk artist in his or her home. In thethe activity imo school curriculum tists into an educational setting is cases of less portable traditional ac- you do not want to create in- far from a frivolous endeavor. The tivities, a class visit to a local boat- advertently the 'official' folk art of activity can advance basic cur- builder or blacksmith is perhaps the .our state or community. Rather it riculum goals and can be a rewar- only way to involve the students. is important to make the point that ding experience for students and In many instances it will lw more you are exposing students to but a teachers alike. practical to bring the folk artist to few examples of' the rich and diverse school. Prior to the folk artist's artistic cultural traditions which sur- school visit prepare the class for round us. what to expect and give them time While bringing a visiting folk ar- Richard March is the Trodi- to think of questions they may wish tist to school is a valuable activity in tional and Ethnic Arts Coor- to ask. Some background on the art itself. there are also a good many dinator, Arts Board, Madison, form or on the culture group it colll'ITIV curriculum objectives which Wisconsin. represents is also important, might be accomplished in the pro- Since you are pulling the person cess. It need not be an 'extra' ac- out of the natural context by bring- tivity but simply may be an effective Ri.k.rent es ing him or her to school, figure out wav to teach subject matter which is Bards. P. (1979).14,1klik and Fieldwork .4 what items could be brought in to already required. Individual student Layman', Intruduethor to Field Tramique, help contextualize the person and outcomes in cultural and aesthetic Washington. D.C.: American Folklife the activity. Encourage the artist to awareness, creativity, interpretation Center. Mac IN Pitapat/et nA:4-11 Leader', bring in a whole range of tools and anti self-esteem. all crucial in art Gurde (411 1222). (1982). .thrhigan State supplies, not just completed work. education, can be achieved through l'nwer,:tr Cooperatwe ExtenAinn Senfre. Bot See if there is sonw part of the pro- the folk arts. Lansing. Michigan. (Amdahl:. through MS1* cess of creation which can be shown Cmperatirr Extenium .S'errice. Bulletin Office. NIoreover.lk arts can advance /cm .4v:cu1ture Halt Micingan State I 'nice:lily. in class. Perhaps there is an aspect curriculum wials in (nher subject Laniitte, .W. 48824.) that students can participate in areas. It is fitirly self-evident that Mai Dowell. M.(LW.). (IW17).Iii/A .4th tn with thought given to age/skill level social studies goals in the area of Erhi: anon..4krihurce Handbook.Michigan and to safety, of course. The artist cultural pluralism and history can State UniVersityNillSrlI111. East EanSint.t. might have snapshots of works in (.A handbook with a cum eptual in- be addressed through the folk arts. iroduction. resource list. adtleiHla fowl their normal setting (n. being used English language arts skills can be se%en Folk arts in schools pride( ts.) fin- their originid purpose. The enhanced through the folk arts WhNimon. E. (li(I.). (1972).Thc FoOrr, overall effect to place the tradition stIrVVV. oral or written presentation But:A. liar:lenCity. New York: Anchor in its cultural setting. Pmss"Doubledav. (Its main value is of the results. and through inter- demonsiratini; a p)ssible format for Remember that inn all folk artists viewing the folk artist. The famed din1111Italtillg anti ruing abinn 'mid people are necessarily adept at speaking to Foxfirr books edited by Elliot Wigg- and their traditions.) a group or correlating their ington. were created as an vIwaindarv and presentation stele to outgrowth of an English language lition.d Rest mo the particular grade level. Therefinv teaching activity by high school Relantis. B.J. t l985). bidAhm intlhClawwitn. the teacher sinni1(1 in t as an in- students in Georgia. Indiana Ilktorh al Bureau. 140 North termediary whenever necessar% ti Issues in environmental educa- Senate. Indianapolis. IN. 46204. (A form a coherent presentation of the tion. science and mathematics can woikbook deeloped for teat hers of folklore in Indianaiti1t1it t [tools. Int hides folklore artist and his or her work. Base it be addressed as well: the use of cer- games. learning atii hies. (lint ational upon what von karned during the tain natural materials in basketry atItt rtMall't es. Pt It 5.71.00) initial visit. Touch on the artist's and the characteristics which make :11,11,11ers. ;. (1981) Art viim ation as upbringing and how he or she learn- them suitable fOr this use. factors a- in 4ii Ed", athm. ii. ti14 ed the tradition. Ask the artist to te( ling the availability of natural il'roposes that .111 art is valitablea% akr\ undeisianding people in C iatint.. and that repeat illustrative anecdotes or materials 11.tit'd in crafis. the h)lk ariists. pipular artists. and art au. reminiscences vou may ha%e heard geometry involved ill quiltinghow diem es should be vii1.ti as meaningful durihg the fieldw(irk. To avoid anv are squares cruated from a combina- cssii ilis (a that t ) confUsion or unpleasant surprises. tion of triangles. how does One know \I. (Prig).1rrec Armil Annul xoll should discuss with the infor- RowF,,l4 in a Cul lumlTht. Nt how many pieced squares art. need- .111,(. Shit(' Ct)11111 il on the :Arts. 10(1 \\*tsi mant the questions vou plan to ask ed kir a quilt top big enough to state Sireri. I lemon. Ness lei m 086.21. in (lass prior to the presentatnni. coveri particular bed. 152.'11)r ) -34- by Joe Ives, a Saquamish Indian; handle the art to get a feel of' and several bead work pendants beautifitl objects made by and for made by my sister-in-law, Bonnie ordinary people. It is the beginning Prescott. Her Winnebago ancestors of our own anonymous quest fin created bead work for hundreds of something that belongs to us, years. and no doubt sJoe Ives learn- something from Our past. The ed to carve from his elders. I always reasons why we do not learn about ask my students who do you think our own heritage are numerous. No made these works of art. I ask, 'Is it one could remember or cared to Picasso, Rembrandt, Michael teach it to us. Or we do not know Jackson?' No response. Joe Ives and how to understand or appreciate it. Bonnie Prescott are anonymous to Or we do not value our 'old' things, them as major artists. I let them because of the attitude: 'what does k IP = I dAf . /Ncir .. " JCL-4's 10 94 r ", "N r it \\- ;', r ,ter

s I look at my students, I see Shonda, big and bold with the strong black face of a warrior queen, now wearing Nike shoes and carrying a book bag full of' potato chips. I watch Hank in the corner whispering to his friends about the latest line of skateboards, and I have seen that same European face in an Oslo gallery. In this ur- ban setting, stare eyes from a hun- dred different cultures, all unknow- ing that we can share their race, religion, language or idiom, and art; each has strong historical roots. Some days we do still life drawings. or large pop art paintings, or go outside and draw landscapes. At other times we stop and look at who we are. Who ARE we anyway? For our middle school students, this is the question of their age. Most students by this age have viewed illustrations in text books of historic events, portraits and sculptures of natitmal leaders, and vf.,004,4f people of difkrent cultures and their urt. In the minds of most students, this art is done by dead people. resides in between the covers of textbooks, or molds away in a museum. To break into this limited view of art, I engage them in view- ing and discussing fimr pieces of art work: Northwest Indian sculptures of ravens with people hidden in thm; a spirit bird that was carved

It it do for us I became interested in the rela- tionship of culturt. and art when a y ttr, colle're nbacher encouraged nie tu ex- amine (reek vases, Roman ch)th, or sections of old paintings to acquire ideas ftir Ill V OWIl work. The in- strurtor inlic.,d that the ;holt. art world was for our taking., that is,it belinigs to us because it is our legacy. I lwgan to understand that the Greeks and Romans solved sonic of the same problems thatI solved in my work. This encounter with art lcd me to become interested in art hist( WV .rcheologv, and an- thropology: the relationship of art and cult-re becomes boundless.

cachers at Webster Nlidd le School. muwaukee, have uevemped an Interna- tional Studies program which is integrated with a new Vital Issues program fOr all grade levels. Art is woven through the curriculum to expand the students' perceptions of different art fOrms and their cultural origins. Teachers ft.om all subject areas work together to plan particular themes and related nipics which are in- troduced in individual classes or in large group instruction, One of the unique instructional situations our school has advanced. In the large grmip sessions, !Our Or more classes participate in stations which relate to the theme. Each station presents a particular topic and activity. The stations are run by the students following training sessions bv teachers. For example in the art presemations. students dcyClop 'package', a worksheet system, which guides students through an "" prutt'ss Iii tsu'l)-1)v-su'l) Pr"' edure. Following ihe group in- %.4 troduction, the theme is examined in greater detail in each subject area tor On,. or morn ,,x,,.ks. Additional

inform:Moll disPlavsatv st'l111) in the cafeteria to continue the students chiding \Vorld \Var II: our treat- economics with a fiwus on United inolvernent in an informal manner. ment of Americans of.Japanese ties- States and Japanese trade The following unit provides all ex- «.nt during \Vorld \Vat. II: and the agreements. 'Hwy examine how ample of how our program %vorks in onontic growth of.Japan since thc banks control and manipuhtte in- greater detail. wal that presently effects the L'nitcd terest, and how the snick market ef- In eighth grade. the United States States. fects the cionomics of a country. in the t.entieth 0 entury is thr Eat h Subic( t urea develops con- Japanese literature. poetry primary theme ot study v;tli related tent exemplifying issues and events I laiko), entertainment (e.g.. N,() and issues which ;Wet ted otherountries: during this period of histry. In die Kibuki theatre) are compared and our past in% ol ement ith the area (If mathentatio s. students arc contrasted in English class( s.lii the japattese people prior to and in- t'dIt) cO)11( tpls ()lid al"l'a of social studs, the history of

-36- :4 7 Japan is presented and its relation- curriculum developnwnt. This inter- ship to the United States. Through- here are many other national direction is important to out the various subject areas, resources employed in our students because they beconw students are confronted with the instruction of this directly involved in discussions and ethnocentrism and its implications. unit. Video tapes and activities that affect them in the In large group instruction, slides of craftsperson, areas of ecology, nwdiation, students from each subject area artists, landscapes, economics, travel, and current develop and present one topic and a cities, schools, ceremonies, holidays, events. related activity. The mathematics brush painting, and calligraphy are The study of art in a nontradi- group provides mathematics games shown and discussed. Students have tional manner provides a benefit to and puzzles common to Asian coun- the opportunity to view and handle both students and teachers. It fur- tries, for example tangrams and go- prints, dolls, silks, thers the students knowledge of art muku, an ancient Japanese tic-tac- 'Japanesekimonos, cerathics, and other ob- as an expression of culture, a reflec- toe game. Students in the English jects possessing Japanese style of art tion of values, and a product of peo- area read their Haiku poetry and or culture. Japanese music is played ple for people. narrate a style show of Japanese in addition to an introduction to clothes. The social studies group their language through tape record- his integrated and displays a time-line history of Japan, ings and guest speakers. Additional cultural approach to art and prepares and serves samples of research on the topic is done by is appreciated by our Japanese fbod (e.g., rice, soy, stir students at the Instructional Media Unit teachers because fry vegetables). Art students Center. For each topic, an ill- it adds a dimension to demonstrate Sumie painting, bam- ustrated research paper is required their curriculum that boo brush painting. After the group of all students. would not have been available. presentations, additional instruction When beginning to research a They also appreciate that students is held in the specialized subject topic, I almost always start with bringing and share their art work in areas. books that deal with general an- other classes. Some students who In the art classes for the next thropology to bolster my under- have difficulty with reading can several weeks, students practice standing of the context in which the develop an understanding of a topic Sumie brush painting of traditional art was created. I believe that itis through art, and this will often have subject matter of animals, land- important to show my students what a positive affect in other academic scapes, and objects. The students' I do to find out abou a particular areas. work naturally appears to look very culture and their art, thus I often This involvement in relevant much alike; this mutual similarity is bring books from my research into themes and group learning is the consistent with Japanese style of art. class.I have used similar resources most realistic. and helpful learning After a while, the students began to and methods of teaching for other experience for students because it discern a good brush stroke from an themes: Native America, Africa, approaches the task on many levels. ill considered, hasty, or sloppy China, Contemporary American Students experience learning in stroke. Students also illustrate cultures, Middle East, and Black many difkrent ways through touch, Haikus which were written in History. taste, reading, viewing, and listen- English classes, and they explore While our school population is ing. Learning is concrete and real. other forms of Japanese art: about nine hundred students, we areOur program is designed to help origami, stencils, games, and able to bring u,; type of program tostudents find their way to learning, ceramics. When I develop a follow- all of the students at different times that is, the process of learning. up lesson on Haiku, the students do of the year. An important aspect of We do not think that we have a not question this because they any successful program is to take unique situation in our school. but understand that Japanese calligraphythe work of the students to the coin- we do think that we have developed is a form of art and that itis tnunity. Our students have exhibiteda unique and helpful method that natural to write and illustrate their work in the central office of can be applied to other schools. We (Sumie) one's own poetry, or an ad- MilwaukeePublic Schools; the Folk frequently entertain inquiries and mired poem of another student. Fair in Milwaukee; the Internationalvisitors to our school who catch our When I lead students through art Rotary of the Milwaukee Art enthusiasm, and who most impor- exercises, Itell them that I am not Center; and in Tokyo through the tantly observe our students en- a native artist from the culture, just Pentel International Student Art Ex- thusiastn for our own brand of in- as they are not: we are getting a hibit. Webster Nliddle School hosted struction. 'leer for the work. not attempting the Pentel International Student Art to copy the work from other Exhibit in Nlilwaukee during cultures. Presented in this broad February. 1989. context, students never argue the When we began to expand our in- relevance of the study of art in this terest in contemporary international way. They gain an appreciation of issues, the Milwaukee International the problems artists of other cultures Rotary Club and the Danfiwth have to struggle with. because (itir Foundation became interested in E.11PI( ,t .111 ./1/ 14,14 Ii( .11 students have to stniggle with some supporting otir program through if 1 bsi( haah S< /11,11/. of the same problems. funding inservices, speakers, and 111/11.11/A (1. i111/111) -37- 28 _

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Wisconsin An Education Association Board Members President William Benson Prrsident-Eka Douglas Marschalek State An Consultant Martin Rayola Regional Vice-Presidents Kristi Schreiner. North East Sue Groshek. North Central John Jaskot. North West Mary Alice Pipkorn. South East Katherine Belling. South West Pam Knudtson. West Central Divisional Remsentatins Chris Steinhagen. Elementary Marcia Thompson, Middle School Pat Lauritzen. High School Jan,:t Carson. Higher Education Ram ma I apsley, Private Schools Katie Howarth Ryan, Museum Marilyn Lapaeinski. Student Karen Watson Newlin. Youth Art Month Robin Thins°. Youth Art Month Donna Dart. Awards Kari George. Newsletter Jewell Riano, Supervision Peggy Meyer. Secretary Ori-Anne Pagel. Treasurer Letitia Parker. Membership Wisconsin Art Education Association is affiliated with the National Art Education Association, 1916 Association Drive. Reston. Virginia. 22091. t703) 860-8000.