Agricultural Extension Service 4-H M-19 I 4-H Youth Development University of Minnesota I

I

ARTS ALIVE

Through the arts we can become: Alive to Ourselves, ... Alive to Others, and ... Alive to the World. We become alive to ourselves through a creative experience. We may create something more effective and beautiful than we expected whenever we paint a picture, perform a dance, write a poem, or make an object. Our strong and joyful statements may not be beautiful. However, we understand ourselves better each time we reject or accept our own expression. Children have a right to participate in the expressive arts. As youth leaders we must help children move from spontaneous and uncontrolled activity to a meaningful expression of value to the child. We must help them become alive to themselves and give them opportunities cs to give form to their feelings. Within our youth groups we have boys and girls with mixed abilities. Success for each child THE ART SONG requires respect for what he or she has the ability When the artist is alive in any person, whatever his to become, not for the ability to compete. kind of work may be, he becomes an inventive, Children feel more free to develop their own searching, daring, self-expressing creature. He capacities in a non-competitive environment becomes interested in other people. He disturbs, because they respect each other's limitations. upsets, enlightens, and he opens ways for a better We can find many ways to do things together. We understanding. Where those who are not artists are trying to close the book, he opens it, shows there get to know one another by singing, putting on a are stiff more pages possible. play, or painting a mural together. Build a caring The world would stagnate without him, and the group by sharing with the elderly or with world would be beautiful with him; for he is hospitalized children. Give service through the interesting to himself and he is interesting to others. arts in day care centers, homes for retarded, or in He does not have to be a painter or sculptor to be an nursing homes. We become alive to ourselves, to artist. He can work in any medium. He simply has to one another, and to the world through growth find the gain in the work itself, not outside it. and concern for others. Robert Henri

Prepared for 4-H Art and Drama Workshops for Youth Leaders 1976-1977

Funds for publication of this workbook have been provided by Cargill, Inc., of Minneapolis. We express our thanks to Cargill for their continued support of the 4-H expressive arts program. CENTURY Ill 4-H EXPRESSIVE ARTS CREATIVE AND PERFORMING ARTS, PROGRAM

LEISURE EDUCATION AND COMMUNICATIONS The 4-H Expressive Arts are tools for total human growth. "A child's experiences in art affect his Automation and labor-saving devices have resulted in longer vacations, mobility, and affluence. This social well-being, influence his intellectual new era demands increased community recreation and leisure-time services. Studies consistantly show faculties, and above all help him utilize and refine that "problem youth" have almost no special leisure interests or recreational skills. Community his perceptions and his emotional sensitivities."1 recreation and leisure education are needed to instill in young people constructive attitudes, sound The arts express human experiences. Expression values, ways of learning and communicating, and concepts of society that accommodate effective and may be in the form of dance, drama, music, constructive use of leisure time. writing, or visual arts. The arts emphasize 4-H programs in creative and performing arts and leisure education should continue to be designed and individual interpretation and expression. For the implemented to provide youth the necessary knowledge and skills which can contribute to an improved child, art is primarily a means of expression. quality of lif~(Recommendation 26). Young people can have an opportunity to give Effective communication skills are essential in a democratic society. 4-H programs currently offer form and meaning to life in informal educational excellent learning-by-doing opportunities for youth to develop skills in speaking and listening. However, settings through the 4-H Expressive Arts2 4-H communication programs need increased efforts in the areas of group interaction and interpersonal Program. commun ication-(Recommendation 27). Visual arts express creativity through line, color, Extension Committee on form, pattern, and textur~two-and three- Organization and Policy 1Pizzat, J., Background Information For Developing An Art Program, Southwest Minnesota State College, Marshall, Minnesota, 1969. 2 Lowenfeld, V., L. Brittain, Creative and Mental Growth, McMillan Publishing Company, Inc., New York, 1975. 3 dimensional structuring. These include sculpture, Rationale The arts help people understand their changing painting, and print making. environment. Artists may reflect a desire to Music expresses creativity through vocal and The arts offer the personal dimension of improve society through their chosen art form. instrumental sounds in practiced or spontaneous emotions, sensitivity, empathy, and expression. The unique community- and family-centered 4-H rhythm and harmony. This balances educational programs in 4-H that structure allows individualized instruction, peer put primary emphasis on the objective mental Drama and dance express creativity through teaching, and volunteer leadership. The arts can operations required in science and technical offer an opportunity for recognition of voice, gestures, and rhythmic and harmonizing studies. body movement in spontaneous or practiced role developmental levels, maturation, achievement, playing, elocution, mime, and staged The arts help children reach self-realization by interests, and needs of each young person. presentations. assisting them in perceiving their world, reacting Diversity and individuality can be encouraged. to what they see, and interpreting their emotions Emphasis can be placed on the learner and the Inscriptive Arts, such as expository, poetry, and and insights. The arts help them develop positive learning experience rather than on the product. prose, express ideas through words and phrases attitudes toward human interaction, respect for 4-H art projects can be experienced in a in free form or in rhythm with a beat. human interaction, respect for human values, and voluntary, non-competitive, non-threatening openness to ideas and works of others. atmosphere.

Objectives of the 4-H Expressive Arts Program

CHILD TEENAGER/YOUNG ADULT

I. ART AWARENESS Overall Objective: Assist individuals to enhance the quality of their lives through enjoyment, appreciation, and self-expression of the expressive arts. A. Finds satisfaction and pleasure in A. Experiences fulfillment in creative forms of leisure activity. creative leisure activities and continues to improve the quality of leisure.

B. Becomes aware of artists and their B. Explores career alternatives and contributions by having an opportunity educational opportunities in to see them at work. the arts. C. Perceives and understands artistic C. Has knowledge and skills needed relationships as they occur within to adapt to his environment and the environment. desired change.

II. SELF-AWARENESS Objective: Assist individuals to use knowledge of self as a major element in making decisions which enhance the quality of their lives through the expressive arts. A. Feels satisfaction and greater A. Understands and values his own self-worth as a creative and unique ideas, feelings, uniqueness, and individual; is able to make art judgments creative abilities; developing a and think, feel, and act creatively. positive self-concept as well as appreciating these qualities in 4 others. Ill. DECISIONMAKING • Through creative activities the child can Objective: Assist individuals to plan their expressive arts experiences to achieve qualitative goals. discover his uniqueness, deepen trust in himself, and accept himself as a person with A. Engages in problem-solving activities A. Develops discipline in an art form potential. that increase flexibility, resourcefulness, that will improve skills needed To become fluency, inventiveness, originality, for self-expression and performance. what I can; and awareness. To be now B. Evaluates the results of arts what/am; decisions and their outcomes; To be present modifies performance on that basis. where I am; To be conscious IV. SOCIAL INTERACTION while I can; Objective: Assist individuals to interact and relate to others through expressive arts in ways compatible To be aware with their goals. of who I am and who you are; A. Enjoys participation in creative A. Applies the language, process, To reach out activities and shares the pleasure heritage, and discipline of an for my potential; with others. art form to improve the quality of To find fulfillment his life and others. in a blade of grass or a certain smile V. ART SKILLS or a simple touch Objective: Assist individuals to live up to their own potential for acquisition and use of expressive arts Because Another skills to reach their leisure goals. has enabled me to be, A. Explores and participates in a wide A. Is able to select an art form I became variety of art forms and media and art medium specifically all these things according to readiness and ability. suited to his needs for self-expression. And even more. B. Becomes aware of a variety of art B. Acquires a knowledge of art forms of the past and responds to heritage and uses this knowledge • The expressive arts enable a young person to the arts openly and receptively. to examine his own values, and become aware and observant of his Attends concerts, visits galleries, those of society. environment. Art can help a child enjoy all the talks with artists. colors, textures, shapes, sounds, and scents in his environment as his senses are awakened. An interim report of the National Leisure Education Developmental Committee He can accept, reject, and change his surroundings based on his own capabilities to decide. "Art is a natural, right from an early age. The child's garden (of art) is missing in America today. A child should begin to work with materials just as soon as he is able to hold a ball. By holding a ball, a child gets a sense of the universe and there RELEVANCY OF THE is a closeness to God. The ball or sphere leads the child to other geometric shapes­ EXPRESSIVE ARTS the cone, the triangle and cylinder. He is now on the threshold of nature itself. When The expressive arts help children interpret their a child begins to work with materials and feelings and realize their full potential. begins to create ... a new world is opened • The expressive arts can help release fears, to him." troubles, anger, tensions, happiness, joys, and Frank Lloyd Wright sorrow. Emotional problems can find an outlet in meaningful expression. 5 stimulating, give a sense of belonging, and •· talk with each memberabout his work. provide great freedom of choice and Evaluation of a child's work should be a expression. We can develop creativity by being continuous process. Evaluation should be a friendly, allowing for self-discovery and joint effort between the member and leader. It experimentation, and avoiding authoritarian should be a positive experience that allows the direction. We should add variety and change teachers to know where help is needed. the environment often. Evaluation could be made on the following • search for qualified resource people to help us. points: We cannot be expected to have every skill • Has the child been inventive and original in needed for a meaningful art program, but there his work? are many people qualified and willing to assist • Has he discovered new ways to express us. We must be certain that the person we himself through experimentation? involve is more concerned with the child and • Has he worked at his own maturity level in his experience than the final product. organizing visual elements? • acquire necessary equipment and materials • Has he worked with skill with materials and based on the proposed activity and budget. tools? Dues qould be collected from the members, • allow and encourage visits and involvement by gifts of useful supplies accepted, and money parents and friends. Suggest ways for them to ROLES AND raising events held. After a period of time, a encourage and show appreciation of their stockpile of basic supplies will be built up. child's creative work. RESPONSIBILITIES OF A Children should not be expected to use scrap YOUTH LEADER IN VISUAL materials or undesirable supplies. Exciting • hold small exhibitions regularly for family, materials can stimulate ideas and creativity. other club members, and the public. These can ARTS be held in the living room, in the back yard, at • demonstrate challenging processes to our club meetings, at county events, in store group. We should develop a criteria for windows, in shopping centers, at P.T.A., or choosing art activities based on their problem­ As teachers and leaders of children we should: wherever you have a group of people gathered. solving qualities and the skills demanded of Keep a portfolio of each member's work and • have a sincere interest and dedication to the the child. If the activity does not foster let him choose what he wishes to share from young member we are guiding toward personal educational growth, it is not valid in our that collection. Every child should have the development. Art activities teamed with an program. Demonstrations should be opportunity to exhibit in a competitive-free understanding teacher can develop self­ stimulating, well prepared, and brief. climate. potential and self-understanding and change • stimulate expression by attempting to surface behavior. thoughts and feelings. Utilize poetry, literature, • get articles, pictures, stories, etc. into the local • study and understand the objectives and discussion about experiences, body movement, papers. philosophy of the 4-H Visual Arts Project objects, art materials, films, games, smells, • use discretion in involving students in public Program Review. We should be prepared to tastes, touch, etc., preceding the art service activities such as poster making, interpret the 4-H Art program to the public. experience. scenery painting, and competitive art contests, • develop a flexible program for the year based • help the child develop an awareness of design etc. Seek other ways for community service on the number, age level, needs, and interests principles and visual elements found in nature that allow the student to develop leadership, of your group. For convenience in touring by through first hand experiences in nature or solve qualitative problems, and meet the needs car, using small meeting rooms, and giving with natural materials used in art. Look for the of others through his skills in art. personal attention, six or seven members are same elements in manmade objects and • organize tours of galleries, artists' studios, and recommended per leader. discuss how we can use these artists' tools to other community art resources. • carefully prepare an environment and share a communicate with others. • join community art groups, search out philosophy conducive to art. In volunteer youth • give equal recognition in art. We should help educational experiences for personal growth. organizations we have the unique experience each child understand that he is unique and Local school districts, junior colleges, and art of teaching in a variety of classrooms, such as creative and can express himself in his own centers offer art classes for adults. Read new a church basement, back yard, kitchen, way. His work should not be compared with art books and periodicals and continue to grow community center, or city hall. Our students that of others but should be acknowledged as and develop creatively. We teachers are the often seek us out with great expectations. The his personal statement at this moment in his most important part of the educational 6 environment we provide should be visually life. We should reward creative behavior. en vi ron ment. • be competent and enthusiastic. The technical humble-willing to listen to others and to QUALIFICATIONS OF A knowledge necessary at the secondary school learn; is qedicated to some job or vocation VOLUNTEER LEADER IN level is not needed for the elementary age which she finds exciting and pleasurable, group. It is necessary to understand the one that she does well; she is creative, VISUAL ARTS developmental growth of children in art and to willing to take risks to create something know how to encourage children to perform at worthwhile and spontaneous; is a hard We, as teacher-leaders, are the most important successively higher levels as they progress in worker, rarely in conflict with herself; she factor in the art program as we attempt to help a their work. We must have ways of stimulating, respects herself, enjoys others but is self­ child become sensitive and aware. We should: selecting, guiding, and evaluating art reliant and does not really need them; and • be friendly, warm, and democratic in order for experiences. We should know the value of the she is both selfish and unselfish, since the child to gain confidence in self-expression. visual arts for children and have experimented helping others gives her genuine (selfish) We should be prepared to guide through with many two- .and three-dimensional pleasure." suggestion, to respect the opinions and materials and processes suitable for children's from a Glamour Editorial, judgments of children, and to have fun with art experiences. "What's Wrong With Self-Fulfillment" our group. Studies prove greater productivity • be self-actualized. We experience growth and All things affect the child as a total human being. takes place in a democratic climate with a fulfillment only after a certain amount of effort, If a child is unloved or lacks security in one area friendly teacher. Children should feel free to struggle, commitment, and time. of his life, it will show in his art expression. As 4-H express individual differences. When our "Maslow, who was really devoted to the art leaders we can help him unite his thinking thinking is regimented, we lose our ability to subject, made a study of 'self-actualized' with his feelings. Without love, there is no express ourselves creatively. · people. The self-actualized individual, he education: Perhaps art will be the beginning of • be flexible, as art expression changes as found, is someone who has the ability to further education for and development of full rapidly as experiences ch.ange. We must be see life clearly, as it is rather than as she potential and self-confidence in the children we willing to put away our plans and help the wishes it to be; she is decisive but teach. child form his present enthusiasm for an idea into an art product. • be aware of the child's feelings about his work, his need for support, his problems involved in expression, and his self-confidence. We should know how a child looks at things, what he imagines, and how he perceives things. What is important to us may not be exciting or relevant to the child. Help the child gain confidence in expressing himself by reliving the experience with him. Help him be more sensitive to others. If he continually leaves out some part of his drawing, give him an experience that will make him aware of the omitted part. Share the child's satisfaction of accomplishment and do not criticize his techniques. Place importance on each piece of work. ' sensitive leader. We can develop excellent • be creative and feel competent in some area of ENVIRONMENT FOR programs with makeshift conditions if we respect expression. If we have not experienced CREATIVE TEACHING the time and purposes of children. bringing order out of our materials and "A child cannot create out of a vacuum. He producing something meaningful, we cannot The effectiveness of the art program is directly must have something to say and be fired to promote it in the children we teach. Viktor say it." Cole Lowenfenfeld has written, "It's like love: I can related to the quality of the environment provided give you a lecture about love, but unless you by the leader. Afterschool art activities should • A child's art work is the result of an emotional, have been shaken by love and been deeply in parallel the finest public school art program. ThE! intellectual, or environmental experience. We love, once in your life at least, you won't know most vital part of the creative environment is the should enlarge a child's world to stimulate his what it means. Now the same is true of the contact between leader and group member. need to communicate his feelings. creative process." If we are artistic ourselves, All the fine equipment, costly supplies, and • Encourage children to hold living creatures, we can more effectively motivate our members. spacious rooms are not as important as a pick up worms, roll in the grass, climb trees, 7 crawl through ditches, and walk in the mud or Man" as he speaks to others through a the glow, the promise and the pride rain. Awaken all of their senses-touch, sight, common language of visual symbolism. of helping another's world to grow, sound, and smell. Share their enthusiasm for • Art is for all young people, not for a select of working together that we may know new discoveries. group. Art activities stimulate creativity, the joy of understanding • Motivational topics should relate to the child's imagination, perception, and selectivity so the deep self-giving interest and stage of development. As soon as necessary for future lives as business people, the world enriched the child becomes interested, be prepared to engineers, teachers, homemakers, and and more beautiful living!" move quickly into the art experience. Do not sci€ntists. In this technological era we need Jayne D. Gahagan over-motivate; allow the child's imagination people prepared for imaginative, yet disciplined and enthusiasm to take over. Ask questions approaches to problem solving. • Vary the setting for the art experience. As that will help him picture in his mind the action "Too often, the arts have been thought of youth leaders we are not confined to one (What?), the environment (Where?), the people as nice, but a rather non-essential part of classroom, the whole community can become involved (Who?), and the actual movement education. When we give our children the the teaching environment. Weaving can be involved (How?). chance to explore and develop their own done in the woods with natural materials, sand • Have the materials ready for the creative art creativity, we encourage the sensitivity and casting at the beach, and wood sculpture in experience so the excitement of the moment is ability of self-expression that is so crucial a the neighbor's cabinet shop surrounded by the not lost. The materials should be of the best part of the well-informed, well-educated aroma of new wood. quality possible, clean and in order, and person." • Develop an environmental awareness and appropriate for the age level of the child and Robert F. Kennedy sensitivity to the space that surrounds us. Help the tasks he has chosen. the children look critically at their • Many children are overscheduled and have • Creativity thrives in an environment where the surroundings and move toward thinking and very little time to live quietly, dream, or think working in new ways. Teams can create child feels free to be himself and express their own thoughts. The environment for himself in his own way. Too much direction murals, gardens, new display areas at county creative activity can provide quiet places and fairs, and facelift their meeting rooms. deprives children of the chance to solve their times for reflection and renewal. own problems or try out their own ideas. • Maintain an environment free of forced • Every child needs greater opportunity to • Allow enough time for the child to become competition where prizes are given as rewards. express emotions and thoughts. Through Encourage the child to improve upon his own comfortable with the technique and media. music, art, and movement he can speak a Give him time to experiment with new ideas. accomplishments and compare himself with his universal language. Art crosses all differences own standards. Give him encouragement and guidance, but let of time and language. him solve the problems himself. • A child can find personal enjoyment in the ALL I WANTED WAS TO SING • Set the stage for discovery. Children should attempt to interpret and order his world. Art discover techniques rather than be told what to provides an opportunity to focus on personal When I was in first grade /loved to sing. do. Self-expression does not mean "anything satisfaction within a larger scope of education When it was my turn I'd stand up clearly and goes," however, as guidance is necessary for a where emphasis is often placed on external happily, disciplined approach to work. evaluation and awards. In art, emphasis is on thoroughly enjoying myself. • Help the children appreciate their own the child's own feelings of success or failure, My teacher declared me singing champion ... uniqueness. Bring out the individual rather than on the opinions of the teacher or Why did something as innocent and joyful as the differences that make up a child's personality. other children. The final judgment should be music Be responsive to individual needs. Each child his own. of small children have to be turned into a has his own natural mode of expression and "Is Achievement Only a Matter Of . .. contest? his art is highly individual. doing better than another? The voices should have been sources of joy, • Visually pleasing displays in the work area striving always for the 'best'? not pride or shame. such as banners, bulletin boards, work of other leading the whole group? But my first grade teacher thought that my talent artists, and books can stimulate creativity in passing every test? should be our students. Our wearing apparel-jewelry, gaining all the praise? brandished in front of my peers ... hand-crafted belts, etc.-can create interest in winning every prize? My joy became a mixture of pride and shame and working with materials. Provide a visual treat seeking the acclaim in another person's as time went for each meeting. eyes? on shame overshadowed pride ... • Children all over the world develop at OR My teacher was the one who wanted a champion; progressive stages in art. A child can better Is It Also ... All I wanted was to sing. 8 understand and appreciate the "Family of the feeling deep inside, Mary Wilke may be the first time the young designer has used hammer, nails, and glue. Others may learn to make simple jewelry by stringing a variety of beautiful beans soaked in water or by gluing feathers, seeds, parts of pine cones, and other natural materials to a thin slice of birch wood. A hole can be drilled to hang the creation on a plastic cord. The button machine can lock their own designs within plastic and metal for them to wear. Children appreciate the color and texture of natural items used in seed mosaics, nature creatures, and sand painting. Miles of murals can be painted with huge brushes and bright temperas. Parents and grandparents may be seen on their knees painting alongside the children. Water colors, crayons, chalk, ink, and dyes can be applied to a variety of surfaces in intriguing ways. Scratch Art and Poly Print usually are new materials to the children. The children can adapt heritage arts such as quilling, corn husk dolls, origami, and stitchery to their own skill levels and imagination. Activities vary each year. Many children return to find their old favorites and are excited by new activities. Old games and toys such as the willow whistle, buzz saw, and pin wheel were revived for the Bicentennial, The children are surrounded by groups of teens performing just for them. The young children can enter a world of make-believe by watching mime, dancing, acting, and puppetry and listening to the young children at the Minnesota State Fair and at music of a 4-H band and chorus. A wandering ART IN THE PARK a growing number of county fairs. Most children minstrel with banjo, autoharp, or guitar may Meeting Needs of Young discover this quiet oasis of creativity in the midst appear. of great confusion and have difficulty believing it Approximately 2-3,000 children have participated Children and Teens is just for them. It is usually free due to the in the 2-hour state fair program each year. commitment of the Minnesota State Fair Parents usually rest and enjoy watching their Administration, county fair boards, and the children. Families often return for 2 more hours. Agricultural Extension Service. For most of us it has been a long time since we The Minnesota teens involved in Art In The Park lived in a world where table tops were out of our Children discover costumed teenagers sitting have contributed a great deal to the young view, where we had to reach up to hold hands under trees in a centrally located park. The teens children. They have helped children realize their with an adult, and where interesting things were offer success-filled art activities that result in uniqueness and creative potential. They also have to be looked at and not touched. A small child's many original treasures to take home. One parent gained self-understanding and communication day at a county or state fair means loud noises, a said the art work from last year is still brought skills. In many instances, the experience has tired body, uncomfortable heat, crowds of moving out to show visitors. Others remarked that Art In influenced their career choices. They have legs, and frustrating curiosity about things not The Park is the only activity remembered when learned to prepare a stimulating teaching understood. fair plans are made each year. environment, to organize materials, to inspire new 4-H programming begins with the needs of Some children choose to design wood sculptures ideas in children, and to encourage originality people; Art In The Park meets the needs of many of new wood scrap from a local cabinetmaker. It and problem solving. 9 THE ARTS-IN

The Minnesota 4-H Arts-In is a successful, innovative short-term art course for teens held on the Minnesota State Fairgrounds. The Cargill Company has joined financial resources with the educational resources of the Agricultural Extension Service's 4-H and Youth Development Program to bring young men and women together for a weeklong live-in experience in the arts. Additional resources of equipment, materials, and moral support come from cooperating business firms and other friends of youth. Directors are assisted by students selected because of exhibited leadership abilities and skills in the arts. Some Arts-In participants come from small towns where they may have to search for an opportunity to be in a play, take an art class, or join a band. Some come from large suburban schools where often only the most talented are chosen. Some are reluctant to come while others have been anxiously waiting until they were old enough to be accepted. Whatever their backgrounds, the individuals become a caring, supporting, creative force. To describe the Arts-In experience in the words of some of the 150 to 200 teens who participate each year: "The Arts-In atmosphere was a good healthy kind nl ...J of place. I don't have to strain to remember the long hours we put in but it felt good and it feels a~· good to work under pressure for very long hours when I'm doing something I like." a~! "I have reopened to a new confidence which I have to thank the Arts-In for. My ideas and dreams would still be in the lower level if not for such a start." "The Arts-In influenced my career expectations. I have been thinking about going into Art Education since working with the younger children in Art In The Park." "You made me reach, and touch limits and goals that have set a precedent for me in my life." "Working with others at the Arts-In pulled my 10 feelings together." "It took beautiful people to do it and that was the performers as well as for the 4-H Dress Revue most beautiful thing about the Arts-ln." and Share-the-Fun programs during the State Fair. The visual arts group designs and produces "Before my first year of the Arts-In I thought not an aesthetically appealing environment for the AESTHETIC JUDGMENT too many kids my age had a real interest in art 1200 4-H State Fair exhibits. Inspired ideas and forms and that it was something you didn't really surfaced latent talents find practical application Most of the children involved in the 4-H Art want to show." during this week. Project will view rather than produce art as "I think the self-understanding I experienced at adults. We can help them learn to look critically the Arts-In motivated me to more higher degrees Feelings of cooperation and appreciation abound as each person realizes he needs the other at what they have seen and to describe it. We of art-related experiences." also can help them find greater meaning in art. No time is squandered on second thoughts. The members to accomplish group goals. There is a personal commitment to high standards of Our art programs could be more exciting and pre-registered participants immediately get richer if we would: involved. They paint murals with their feet; production. The directors are prepared to help 1. Plan trips to art galleries, artists' studios, local transform their visual character with stage achieve the self-determined standards. architectural landmarks, or community art makeup; build an environment in the park, using Techniques, design principles, quality shows. Decide with the group the specific miles of binder twine and every available tree and craftsmanship, and sensory perception are purpose for each trip and inform the tour bush, to house the picnic supper; or inflate a developed as the challenges of the job demand guide or docent of this purpose and the polyurethane balloon big enough to hold the their use. Instruction is sought after and self­ group's background before the visit. entire group. They climb ladders and scaffolding satisfaction and approval from the Arts-In with paints and brushes to work along with 150 community is the reward. 2. Plan periods for discussing examples of other novices on a pre-designed super graphic A deadline forces the pressure of time to become original art done in the medium the group half a block long and 12 feet high. A trip on a an ally. All performances must be costumed and members are involved in at the time. paddlewheeler down the Mississippi with a ready on a stage for the open house on the last 3. Encourage children to share objects they find Dixieland band and a folk singer promotes a afternoon. University staff, parents, State Fair at home or out-of-doors. Give them a special feeling of comradeship before the first day ends. personnel, and friends will be viewing and time to discuss these discoveries at project For this 1 week the entire Minneapolis/St. Paul critiquing the banners, wall murals, mobiles, and meetings. Help them verbalize their aesthetic community becomes the classroom for self­ new exhibit units. The first issue of the feelings about everyday happenings. motivated learning. The theatre stages, art newspaper hot off the press is eagerly awaited. 4. Bring artists in to visit with the group about galleries, costume houses, sound studios, college Their efforts will be shared with thousands of their lives and art and how their ideas are art classes, artists' studios, and specialized State Fair visitors a few days later. translated into an art form. museums make each participant aware of the After several days at home, the group returns to 4-H members can become critics of their own supporting roles and the myriad job opportunities the Minnesota State Fair. Once again they face work as well as the work of others if they learn found in the field of art. Community artists, exhausting rehearsals, dozens of performaAces, how to view and describe works of art. The musicians, actors, directors, and other resource and new responsibilities in assisting the 1200 following process may be used: people conduct seminars, workshops, and Share-the-Fun performers. The photo corps takes demonstrations. The artists become "real people" to the grounds to record the action. The costume 1. Describe the subject matter. Is it a painting, rather than a name on a theatre program or on department is on hand to repair and clean the craft, sculpture, print, drawing, etc.? Describe the brass plate of a sculpture. As they share costumes. The visual arts participants carry their the materials and techniques used; for themselves with the group in small informal art supplies into the quiet, shaded corners of a example, silk-screen print, wood carving, or oil sessions, the discipline and struggles involved in noisy fairgrounds and share their love of art with painting. Describe the representation used, achieving success in the arts become a reality. srnall children who didn't expect to make such such as people, animals, atmosphere, natural elements, and whether it is realistic or Goals, time schedules, and labor divisions are interesting things at the fair. The Arts-In performers join them in the park. abstract. Is the event represented based on established early in the week. Within 1 week a history, mythology, or imagination? What band, a chorus, and small combos are ready to The contribution of the participants and their symbols indicate when it was created? perform for the most discriminating audience, newly acquired knowledge and skills in the arts their peers. The dance and theatre groups have justifies the existence of the Arts-ln. However, the 2. Describe the art elements and principles. What designed and rehearsed their acts and are ready Arts-In is only a tool to help each young person lines, shapes, textures, and colors are used? to don a few of the 150 costumes designed and reach greater self-awareness, learn problem­ How has the artist put these elements together sewn by the costume department. A newspaper is solving skills, interact socially, and reach full to achieve harmony, proportion, rhythm, and published, including taking and processing all potential as a person. Could there be a better balance in the work? photos. The stage and lighting, with exciting new union than a self-actualized human being in 3. Describe the expressive qualities of the art sets and effects, has been prepared by the harmony with his fellow beings through work. What moods, emotions, and feelings are technical crew to be used by the Arts-In participation in the arts? expressed? 11 4. Describe the aesthetic merit of the work. How The effectiveness of the 4-H Art Project is entirely do you feel about the artist's interpretation of dependent on the leaders. The following the subject matter, the use of the elements suggestions may help those who are teaching art and principles of art, and the expressive to children. quatities of the work? 1. Exhibit all of the children's work. Do not Developing aesthetic awareness can be exciting choose the work of a few or impose adult for children. They should be encouraged to standards. Do not compare the children's art discuss and respond to art works freely. Help work. them learn the vocabulary necessary to articulate 2. Encourage children to do their own work. their feelings. Give them the opportunity to hear Avoid step-by-step instructions that force all well informed art critics make aesthetic children to produce the same object with little judgments. Bring the children in contact with variation. artists, critics, and galleries to better understand 3. Encourage creativity ;md originality. Teach the their own art work and that of others. children to be independent and solve their own problems. Do not use copying, tracing, pattern books, or other imitative methods. MEASURING ARTISTIC 4. Encourage children to experiment with materials. Express excitement over discoveries SKILLS and do not be critical of the art work. They should not always be expected to make How do we know if the 4-H members are growing beautiful pictures. in aesthetic awareness and in skills? The growth 5. Encourage completion of work and provide often cannot be evaluated in their art work, but ample time and opportunity for the art may be seen in their attitudes and behavior. Ask experience. It should not be a "time filler" or yourself the following questions frequently as you "busy work." work with the children. 6. Teach children to respect and care for their 1. Are the members enthusiastic and confident in materials. Do not use the same materials expressing their ideas with materials? Do they repeatedly. Good materials are necessary and use imagination and experiment with new worth the money spent. Any material can be combinations of materials? used expressively, but a program conducted 2. Are they aware of shapes, colors, and textures with scrap materials only could indicate a low around them? Do they try new colors? Do they priority project. The children deserve fine use a variety of shapes in their work? Do they materials for their serious expression. show an understanding of perspective and 7. Encourage children to express their thoughts space? and emotions. Help them search for the 3. Do they willingly discuss their ideas and the strongest way to tell what they understand and ideas expressed by others in art? wish to express. Their work should reflect 4. Do they move readily into solving problems personal and unique interpretations of the and are they inventive in their work? subject chosen. 5. Do they become fully involved in their work 8. Motivate the children based on the art and work for longer periods of time? Do they experience objectives. Very few children are stick to their work until it is finished? self-motivated. Use body movement, poetry, film, stories, and discussion to stimulate ideas. 6. Are they flexible and resourceful? Are they Interesting materials and processes have willing to try new ideas? motivational qualities also. 7. Is there a sensitivity to others shown in their 9. Remember that each child is unique and very art? special. His self-concept and self­ 8. Is there greater skill shown in controlling the understanding should be enhanced through tools and materials? the art experience. The word collage is derived from the French verb by a dry mounting press or household iron. COLLAGE coller meaning to stick. The adhesive for a Protect the vinyl by placing a piece of paper collage should be carefully chosen for strength, between it and the iron. As it cools, smooth Collage offers a wide range of possibilities limited depending on the materials used. Rubber cement any existing wrinkles with a cloth. Trim the only by the artist's imagination and can be a allows for changes throughout the design edges with a paper cutter or scissors. The highly personal means of expression. process. White casein glue such as "Elmer's" lamination could hang freely if a hole is There are, broadly speaking, two general glue is clear drying and very strong. punched with a hot sharp tool and nylon approaches to collage. One approach allows for filament attached. no alteration of size or shape of material. The size of the collage is determined by the size of the Materials objects. The second method allows for altering • paper (12 by 18 inches or larger) the materials by changing their shape, size, and Contact Paper The paper should be heavy enough to texture, and combining the materials with support the shapes that will be pasted on it Cut transparent contact paper to desired size. drawing, painting, and other art forms. (construction paper, cover paper, tag Peel off backing and press adhesive back onto Collage is the method of composing a work of art board). a selected magazine picture. Rub the contact by combining a variety of unrelated materials so • plywood or bristol board for heavy materials paper with a smooth wooden stick or scissors the materials fit together and the shapes, lines, such as carpet, wood, or stones. handle. Soak in warm water for a few minutes. textures, patterns, and planes are organized into Peel off the paper and the ink will remain on a form of expression. In collage, materials are • construction paper the contact paper making a transparency. Seal often combined in an unexpected way. • magazines with a second sheet of contact. Use in a • rug samples stained glass window with a black paper Some points to consider: frame, as a place mat, or in a collage. A small • tile or linoleum child's book could be made with this process 1. Think carefully about subject and choose color • interesting scraps of paper, etc. also. scheme. • white glue 2. Sketch main shapes and outlines on • rubber cement background paper. • glue sticks-eliminate smears and Paper Molas 3. Plan the background shapes carefully so accidental spills design is considered as a whole. The mola is a reverse applique technique used • all-purpose flooring glue-use for heavy 4. Build up the larger areas first. Overlap papers by the Cuna Indians living off the eastern coast items glued to wood and use smaller shapes of similar color rather of Panama. This fabric art can be duplicated in than large areas of one color. paper. Draw a design on a sheet of paper and 5. Contrast plam and highly decorative areas. remove spaces with a sharp knife. Spread rubber cement around the cut-out areas on the 6. Allow the color, pattern, and shapes to be of Lamination back of the design. Adhere papers of different prime mterest rather than proportion, colors over the openings 1n the original piece. perspective, and a real1st1c portrayal. Lammate an arrangement of pressed, thin, dry, Cut away new shapes and repeat the process. 7. Add smaller pieces of paper or fabric, seeds, natural materials between two pieces of Cont1nue to cut away more intricate designs. beads, etc. to develop some areas of flexible v1nyl. Vmyl 1s recognizable by its bluish The paper designs can be very colorful and 1nterest1ng textures and details. color. It will fuse together when heat is applied expressive. 13 Straw Collage I want, by understanding myself, Paper-Cuts to understand others. I want to be all Paper cutting is a rich decorative art usually Create a design on plywood, masonite, or any that I am capable of becoming .. rigid background material. Cut paper drinking This all sounds associated with Poland. The same folding and straws into different lengths and glue them very strenuous and serious. cutting process can be the basis for the down to the background. Stand some straws But now that I have wrestled with it, inventive and original work of children. on ends, some on sides, horizontally, vertically, it's no longer so. Symmetrical designs cut from thin strong or diagonally. I feel happy-deep down. paper with sharp fine scissors can be mounted All is well. on papers of contrasting colors. To further Katherine Mansfield involve the artist, crayons, markers, or paint could be used to further enrich the cut-out design. Bas-Relief Fold a square, rectangle, or circle of paper into • Create a low relief design by selecting, Carpet Tapestry single, double, triple, or multiple folds. Hold cutting, arranging, and gluing several the paper firmly and cut shapes both large and thicknesses of cardboard to a heavier Design a giant size tapestry with carpet small from the folded edges. Iron the paper to cardboard base. Example: A low relief of a samples from local carpet dealers. A historical remove creases and glue to background paper. Paint or color the cut paper itself (positive person may have the following layers: theme may suggest subject area content. Example: "The Wild 'Colonial America' West". space) or draw, paint, or color in between the • The base including the sky and background Simplify a mural design and enlarge it to the cut paper design (negative space). The paper­ scene desired. desired tapestry size on paper. Cut the design cuts are an excellent design base for drawing, • First layer might include the body, trees, sun into pieces and trace each piece on the back painting, or coloring. and its rays. of a carpet sample. Cut the carpet with a mat • Second thickness may be the person's knife and glue each piece firmly in place to a clothing, leaves on the tree, rocks, fences, plywood backing. etc. All-purpose flooring glue can be purchased • Third layer may be buttons, hat brim, and from a tile store. The varied textures and other smaller details. colors of the carpet samples can dictate their use within the collage. Perhaps this art • The entire cardboard low relief can be product could be inexpensive, large, dramatic, painted. It could also be covered with and colorful enough for use as a county fair aluminum foil, which should be smoothed backdrop. out with fingers or flat wooden sticks. Paint with India ink and rub off ink when almost dry leaving some darker areas. Tape and Tissue Self-sticking tapes are enjoyable to work with, offer experiences in eye-hand coordination, and insure a successful art experience. The One Significant Word child can make a picture with tape alone on a background paper or combine tissue paper Think of one word that can be illustrated by forms with tape to add varied texture and the use of colored construction paper only. color. No paste is needed, there is little The paper can be cut, torn, crumpled, or cleanup necessary, and the work area need not folded in order to create the effect needed to be large. It could be a useful project at camp represent the word chosen. The word can be where time and space are at a premium. printed directly on the collage or cut from Design directly on the background paper by magazines and used within the collage. Glue cutting off and placing each piece of tape as paper design and chosen word to a 9- by 12- picture is developed. A scissors is the only tool inch paper. Share creations to see how required. If tissue paper is used, the cut tissue uniquely each artist has worked with the same shape is fastened down by placing tape around 14 material and problem. the edges. Collage in Miniature-Slides Benzine Transfer books for several days. Arrange tissue cut into interesting shapes on a piece of white tag or Colorful miniature collages can be made into Place a pad of newspaper under drawing construction paper. Paint a film of liquid starch transparencies and projected on a screen or paper. Brush benzine on drawing paper using over the tissue. The starch will soak through wall. Miniatures always require careful a stiff-bristl.ed brush. Place magazine picture the tissue and the colors will blend. Place the attention to detail so this experience may be on wet paper and add more benzine. Rub with natural materials over the wet tissue in a more successful for children 10 and older. end of brush, add more benzine, and continue design that allows each piece of natural Design the collage of magazine pictures cut up rubbing until the image appears on the material to have a special place of its own but and rearranged on a 2114- by 2114-inch piece of drawing paper. Superimpose one picture over also an interrelationship with other parts of the newsprint. Adhere all of the small carefully cut another or overlap transfers. Use pencil, composition. As a final touch place a piece of and butted pieces to the newsprint with a charcoal, or black crayon to further express white tissue the same size as the white small drop of rubber cement (just enough to the idea begun in the collage. Avoid open background paper over the entire collage. Seal hold them together for the next step). Remove flames and have good ventilation for this the plant materials into the collage by giving the back from a 2114- by 2114-inch piece of self­ activity. Artist Robert Rauschenberg used the entire paper another coat of starch. When adhesive transparent vinyl (contact paper) and transfer images from the printed page and the collage is dry the tissue will be transparent. place adhesive side down on the face of the uses this method in lithographs. The collage may need to be pressed flat. magazine picture collage. Avoid wrinkles and Naz-Dar Cleaning Solvent, paint thinner, bubbles by burnishing with a fingernail, flat lacquer thinner, lighter fluid, and other wooden stick, or spoon back. Soak the solvents will work for transferring printed plasticized miniature collage in warm water images. The weight, thickness, and type of Everything that happens to you is part of until the paper is saturated. The paper should magazine page used determines the success. your awakening. separate easily from the plastic leaving the ink Experimentation is necessary. Baba Ram Dass image transferred to the plastic. Remove the white residue by wiping carefully with finger or soft wet cloth. Place a 2%- by 2114-inch piece Silhouette Collage of clear or colored acetate over the inked side One art experience that may help the leader of the collage and place within a #127 Newspaper Collage and members understand individual human Cardboard slide frame. Seal the edges of the differences may be the collage portrait. Tape a Use the vertical columns of newspapers as a frame with a warm iron. large sheet of plain newsprint or white paper guide and tear the columns into strips. As you Variations may include the addition of lettering on the wall and position a person between a move from the top down, move from right to with felt-tip markers or pen and India ink, spot light and the paper so there is a sharp lett also, repeating the pattern as it develops.· natural dried materials, translucent paint, and facial outline cast on the paper. Carefully draw Fold some of the strips and tear spaces out of other materials between the two pieces of around the silhouette. Students can help each the folded edges. Lay all columns flat and glue acetate. Slide shows can be entertaining and other accomplish this. Lay this pattern on to a cardboard backing. Tear narrow strips of educational and can be developed on varied black or colored paper and cut around the blotter paper and glue over parts of the themes and design concepts. The anticipation pattern. The basis for the collage is the newspaper strips. Overlap colored tissue in the lift process and the final viewing makes colored silhouette. shapes over newsprint and blotter paper. Use this an exciting art form. Attempt to show as much about likes, dislikes, watery glue over the colored tissue. Brush the bleeding tissue into the blotter paper and ~ and current concerns as possible by finding magazine pictures to use in the collage. Cut newspaper. When the collage is dry, pen and Let Me Walk In Beauty, and make my eyes the pictures out, arranging them with the India ink could be used to draw on the ever behold the red and purple sunset. silhouette and gluing them to a piece of composition carrying out the theme or idea Make My Hands respect the things you have construction paper. Overlap, superimpose, and suggested by the color and shapes. made and my ears sharp to hear your voice. use size and color contrast. The position of the Make Me Wise so that I may understand the silhouette, the colors chosen, and the pictures Surrealism in Collage things you have taught my people. will reveal something about the artist's Let Me Learn the lessons you have hidden personality. Search magazines for pictures that can be in every leaf and rock. arranged in absurd and weird ways. A . I Seek Strength, not to be greater than my Tissue and Texture strawberry instead of an eye on a man's face, brother, but to fight my greatest tree growing out of a frosted cake, or a woman enemy-myself. Collect a variety of natural textures in leaves, smoking a banana may suggest improbable from an Indian Prayer weeds, and plants. Press them in catalogs or images. The purpose is to shock and awaken 15 the imaginative processes using magazine Trace Montage Cut out designs from bright colored tissue picture collage methods. paper and arrange the pieces on the glued wax Cut many pictures, large and small, from Discover the expressiveness of the human face paper. Cover the entire design with the large magazines. Lay them out on a large sheet of by making a photo montage of faces. Show sheet of light colored tissue .. Apply glue heavy paper starting with the larger pictures warmth, peace, pain, loneliness, anger, and mixture to the entire top of the tissue. The glue first. Move the pictures around, overlap, and curiosity. Cut some pictures apart and will soak through the tissue and the tissue will rearrange until an interesting surrealistic combine them into new images contrasting wrinkle slightly giving a textural quality to the design develops. Glue the pictures to the size, color, and mood. Attempt to express your composition. Allow to dry for several hours. background paper. Choose three colors that own emotions. Place between several sheets of wax paper and would extend the fantastical theme and cover with brown wrapping paper to protect complete the collage when painted around the Opposites the iron. Press with a hot iron. Peel off the contours of each picture. Some paint may outside sheets of wax paper and brown paper overlap the pictures giving the collage unity. Break logical relationships by cutting out and the parchment should be ready to use for pictures of two objects ordinarily not thought mobiles, note paper, place mats, or decorative of as being compatible. Glue them into place boxes. Tissue Collage and form new, perhaps unthought-of Vary the results by drawing on the large sheet relationships. Example: A runner dashing of tissue with waterproof ink before placing it Explore your feelings and moods and express across a bed or a chicken roasting on the top on the designed wax paper. You can also draw those feelings in color. Cut or tear pieces of of the World Trade Center. on the parchment after it is dry. colored tissue paper and place them on heavy cardboard. Paint over them with thinned glue. When the glue is dry you may draw with pen and ink or print on the surface allowing the The pod by nature opens upward to the sun So does man by trust. texture and accidental design in the tissue to Though critics may bow to art, and I am its Brokering own true lover, inspire your design. Add magazine photos or It is not art, but heart, which wins the wide words to the tissue collage as tissue is applied. world over. Use calligraphy to make a personal statement Though smooth be the heartless prayer, no ear within the collage. Cut-up Pictures in Heaven will mind it, And the finest phrase falls dead, if there is Cut any interesting magazine picture into no feeling behind it. geometric shapes. Glue the picture back Though perfect the player's touch, little if The gloom of the world together with slight variations. Some pieces any he sways us, is but a shadow. may be slightly overlapped or offset, creating Unless we feel his heart throb through the Behind it, yet within reach, an amusing image. music he plays us. Though the poet may spend his life in skill­ is joy. Vary the cut-out image idea by cutting two There is radiance and glory fully rounding a measure, in the darkness, identical pictures into strips and glue back Unless he writes from a full warm heart, he could we but see, down in their logical order. Glue down two gives us little pleasure. and to see, strips of the same kind in place of one. So it is not the speech which tells, but the we have only to look. Offsetting slightly will produce a trick mirror impulse which goes with the saying, I beseech you to look. effect. And it is not the words of the prayer, but the yearning back of the praying. Fra Giovanni Cut up two different photos of different things 1513A.D. It is not the artist's skill, which into our and interchange the strips, perhaps a city and soul comes stealing country picture or a man and woman. With a joy that is almost pain, but it is the player's feeling. And it is not the poet's song, though sweeter Rubbings Parchment than sweet bells chiming, Which thrills us through and through, but Become aware of texture by capturing the Tear off a long piece of wax paper (grocery the heart which beats under the rhyming. raised surfaces of wood, sidewalks, stone, store) and cut a light colored tissue the exact And therefore I say again, though I am brick, and leaves. Place a thin sheet of paper size of the wax paper. Cover the entire surface art's own true lover, over the textured surface and rub it with a of the wax paper with a half and half mixture That it is not art, but heart, which wins crayon or pencil. Cut sections from the of white glue and water. Use a cloth or brush the wide world over. 16 rubbings and use them in a collage. for the glue application. Ella Wheeler Wilcox -- .. --...,

into large sections by erasing lines. Design pantomime. Rigid figure representation can be each section of the face with more detailed abandoned by playing a guessing game before lines and removal of shapes. Emphasize design drawing. As the spectators guess what the with India ink drawings. performer is doing-pantomiming pitching a ball, dancing, combing hair, planting a garden, or playing golf-attention is given to the Nail Drawing positions of the body parts, bending of joints, and movement of muscles. Drawings will show Draw a design by hammering 1-inch headed more action and the involvement is fun. nails into a board. The nails should protrude about 112 inch from the board and be about 1 Pictured Words inch apart Design the nail board by weaving The Circle string or yarn around and between the nails. Draw or cut out pictures of people speaking-a Add twigs seed pods, feathers, or leaves as the Draw or paint a picture using a large colorful close-up of their faces. Depict the words they weaving proceeds. Unwind the parts if you flat button as the starting point Use a button say by gluing pictures of objects in place of want to change your design and start again. as a motivational tactic to stimulate the words as if the object was projected from the imagination and as a means of developing a mouth. Create unexpected relationships such greater awareness of one of three basic Portrait studies and profile shapes, the circle. Discover natural and as a burly wrestler with a dainty flower or drawings butterfly spilling out manmade circular shapes. Define a circle. It has no corners, no sides, no top, no bottom, is Work in pairs interchanging the role of model. round, and is an endless line. Examine a large Face Mural Encourage touching the facial contour as the variety of buttons. Choose one and glue it drawings are rendered. firmly in place on paper. What idea does the Cut a photograph of a super star, public button suggest? Choose a coloring media and official, or any meaningful individual into Observation of natural materials develop the picture around the button. squares. Distribute the squares to members of your group. Each person should enlarge his Observe living and non-living things in the small section of the photograph to a 2- by 2- natural environment and develop an awareness Truly the light is sweet, and a pleasant foot size on a piece of paper using a magic and appreciation of their value, beauty, and thing is for the eyes to behold the sun. marker. Reassemble the enlarged face on the interrelationships by drawing and sketching wall. Different colors of magic markers could what is observed. be used. Craypa Line Design Symbolic Language Drawings Extend a Picture Look for lines all around us-veins in a leaf, Choose one word from your heritage that branches of a tree, telephone wires, lines in a Cut out several pictures on the same theme reflects what you are today and draw a symbol person's face. Look for lines in the work of that are interesting to you. Glue the pictures for that word. Example: musical instrument or well known artists. Discuss the many kinds of down on a sheet of construction paper. Using note if your life reflects music. Do the lines-straight, spiral, coiled, broken, heavy, crayons, pencils, or markers, create a total drawings freely with pencil using the symbol delicate, zigzag, curved, jagged. Lines are used picture using the cutout magazine pictures as within the drawing. Squeeze rubber cement to outline or define shapes, show motion in a the inspiration. over the lines in the pencil drawing using your drawing, tie two parts of a painting together, Use your imagination to make the picture finger to spread the cement in some places. decorate, or 9reate a mood. complete. Decide what is around and behind Allow drying time. Draw and rub pastels and Draw many types of lines on scratch paper and the picture and draw it into the scene. charcoal over the dried glue for color and include the most beautiful line in the world. sparkle. The texture of the glue adds an Invent lines by combining those we know. Eraser Drawing exciting dimension to the drawing. Select favorite lines from all that are drawn and draw them horizontally across brightly Cut a large picture of a human face from a Pantomime Drawings colored paper covering the entire paper. Use magazine. Glue the picture to a piece of magic markers for drawing and fill in spaces colored paper. A pencil eraser will remove the It takes courage to draw a figure in action. with more designs made with lines. Complete ink from the magazine picture. Change the Confidence can be gained and an awareness the composition by adding color to the spaces appearance of the picture by dividing the face of body movement can be developed through with craypas. 17 Oil Pastel Batik familiar to the 4-H member. Look carefully at Collective Nouns-Stencils the art supplies, scissors, ruler, paint brush, Figure drawing can stimulate imaginative crayon box, pencils, etc., and enlarge them in How can you get a gaggle from a single drawings when the student model is costumed drawings on paper. Repeat the shapes goose? Have the 4-H members list singular as a bandit, country western star, or Spanish throughout the drawing. Connect all shapes nouns and their collective counte-rparts. dancer. Provide props tor models and have with curved or straight lines, attempting to Example: young people make several large continuous hide the original recognizable objects. Fill in bird flock line drawings of the models on newsprint. all areas with craypas repeating colors lion pride Select the one that would make the best throughout the abstract composition. Discuss fish school composition and blacken the back with the direction of the eye when repetition of hen brood graphite. Trace the figure on 18 inch by 24 color and shape is used in two-dimensional pony string inch white drawing paper. Complete the space design. cow herd around the figure, as well as the larger areas in the drawing itself, with geometric shapes. You A single stencil can be used to reproduce a may use stripes, circles, triangles, etc. Go over Scratch Paper Drawing given shape many times. Choose a single all lines with a black marker. Color in all areas object and make it part of a collective group. Scratch paper is a heavy-weight paper inked One tree may become a forest. Cut the single but do not go over the inked lines. Use a few on one side with black. When the surface is oil pastel colors. shape from the center of stencil paper, being scratched another color will be exposed. A careful not to destroy the outer frame of the It an assignment is made that requires only wooden tool is usually included in the package stencil. Use chalk to outline and fill in the warm or cool colors, the design becomes of scratch paper. Scratch board tools can be stencil shape. Rub the chalk from the outside abstracted which may be more interesting than purchased, and other sharp instruments and to the center with a tissue or paper towel. natural colors. Brush drawing ink over the large needles can be used. Overlap and connect single objects with entire pastel figure composition. Wash it ott The basic technique involves removing parts of stripes, designs, and solid colors. Use a spray under running water and the drawing will look the blackened area carefully in short scratched fixative to preserve the chalk drawings. similar to batik. lines. It a bad scratch needs to be "erased" the area can be re-inked with black drawing ink. Pastel Drawing Sketching From Life Etching-Crayon Soft pastels of many colors, standard white Artistic expression in drawing or in ·any art drawing paper, kneaded erasers, and matte media can be enriched when living creatures Spread a thick layer of light colored crayon: fixative are the basic materials tor drawing can be explored preceding the art experience. yellow, green, light blue, or orange on white with pastels. Begin with darker colors and Animals and birds can inspire beauty in construction paper. Over this first layer color a build up to the light. Black may not be the best sketches and paintings it the young artist is choice for darker areas as it often becomes able to touch fur and feathers and see the second thick layer in a dark color: brown, dark blue, dark green, purple, or black. Draw the muddy and gray. A blue line, rather than black, patterns in shells and skin at close range. may accent a dark area when there is a lot of Bring a raccoon, owl, snake, frog, puppy, or design on the dark crayon using a sharp object (pencil, nail, tile, pointed wooden stick). The orange in the drawing. A red added to green parrot into the art project meeting and discuss for a shadow is more vibrant than adding the repetition and contrast in color, the lighter color will be visible through the darker colored surface. brown or black. An understanding of how movement of the animal or bird. colors complement and dull each other will help in drawing with pastels. Chalk Technique TextlJres are a major part of pastel drawings. Stir 2 tablespoons of sugar into 1 cup of water. I am often conscious of beautiful flowers The side of the pastel can be used for wide and birds and laughing children strokes, the blunt end for narrow strokes, and Soak broken pieces of colored chalk in this where to my seeing associates solution, then use chalk, as usual, tor drawing. clean sharp lines can be made by sharpening there is nothing. the pastel. Blending can be done with fingers Colors will not rub ott or smear and will be They skeptically declare that I see or with a chamois. brighter. "fight that never was on sea or land." But I know that their mystic sense is dormant, Determine stroke directions by determining and that is why there are so many barren places what objects are doing. Is the grass growing, Hidden Objects in their lives. They prefer "facts" to vision. fabric flowing or stretched, wheel turning? A design problem concerned with color Helen Keller Choose subjects and still life objects that 18 balance may be started with objects most interest the group. Your group may be interested in taxidermy specimens and hunting If a young person depends on mechanical must be used if permanency is desired. Place and camping equipment, or hanging pots, perspective totally, he may loose any quality of fabric on ironing pad constructed of several candles, and musical instruments. Pastels are expression he may have had. Perspective layers of newspaper topped with unprinted suitable for field trips, also. drawing may become a crutch and he will not white paper. Lay paper design face down onto see his visual surroundings. fabric. Use cotton setting on iron for best Human Figure Drawing ·<..1»<..1»<-t»<.t»· results. Use a clean sheet of paper between iron and paper design. If pattern is to be Life is TOO GREAT transferred to the front of a shirt, dress, or By the age of 9, children are concerned about To Let Even One Drop portraying the human figure in a more realistic Of It Slip Away other wearing apparel, a number of sheets of way. They are beginning to see the figure as UNCELEBRATED. paper must be inserted between the front and back before ironing off pattern. Iron with ever-moving, ever-changing and want drawings Abbey Press to correspond to nature. At this point a live steady pressure over entire design until its model should be introduced. The children can image becomes slightly visible through the take turns posing as a runner, jumper, etc. back of paper. Make sure iron does not scorch while the moving parts of the body are pointed Discover Texture Through fabric. Do not move iron excessively or design out. A drawing experience can begin by using Rubbing may blur. Remove design carefully. The image torn construction paper. Tear one piece to will remain on the fabric. Pattern can be Textures can be studied visually and collected represent the head, one for the torso, and reused if color is reapplied. Decorated articles by using the "rubbing" process. Put a paper three for the leg or arm. As the model changes can be machine washed using warm water and position the children can rearrange the torn over the texture, rub with a crayon or pencil, gentle action. Do not use bleach or dry in a and the image will appear on the paper. This is paper shapes to represent the poses. One pose dryer. a rubbing. can be selected to glue onto a contrasting piece of paper. Complete the picture by The rubbing process is simple and is purely a Adjective-Noun Drawing discussing where the figure is and add the mechanical activity. It could be a test of appropriate surroundings. perception and an exciting discovery of texture With your group make a list of 30 descriptive if every child in the group is given a number of adjectives. Next to the adjectives make a list of Figure Drawing 4-inch squares and asked to make a rubbing 30 types of people or objects. Each member on each. Cut all of these into even size squares can choose a combination of an adjective and Look and trust your eyes. One child can serve and assemble side by side. Invite the children noun and draw it. How would you draw an as model while all study various poses. to identify the source of each rubbing. This intellectual nurse or an exhilarated minister? Observe the body from position of head to exercise will encourage visual discrimination of surroundings. neck to shoulder and on to feet. Let your Contour Drawing pencil or chalk obey your eyes as you move along the edge of the figure. The modeling can Line Game To ease the self-conscious attitude often create fun and excitement as each child takes expressed in figure drawing, make reality an a turn and each pose becomes more Stretch a large piece of paper on a bulletin impossibility by not allowing the young artist's challenging. Every pose is a new drawing and board or wall. Provide a large black crayon or eye to rest on his drawing until it is completed. each drawing should be done quickly and in a black marker. Have a child draw a line from Use group members to take turns modeling, spirit of discovery and freedom. top to bottom of the paper. Give the crayon to perhaps suggesting a mood in the way they the next child and tell him he will be drawing a pose. different line right next to the first. Each line Perspective Drawing must differ from the rest and by the time the Draw with your eye resting only on the person. Move your hand slowly in a continuous line, Perspective is a mechanical way of showing paper is covered, the task becomes quite a challenge and line has been discovered. never lifting your pencil or looking at your three dimensions on a two-dimensional paper. Believe that the pencil is actually surface. Correctly drawn, perspective should touching the contour. Never mind how show objects in true relationship to their Fabric Crayon distorted the drawing is. It is looking that is surroundings and will give an illusion of depth. important as you steadily express the outer Some young people can draw their Draw design on white paper using Crayola contours of the object and respond to every environments with accuracy. Mechanical Craft fabric crayons. Color heavily in most of variation of form and direction as well as perspective often adds restrictions and the area. texture. The inside contours may make it frustrations. Sometimes adapting an exacting Brush excess crayon specks from the draw1ng. necessary to glance at your paper to begin set of rules may diminish creativity. Choose a fabric for the print. Synthetic fabric again, but do not draw while looking. 19 Take A Walk With A Line precise detail and great care and this should be permitted. Start with your pencil or felt-tipped pen in the • Provide an opportunity for experimentation upper left-hand corner of your paper. Take a with unusual tools and methods as a warm-up walk with a line, allowing your hand to move to a painting experience. evenly, not jerkily, in and out and round the • As children mature they often become more paper, crossing over the lines and eventually returning to your starting point. Touch the critical of their painting. This may appear to be disinterest but is often a fear of failing outside edge of the frame from time to time technically. Be ready to give technical help and and make some compositions that are tangled encouragement but do not impose personal and thick, others with large slow curves, some interpretations. with straight lines and angles, but always return to the starting point. Out of the tangle • Offer a wide variety of ideas and subjects for of irregular shapes, find shapes resembling PAINTING painting. Relate their paintings to their people. Shade them in using ink or pencil. Try interests. Work of other artists, field trips, to have a satisfied balance of line and shape Painting can be the most enjoyable and discussions, models, and work of other as you select single shapes to shade. meaningful part of the 4-H member's life if he can members could provide stimulation and express his own ideas in a spontaneous, motivation. uninhibited way. Discovery is thrilling and the • Opportunity for all children to have their work Gesture Drawing child may discover himself and his environment displayed is a motivational force for continued Let your pencil or pen swing freely around as he creates with paint. He can discover new growth. Provide exhibit possibilities on a your paper expressing the action you feel in ways to say something that is important to him­ noncompetitive basis and let each child choose watching a figure in action or a model who what he has seen, heard, done, or dreamed of the work he wishes to have shown. holds a pose for a minute or less and changes doing. As he paints, he observes, investigates, • Give recognition in the form of comments without pause to the next. Draw rapidly selects, rejects, and organizes. He develops life about individual discoveries and without stopping from top to bottom of paper, skills through communicating his own ideas. interpretations. Help everyone understand that around and around, without lifting your pencil. As 4-H leaders we can provide the time, materials, no two individuals will interpret or achieve in Draw what the figure is doing and keep the and location for this to take place. Encourage the same way. whole drawing going at once. The drawings experimentation with techniques, helping the will look strange but quite expressive and the member discover those that seem to work best Painting Supplies children will be relaxed as realism is not for expressing his own ideas. Provide a variety of required. Continue the drawings with other materials and tools and demonstrate the use and Brushes-Good quality is the best economy. models. care of each. Activities and problems should be Brushes may be purchased from school supply appropriate for the age level. Include motivational dealers, artists' supply stores, or hardware stores. activities preceding each art activity and be The displays and the supplier can help in enthusiastic and complimentary in reaction to the choosing the correct type of brush for the In some way, however small and secret, each of us is serious creative efforts of each child. The specific painting experience. a little mad ... Everyone is lonely at bottom and following activities can be adapted to informal A brush used with a water-base media should be cries to be understood; but we can never entirely educational settings. The large variety of activities understand someone else, and each of us remains washed in cold water until it is thoroughly clean; in this book will allow selection and creativity in hot or warm water damages the hair. If necessary, part stranger even to those who love us . . . It is program planning based on the needs of specific the weak who are cruel; gentleness is to be expected mild soap may be used. children and groups. only from the strong . . . Those who do not know An oil paint brush must be cleaned in turpentine fear are not really brave, for courage is the capacity or paint thinner until all paint is removed. Rinse to confront what can be imagined . . . You can Suggestions for 4-H Painters in mild soapy water. understand people better if you look at them-no matter how old or impressive they may be-as if they • Provide good quality paper, paints, and both Shellac brushes should be cleaned in denatured are children. For most of us never mature; we simply large and small brushes. Organization of alcohol. Enamel, oil stain, and varnish can be grow taller ... Happiness comes only when we supplies and equipment is essential in all art cleaned in turpentine or paint thinner. Lacquer push our brains and hearts to the farthest reaches of activities. 4-H members should acquire respect brushes must be cleaned with lacquer thinner or which we are capable . . . The purpose of life is to for tools and materials. solvent. matter-to count, to stand for something, to have it make some difference that we lived at all. • Encourage large free painting but remember Brushes should be cleaned immediately after use 20 that there are those who want to work with and stored with the bristle up. Water color brushes should be separated from oil brushes and weights. The lighter the weight, the less the Blot Painting when stored. cost, but the heavier weights are more absorbent Paper-Most paintings can be done on a good and have greater texture. Soak the water color Blot pictures can be a stimulus for the quality drawing paper. Manila paper is less paper in water for over 30 minutes. Attach all imagination. Fold a piece of paper vertically and expensive yet absorbent and is useable for all sides of the paper to a board with gummed paper open it like a book. Drop paint on one side of the water-base paints. Construction paper has a tape. Allow to dry completely. Do not remove the paper and fold the other side over the paint. smoother surface and is more desirable for paper from the board until the painting is finished Gently rub the closed paper and open. Look general purpose use. Water color paper, printing and the water colors have dried. carefully at the picture. What can you discover? paper, and finger painting paper are designed for Water colors are transparent and delicate. They Lines can be added with markers, crayon, or specific purposes. Butcher paper comes in large are difficult to control and not easy to correct. pencil to produce the image suggested by the rolls and can be used for mural painting. Experiment with water color on dry paper to get a blot. Newsprint is least expensive and available in hard-edged stroke or soak the paper with a large sheets. Tagboard is stiff, smooth, and good sponge and produce free-flowing effects. The Blot and Blow for mounting. colors will bleed and create patterns. India ink Containers and Trays-Paint pans may be made and pen can be used to accent certain areas and Saturate the entire surface of drawing paper with by cutting the bottoms out of waxy milk or cream define shapes after the painting is dry. clear water by making long lengthwise brush cartons. Styrofoam egg cartons are convenient strokes. Brush water colors over the wet surface. throw away containers for small amounts of paint. Acrylics Dry and use this paper as the surface for blow Plastic covers from coffee cans and frozen food painting. Drop large drops of drawing ink on the containers are handy palettes. Acrylics are made of acrylic polymer and paper and move the drops around into linear shapes by blowing at it through a soda straw. Good habits in the care and use of materials and pigments. They are applied with water just as are Unusual figures can be discovered in this equipment can eliminate frustration and add to a water colors and tempera. They can be opaque or experimental painting experience. Blots and lines successful painting experience. Proper storage of thinned out to a wash. They dry rapidly and can be changed into meaningful figures by materials and equipment makes painting easier become waterproof. They can be painted on drawing or painting over the accidents. and more enjoyable. canvas, cloth, concrete, plastic, wood, paper, and most other surfaces. A liquid medium may be added to give a dull or shiny appearance. Any Themes texture can be achieved by adding pastes and YOU extenders. Acrylics blend and mistakes can be CAN "Paint anything you want" can be a frightening FLY experience for most of us and certainly for a covered. Canvases can be rolled and acrylics will but that cocoon not chip or peel. The paints are odorless and child. Perhaps a theme could be suggested that is has to go. fadeproof and brushes are easily cleaned in timely and worth the child's concentration. When Tina water. he is presented with a theme he can concentrate his energies on developing it, rather than being Finger and Hand Painting concerned with narrowing down the whole world Tempera Painting into one idea. A theme could develop through Use a paper with a glossy surface, such as shelf group discussion and his involvement may be Tempera paint is water soluble, clings to any non­ paper, butcher paper, manila paper, or oily surface, dries quickly with a flat finish, colors deeper and his experience more meaningful. If we commercial finger paint paper. Thoroughly blend easily, and it can be thinned to be used as suggest "what" to our 4-H members, they may be dampen both sides of the paper and place on a translucent water color. It can be covered with better able to concentrate on the "how" to newspaper or plastic-covered work surface. A express their understandings in their own unique varnish or acrylic glazes for depth of tone and a clothes sprinkler or sponge can be used to wet permanent finish. It is excellent for young ways. the paper. Dry tempera sprinkled into a spoonful children, is inexpensive, and is usually applied to of Media Mixer or liquid starch can be mixed and paper. Water Colors distributed over the paper with hands and fingers. Commercial finger paint and liquid tempera Water colors are available in cakes, tubes, or The longer I live mixed with a few drops of liquid soap can be powders. Cake is the least expensive and the the more my mind used, also. Play with the paint utilizing fingers, least complicated to use. A pan of eight cakes is dwells upon the thumb, whole hand, palm, or a variety of tools. adequate for most beginning painters. Begin beauty and the wonder Develop interesting textures, designs, and using inexpensive newsprint or shelving paper. of the world. rhythms. The experience is exciting because the Water color papers come in many sizes, types, John B':moughs design changes quickly with only a light touch. 21 awareness through the colors and movements in Ink Painting A great artist can paint a great picture on a small canvas. painting. Feelings can surface through poetry, Experiment with India ink and several brushes of stories, films, or discussion; example: film varying sizes and shapes. India ink is an intensely "Cipher in the Snow." Have tempera paint, black, waterproof ink which dries quickly and can sponges, brushes, water, rags, etc. ready when be used with pens or brushes. Because it is Transparent Shapes the child is ready to express his ideas. Let each waterproof, water colors can be washed over it. child choose the size of paper he wants as some Interesting effects also can be achieved by Bring bottles and vases of all shapes and sizes children enjoy painting large free forms while drawing with ink on wet paper. that have a transparent quality. Arrange them so others prefer to work in detail. Encourage the they overlap and the colors and shapes show discovery of new colors and combinations of through. Fold newspaper and cut tour color. Suggest painting or drawing over the dry Painting to Music symmetrical bottle shapes to use as patterns tor painting with pens, chalk, or crayon. Encourage an exercise in color mixing. Arrange the four the use of the whole arm over the entire paper. It Listen to music, discuss the story and the moods. patterns on a background so there is overlapping How did the music make you feel? Composers the painting is not pleasing the child, encourage and so that some appear lower in the space than him to begin again. He may return to the other repeat patterns in music as artists repeat patterns others. Trace lightly around each shape. in color and design. Can you discover the musical paper for experimentation later. Dry most papers patterns of sound? Paint the way the music Assign primary colors (red, blue, yellow) to three flat so the paint will not run. Talk about the affects you. Express what the music says to you. of the shapes. Choose a secondary color tor the paintings when all are finished and return to paint remaining shape. Paint the shapes the designated often. colors except tor the overlapping areas. Paint ~.q,.q, these the secondary colors of their overlapping Sand Painting When I arrived at Matisse's home­ primaries (orange, green, violet). It more than two On stiff cardboard paint a small part of the design / was not only late but exhausted. shapes overlap at the same place, paint the space The exuberant artist listened good-humoredly­ with white glue. Sprinkle the sand from sprinklers in a mixture of the colors overlapping. The "My friend, you must find made of baby food jars with holes punched in the background can be painted black, brown, or gray. the artichokes in your life." cover. Design the darker colored areas first. This exercise may help students mix colors and I was frankly baffled- Shake off the excess sand after each application. experience a hard-edge flat painting technique. Then Matisse, motioning to follow him, Continue until the entire board is covered. Fine stepped outside. Water colors, temperas, or acrylics could be used. white sand can be colored by shaking powdered We walked through the garden until tempera with the sand in a tightly sealed can. we came to the artichokes. Show pictures of the fine sand paintings done by The Art Mystery "Every morning, the Indians of the Southwest and discuss the after having worked for a stretch, Children's imaginations can paint great pictures purposes of these paintings before painting I come here," he said, when charged with a mystery to solve. A great hat begins. "and watch the play of light and shade of flowers, ribbons, and net could provide that on the leaves. .q,~.q, mystery. Who wore the hat? (Age, size, Though I have painted over 2000 canvases, I always find here new combinations of Sight is a faculty, seeing an art. personality). What did she wear with the hat? (Gloves, purse, coat, pantsuit.) Where was she colors and fantastic patterns. .q,.q,~ going? (Parade, funeral, church, party.) Paint the No one is allowed to disturb me in this ritual of discovery; India Ink and Tempera lady and her hat as you believe she was. We have it gives me fresh inspiration," necessary only her hat to give us a clue to her description. relaxation You fill in the rest, including her surroundings. A new process can stimulate personal expression and a new perspective toward my work." Make the subject important. and the development of creative design. The This struck me forcefully, following technique may be the motivating force Stimulate thinking and feeling with questions and for Matisse was telling me gently that every needed. Choose a tempera color that will contrast be sure the group can identify with the object · day chosen. It could be a white cane, a very worn should have its moments of silence and with black India ink. Paint the design with bold, contemplation, strong strokes on white Manila paper. Add the suitcase, or an old fur piece. Whatever the object, you found it and have no clues to the owner. He was saying that thoughts may wither detailed lines needed to complete the design. and actions go stale if we were not wise Clean the brush and when the painted design is enough dry, fill in the unpainted spaces with India ink. How did you feel when ...... ? to pause now and then to restore Paint freely and cover entire paper, overlapping the mental and psychic fuel the paint. When the ink is dry, wash off the poster Children should start to be sensitive to the burned in the course of the day. 22 paint. Don't rub too hard or soak too long. feelings of others. They can express this Andre Kostelanetz Smoke Drawings Concentrate on the can. Turn it around and understanding of a part of the Indian heritage. upside down. What imaginary person, animal, or One way to simulate animal hide drawings would Allow the smoke from a candle or a kerosene or object can you see? Some of those folded areas be to tear a large piece of brown wrapping paper oil lamp to form a design of illusive beauty. could be a rumpled hat or coat. What does the into the shape of a hide. Tell the story with pencil Rotate, wave, slant, flicker, dip, or twist a piece of can remind you of? A bent old woman, a ball first. Color heavily over the drawing with crayons, heavy paper over the smoke to produce a player, a witch. Use acrylic paint to make the using earth and berry colors familiar to the early drawing to stimulate imagination. After cans colorful. Paint in every detail, shade and Indian. Crumple the paper until it is very wrinkled. experimentation, the smoke and paper can be blend colors, and paint the backs so the can Smooth it out and wet it all over. Spread it out on controlled to create desired images rather than becomes three-dimensional. newspaper and sprinkle it with brown powdered accidental ones. Interpretations of the smoke Canned art costs little or nothing to make. Our tempera paint. Spread the paint with fingers over drawings may be a stimulus for poetry and environment will be better for it. the entire paper. While the paper is still wet, use thoughtful sharing. Preserve the creations with a a rag to rub the excess from the center to the fine spray fixative. outer edge of "skin". Hang on a clothesline to dry. Center Patterns This enjoyable art experience could be concluded by a story telling time for the entire group. Each Design for paintings may begin in the center of person could use his "hide" to tell his special the paper and grow from there. Much growth story. from nature and many manmade creations burst, <-0->~<.Q-> radiate, or expand from a center point. The glory of God is man fully alive. I AM A SPECIAL PERSON 1. Spiral-a continuous line radiating in St. lrenaeus of Lyons I AM one with the earth. increasingly larger circles from a center point, Every leaf, grain of sand, or flake of snow has its like a snail, seashell, some animal horns, or a <-0-><-0->~ own unique characteristics. circular staircase. As Mother Nature has given birth to differences in Plastic Painting 2. Concentric-lines radiating from a center point everything she created, she too made me one of a kind. in ever increasing circles, like ripples made by Make a pencil sketch and tape it to the back side My experiences and my environment cause me to throwing a stone in water. Examples would be of a small piece of plastic so the design is see things in a special way. growing rings on a tree, growth layers of an showing through. This sketch serves as a guide No one else can love as I love or share as I share. onion, eyes, and archery targets. for the acrylic painting on the upper surface of I AM one with my brother. 3. Radial-lines radiating out from a center point, the plastic. When the painted-on design has Because I am unique I have a special way of like the spokes of a wheel. Examples would be dried, apply sections of colored tissue to the communicating with others. many flowers, spider webs, snow flakes, under side with a gently brushed on mixture of No one else can express himself in exactly the same starfish, and the spokes of an umbrella. glue and water. The acrylic painting of the design way. My drawings and paintings are natural for me at this Use the examples found in nature to develop a could be done in black and the tissue would time. design that grows f_rom the center out. Judge the provide the color, but those choices should be It is my way of showing you what I understand the balance with your eye but work freely in a natural made by the young artists. The plastic paintings world to be. manner, not overly concerned with precision or can be mounted for use on a table top by making Please don't take this from me by encouraging me to symmetry. supports of small wooden blocks with a slot cut follow rules in my expression or allowing me to through the center. They could also be hung in imitate or use patterns. Start in the center with a small shape such as a the window. triangle, circle, or rectangle. Let the pattern grow You can help me become a very special person by appreciating my creativity and teaching me to from this original shape. become aware of my world and my /:Jrother. Paste, Paper, and Paint Then I would be able to say I AM. Simulated Leather June Schultz Breaking up the painting surface with a cut paper design before painting may be an effective way to Before the Indians had a written language they "get started". Relieve the emptiness of a painting drew stories about the important things in their area by cutting out a design, abstract or realistic, Canned Art lives. They drew symbols for home, ·family, from colored construction paper. Glue each piece environment, and activities with natural dyes on of the design to a sheet of white construction or Clean up! Paint up! Collect unsightly, mutilated tanned hides. Manila paper. Complete the composition by beverage cans and flatten those that aren't This early method of recording history could be brushing tempera paint into those areas you want already flat. Wash them and use steel wool to adapted to materials available to us today and painted. The paper shapes and painted areas can remove the rough spots. could be an opportunity to develop an complement one another in an exciting way. 23 Fold and Dye facial features, and anything real or imaginary that will express his character. Use a soft absorbent paper such as paper toweling, block printing paper, Japanese papers, or a commercial paper developed for dyeing Fluorescent Crayon Painting purposes called Dippity Dye. The paper can be Draw a thick fluorescent crayon drawing. Wash dyed with food dye, fabric dye, India ink, or the drawing with thin black poster paint with big ( Dippity Dye. Fold the paper in accordion pleats sweeping strokes. The fluorescent colors will and then into triangular shapes, or in any way show through the black background because the \ that will result in a very small folded package. Dip crayon will resist the paint. each corner into the dye. If yellow, red, and blue are used, color mixing will be discovered. Dye from light color to dark color. Place the folded Yarn Painting paper between layers of newspaper placed on the Rock Portraits and Weathered Wood floor. Step on the folded paper, unfold, and enjoy. An introduction to the beautiful, brilliant wool Designs The results will all be different depending on the paintings of the Huichal Indians of Guadalajara, folding, on whether the dye colors are Mexico, may serve as inspiration for our own A young person's introduction to acrylics should paintings in wool. Yarn painting can be done on a overlapped, how long the paper is left in the dye, be an exciting and challenging experience. The background of thick paper, masonite, tag board, and how hard the foot pressure is on the paper. added stimulus of applying acrylics to unusual canvas, cardboard, or coarse fabric. White glue is surfaces, such as rock and weathered wood, Seed Painting a strong safe adhesive which dries quickly and creates an opportunity for you to introduce clearly. Each person will develop his own way of additional skills and techniques. gluing the yarn to the background. Draw the basic lines of the design on a hard Make the first session with acrylics a 'what if board backing. Place white glue in one section Provide a large variety of yarns of many colors adventure. Start by having each person create and scatter seeds or place them with a tweezer or and textures. Colorful buttons may inspire their own color wheel .... You are learning toothpick. Continue to glue and arrange seeds designs also. The yarn drawing may be hues. Select a hue. 'What if' you gradually add over entire surface of board. Brush diluted white representational but you could experiment with small amounts of its complementary color? You glue over the finished panel. Natural colored filling space in abstract textural designs. A design are becoming acquainted with chroma. 'What if' seeds and small beans and peas can be may come from selecting one small part of a you lighten and darken with small amounts of purchased in farm seed supply stores. Help the large pencil scribble drawing. Take a wal,k with a black and then with white? You are creating children discover the beautiful colors, patterns, line from one side of the paper to another. Allow values. 'What if' you add an adjacent hue? and shapes in natural materials. the lines to meander in, over, and around each Applied to a piece of tagboard, these adventures other. Make a small view finder by cutting a frame in mixing acrylics could be saved as a reference Glue Painting of paper. Move the frame over the scribble design for many sessions of rock portraits, nature until you discover a balanced composition. Draw painting on weathered wood, still lites, and Squeeze a line design directly on cardboard with around that portion of the drawing and cut it out. landscapes done outdoors. Continue to the tip of a bottle of white glue. When the glue is Remove or add lines and trace the completed emphasize some facet of color composition at dry, paint or drip watercolor onto the design. designs onto the background material. Apply the each painting session while they are preparing Spray fixative will give it a shine. yarn to each section so the entire board is their palettes and can see and feel what happens covered. as they mix the colors. Rock Painting Young children should be encouraged to fill the Glass, enamel trays, plastic sheets provide the space freely without the pre-designed patterns. best surface for your palette. Acrylic paints Rock painting is perhaps the oldest form of art They may later use yarn to draw a picture but the should be thinned only with water and/or a gloss known. Prehistoric culture was recorded through space filling exercises are enjoyable and or matte medium. The matte medium acts as an rock painting. important in the artistic development of a child. extender and increases the transparency of the Margaret Lonnquist paint and is best used with an equal ampunt of Body Painting wallpaper, colored tissue Men living today assisted by Young children find excitement and pleasure in paper, sandpaper, newspaper, shelf paper, or any Those who lived before them have dipping a simple object such as a sliced potato or paper that will add variety and excitement. Tried to explain how the planet carrot into paint and pressing the pattern Came to be and how life evolved repeatedly on paper. Older children can design Into human animals; and how human blocks of cardboard, rubber, string, or paraffin Crayon Melt Prints Animals advanced from primitive to while young adult artists find a challenge in multi­ Present-day Jiving. Perhaps the colored linoleum block prints, etchings, and Cover an electric food warming tray with Explanations are true or partly true. Perhaps calligraphs. aluminum foil. When the tray is warm, draw on They are false. One fact, however, remains. the foil with wax crayons. After the drawing is Whether by accident, by destiny, by There are four types of printing: Natural unfoldment, or by an completed and the crayon melted, lay a paper 1. Relief~printing from a raised surface. over the crayon design. Smooth the paper down Unnamable process, the earth has been a Example: cardboard, linoleum, or eraser Place of constant invention since the and lift off the print. The foil should be wiped off Inception of life. What are species and prints. before using again. Modifications in them, if not inventions? 2. Stencil or Serigraphy~printing through a What are eyes, ears, brains, consciousness, surface. Example: silk screen or waxed stencil Instinct, reason, if not inventions? paper. Fish Printing What are the works of men from streets and 3. lntaglio~printing from a flat surface with the Houses to language, science and art, if Wash a fresh fish thoroughly and blot it as dry as Not inventions? A creative workshop lies ink collected in the etched lines of the surface. possible. Place on heavy cardboard, fan out fins In us and around us. The evidence appears Example: acetate or copper etching. and tail, and secure with pins. Use glue to hold Everywhere. 4. Planographic~printing from a flat surface. them in place. Spray charcoal fixative on fish and Siria Esteue Example: a stone (lithograph) or plastic allow to dry before removing pins. Brush 26 (mono-print). waterproof ink quickly over the surface. Lay rice paper carefully over the inked fish and rub paper Colored Chalk Printing on the collagraph plate. Apply pressure with a gently with fingers. Place a second piece of paper clean brayer or the back of a large wooden over the first to absorb excess ink seeping Make a heavy chalk drawing on construction spoon. through the first paper. Rub the paper with a ball paper. Take another sheet of paper of the same of facial tissue or a cloth. size and cover with a coat of Prong Media Mixer. Monoprinting Sprinkle powdered tempera paint over the media Balsawood Printing mixer and create a design or areas of color with a Monoprinting, as the name implies, produces only brush. Place the chalk drawing on the painted one print. It is a process which involves the Glue cut-out designs from balsawood to a large surface and pat gently. Pull the two papers apart removal of ink with a blunt instrument instead of spool or cork. Use as a printing stamp. and you will have two prints. cutting away material. Any theme, landscape, still life, or abstract motifs Tin Can Printing Bleach Vegetable Prints and figures, can be used. Work can be developed from sketches or created spontaneously. Cut out both ends of a tin can and apply an Capture the beautiful designs of a pepper, loose Roll water-base printer's ink, poster colors, oil adhesive to the outside of the can. Use rubber cabbage head, or onion by placing the cut side of paints, or finger paints onto a sheet of glass, cement, white glue, or cement glue to attach the vegetable in a flat pan of household bleach. plastic, or metal. Sketch a design into the inked string, yarn, felt, or burlap to the sides of the can. Blot the excess on paper towels and press down surface with a paint mixing stick, the back of a Paint the string and other fibers and print by firmly on dark tissue paper. Experiment with the brush, or any blunt instrument. Remove the ink to rolling the can over the paper. Water-base tissue paper as some types will not bleach and produce the lines of the design. Use the sides of printer's ink could be rolled out on a non­ others have an interesting delayed action. absorbent surface and the can could be rolled the instrumeJlt to remove areas instead of lines. through the ink. Add swirls, textures, and patterns with found Paraffin Block Printing objects. Copper Foil Printing Carefully place a sheet of paper over the design Buy paraffin blocks in the grocery store. To on the glass or metal sheet. Smooth the paper smooth the surface of the block, cover it with Raise the surface of copper foil by pressing the out with your hand. Gently remove the paper and aluminum foil and iron lightly with a warm iron. set aside to dry. design in with wooden tools. Ink the raised Carve it with linoleum cutting tools. Remember to surface of the foil and print. Each side of the foil draw all letters backwards. Squeeze water-base For variety, place a piece of paper over the inked will give an interesting print. printer's ink onto a non-absorbent surface. Roll surface and sketch with a pen or pencil on the the brayer over the ink and onto the paraffin paper. The lines will be black against a white Corrugated Cardboard Printing block. Place the paper over the block and rub surface in place of white against black as in the with the back of the wooden spoon. Lift off the first technique. Remove the top layer of cardboard covering the print. corrugation. Cut and glue corrugated cardboard Potato Stamp Printing <$><.0'><..0'><..0'> shapes to another piece of flat cardboard. Ink and What is beautiful is good, and who is good The stamp is the simplest type of printmaking. print. will soon be beautiful. Potato stamps are easily made by cutting into the <$><$><$><$> Clay Printing end of a firm potato, leaving the design to stand Collagraphs out in relief. Apply poster paint and use the Make a printing tool by working modeling clay potato like an ordinary rubber stamp. into a moderate sized ball. Shape one side of the Print blocks may be built up by gluing materials ball into a handle. Flatten the ball of clay by to any rigid backing such as scrap wood, Cardboard Printing slapping it against a hard surface. Design the flat masonite, heavy cardboard, or plexiglass. These surface by impressing hard objects into the clay print blocks are usually called collagraphs. Cut Cardboard printing blocks are simple to make and removing. Brush this relief surface with out shapes from cardboard, corrugated board, and inexpensive. Use two pieces of cardboard the tempera paint mixed with a few drops of liquid string, crumpled foil, lace, plastic scraps, inner same size. Cut the designs from one piece and soap. Use a cushion of newspaper beneath the tubes, cellophane, fabric, or any material that has attach securely to the second piece. Leave very printing paper. Press the clay printing tool firmly a raised texture. If the block will be used many small spaces between the cardboard shapes so against the paper. Recharge the clay with times, the entire block should be sealed with the ink does not go into the open areas and spoil tempera paint before each print. Experiment with acrylic gel or a strong, waterproof adhesive. After the print. Geometric shapes cut and expanded metallic and fluorescent paints on tissue collage the surface is built up and sealed, apply printer's are often more successful than figurative shapes. and other surfaces. ink with a brayer and print by placing the paper Squeeze printer's ink out on non-absorbent 27 surface. Ink the brayer and roll it over the grocery stores. Trim off the raised edges. The scrap paper on top and press with fingers, the cardboard until the ink sticks to the surface. child can easily draw a design on the foam by back of a wooden spoon, or clean brayer. Repeat Move the card plate to a clean surface and put a scratching or pressing heavily with a pencil or the leaf printing several times on the same paper. piece of paper on top of inked plate. Rub with a other sharp object. Evaluate the completed print by deciding if the spoon. Ink the foam printing plate by rolling an ink-filled amount of ink or paint was too much or too little, brayer over it. Acrylic paints may also be used. if the pressure was too light or too heavy, and if Leaf Rubbing and Spraying The ink should not be in the indentations, only on the composition was interesting. the flat surface. Place the inked foam drawing Rubbing is one way children can discover the over paper and apply pressure. Peel the foam shape and veining of a leaf. Place the leaf from the paper. Life is a sculptor and shapes all living things; beneath white construction paper vein side up. an artist that designs every leaf of every tree, Rub the side of a crayon over the paper until the that colours the flowers, the apple, the forest, Milk-Carton Printing and the plumage of the bird of paradise­ veins become distinct. Some leaves make better Life is a musician and has taught each bird rubbings than others. Vary the color and move Intaglio printing is printing from engraved lines. the leaf so one leaf shape is superimposed on top to sing its Jove songs, Many intaglio processes require expensive the insects to call each other of the other. materials, but there are a few found materials that in the music of their multitudinous sounds- Choose one leaf and pin it over the rubbing to cost nothing that make intaglio printing possible Life is a chemist that gives taste some kind of bulletin board or to the side of a for children. to our fruits and spices box. Spray a mixture of food color and water Cut a side from a wax-coated milk carton. A and perfume to the rose. against the leaf. Move the leaf and spray with Life synthesizes new substances gallon milk container gives the largest printing which Nature has not yet provided another color. The food color will make the surface. Develop a line design using wavy, crayon rubbing brilliant. to balance its processes jag.ged, thick, thin, and broken lines. The and to destroy invading life. sketched design should be as large as the milk A. Cressy Morrison Carbon Paper Printing carton side. Transfer the sketch to the side of the milk carton Unique monoprints can be made by cutting or printing plate by painting the milk carton with Eraser Printing tearing pencil carbon paper into desired shapes. India ink and let dry. Rub white chalk on the back Place a white or colored paper on top of a 1-inch of the design, then trace design on the blackened Cut 1" square rubber erasers in half. Carve a pad of folded newspapers. Place the carbon surface of the plate. design on the larger surface using an X-Acto paper shape, with the carbon side down, on the Scratch out the design with sharp tools such as a knife with a small, narrow blade. Print by pressing paper. Cover the carbon paper shape with a piece compass point or a needle. After the design has the carved surface of the eraser on an ink pad of clean paper towel. Press over the paper towel been engraved, spread water-base soluble and then on paper. This miniature print block can with a iron on the lowest heat setting (270°). A printer's ink or creamy tempera paint over the be used for gift tags, monograms on stationery, clear carbon print will result. Use inexpensive plate. The edge of a piece of cardboard or rubber or border designs, as well as compositions with a carbon that rubs off on your fingers. kitchen scraper can be used to spread the ink. repeated motif. Vary the basic technique by wrinkling the carbon Scrape excess ink off plate's surface leaving only paper shape and pressing it flat, or repeat shapes ink that has settled into scratched out areas. Lay Inner Tube Printing by moving them and pressing again for a lighter soft absorbent paper over top of plate and rub image. Collages can be made by allowing some with the back of a wooden spoon. Pull the print Discarded inner tubes obtained from a local carbon paper to remain on the paper, draw into from the plate. gasoline station can be used for an exciting the carbon design or use the carbon print over a printmaking experience. One inner tube can be fabric collage. The carbon print is waxy al1d will cut into rectangler shapes and could be enough resist paint. Brush the print with acrylic glazes, Leaf Printing for a large group of printmakers. The design watercolor, tempera, or colored ink. Prepare the Collect leaves of various sizes and press should be drawn on the tube and cut out. The paper with crayon, crayon shavings, or oil pastels overnight. Discuss the shapes, colors, lines, and design could be made in one piece or as a and press the carbon design over it. textures. Choose white or colored paper for the composition of many pieces with spaces left background. Roll water-base printer's ink over the between each piece. Mount the design on a piece Foam Tray Printing veined side of the leaf using a rubber brayer. of scrap wood with white glue. When the design Another method is to paint the reverse side of the is firmly adhered to the wood, apply the water­ For an inexpensive, safe, printing experience use leaf with tempera paint using a brush. Place the base printer's ink with a brayer. Print like a 28 the foam trays found in meat packaging in leaf face down on the background paper. Place rubber stamp. The design can be printed in a variety of colors by washing the print block after Fruit Printing Equipment Company, 1010 West 79th Street, each color is printed. Overlapping colors after Minneapolis, Minnesota 55420. each color is dry will produce interesting results Cut lemons, oranges, or limes in half and press The diazo paper is packaged in 250- or 500-sheet also. on an absorbent pad of folded paper towels packages and is wrapped in heavy black paper to A group of printmakers could make a large saturated with food color. Print on greeting cards, keep out the light. Two hundred and fifty sheets composite mural by printing each print block on recipe cards, name tags, collage, posters, or food are less than $5.00 and should be an adequate one large paper. displays. amount as it loses its light sensitivity in 6 months or less. Glue Printing Hand Printing Keep the paper in the package until ready to be exposed. Time is very important, so have the Prepare a print plate by dripping, trailing, or Roll water-base printer's ink on non-absorbent arrangement of dry materials designed before building up areas of fast-drying cement, white surface with a brayer. Place hand palm down on taking the paper out of the package. Keep the glue, or silicone sealer (hardware store) on a rigid ink and print on paper. Use hand prints on package shut at all times. Remove one sheet and plate. Stress the use of line in the design. Dry storage boxes, posters, or greeting cards. quickly arrange the material on the yellow side of thoroughly, ink with a brayer, and print. the paper. Hold a 150-watt flood or spot light a Finger Printing few inches from the paper. Move it around the Foil Printing paper until the larger part has turned white (from Mix together V2 cup of flour, V4 cup of water, and 4 to 6 minutes.) Quickly shake off the dry materials and place the paper face up in an air Cut a piece of heavy-duty foil larger than the V2 cup of liquid detergent or liquid laundry starch. tight box that contains a dish of fresh household backing (wood, cardboard, etc.) Create a variety Add food coloring or tempera paint for color. Ink ammonia. It will be developed by the fumes of the of lines and textures by pinching, bunching, and thumb or fingers and press down on paper. Study ammonia. crumpling the foil and glue it to the backing. Ink the prints when they are dry and see what and print. creatures they suggest. Add simple lines to make A handy container for the developing is a plastic tails, ears, eyes, whiskers, fins, feathers, or beaks. sweater box with two flat dishes of ammonia on An ink pad could replace the paint. the bottom and a wire rack made of a coat hanger placed over the dishes. The paper rests Found Object Printing on the rack and the plastic cover allows you to view the developing process. Remove the paper For a healthy mind, Press bottle bottoms, cork, tape holders, spools, from the box when the transformation has taken could you bring all of your goals into flash bulbs, bottle caps, wire whip, and many place. This is usually less than 3 or 4 minutes. harmony? other objects on a pad of absorbent, paint-filled Change the ammonia when it seems to lose Desiring to maintain a healthy body, materials. Paper toweling could be folded and strength. There are many variables, so could you embrace life as a child does? placed in bottom of flat dish with liquid tempera experiment. The distance of the light from the Can you keep in touch with your original nature, paint mixed with a few drops of liquid soap. Then paper, the timing, and even the temperature and even when you are grown? age of the paper make a difference. Can you guide by example, rather than by use like a rubber stamp. contest of will? These blue sheets can be used as booklet or Can you be flexible in the way you interact? program covers, backdrops for exhibits, in Can you interact with nature, without inter­ Diazo Printing collage, or framed for hanging. Any object or cut­ fering, or trying to change what you find? Diazo paper is a light-sensitive paper used by out design that will block out the light can be Can you receive as well as give? used in place of natural material. listen as well as speak? architects and draftsmen. It has a magical quality If you can bring forth new life- that fascinates children and adults. Light and and nourish the child which is born- household ammonia can make an image appear Smoke Printing If you can paint the way by your own example­ in rich, velvety blue. This is a process borrowed If you can lead without insisting that from modern technology and adapted for use as Cover white typing paper with lard or vegetable you be followed- a way to appreciate and discover designs found shortening. Use a very small amount and rub it If you can give without attachment­ in nature. over a surface a little larger than a leaf chosen to Then you have reached the core of life. be printed. Light a candle and smoke the greased Collect many interesting leaves, flowers, Lao Tzu part of the paper by moving it back and forth over 2500 years ago butterflies, grasses, and seed pods. Press them in the flame. Keep the paper moving so it will not catalogs and telephone directories. burn. Blacken the surface and place the soot side Purchase the diazo paper from firms that sell up. Place a leaf vein side down upon the soot. architectural supplies. One company is: Copy Put another sheet of typing paper over the leaf 29 and rub every part of the leaf. The leaf will be compass point, or burin. Tape can hold the DREAMS FOR CELEBRATION inked with the soot and shortening. Place the acetate on the paper. After the basic lines have A litany- inked side of the leaf down on white paper. Place been etched into the acetate, place the acetate on another sheet of paper on the leaf and rub every Today the Lord steps into the air once more to taste black paper. The contrast will make the etched its color and feel its songs. He inhales the thoughts part of the leaf. Every detail of the leaf will be lines more visible and the remaining details can of children, the breath of yesterday, the fantasies of printed with smoke. be cut in. tomorrow, and he wonders whether his children are After etching, squeeze water-base printer's ink too old to celebrate their dreams. Let us spin him Encaustic Sandpaper Printing onto the acetate plate. Rub the ink into the our dreams: etched-in lines with a finger. Wipe off all ink on Someday soon people will celebrate life every Color a design on fine textured sandpaper with the unlined surface of the plate. Do not remove day. But we would like to do it now, wet and wild crayons. Press hard and use as much crayon as ink from the engraved sections. Unique shading and texture can be achieved by wiping the plate and risen with our Lord. possible. Turn the completed design face down Someday soon people will send up balloons in on piece of paper and press with a hot iron to get in a variety of ways. church. an intriguing encaustic transfer. Experimentation Thoroughly wet ordinary drawing paper. Blot it Turn tired old cathedrals into cafeterias. will reveal the amount of crayon and degree of until it is damp. Place plate face down on damp Paint gravestones as bright as the sun temperature necessary. paper. Put a piece of oak tag on each side of Know they are beautiful, black, red or white. plate and paper and roll through a press. If you Glimpse the face of God in their patient are not able to use a printer's flatbed press with parents Chalk and Crayon Printing Use the eyes of friends in place of mirrors. rollers, a clothes wringer will work. Bounce through the mountain on beachballs. Select three colors of chalk and randomly cover Drawings made from live models or still life Write their Christian names in the sunset. white, heavy duty construction paper. The chalk arrangments can be the basis for the acetate print Become as free as that man called Jesus the should cover the entire paper but the colors must composition. Christ. not mix. Cover chalked paper completely with a Play kickball with cripples in the park. light colored crayon. Repeat with a dark crayon. If Sing for their supper in asylums. Sink their teeth into politics for peace. the crayon is not applied thickly enough, the Airlift food and life to the starving. chalk will appear through the wax. If the crayon Have senses in their soul as sharp as radar. flakes, the student is pressing too hard. Love a man because he is a man. To make the print, place white drawing paper on Grow flowers in their garbage can. top of chalk-crayon plate. Draw a scene or design Cover their cars with foam rubber. with pencil. Shade over half of total area by Turn all bombs into boomerangs. pressing down and allowing the print to pick up All bullets into blanks And switchblades into tubes of finger paint. color. Leave a small unpenciled margin between Slow down and wait for God. two shaded areas which are side by side. Peek at Run through the White House with muddy feet. the drawing as it is being done to see what Laugh with the falling spring leaves. effects are appearing. Pull the print off the plate. Dance in the falling summer snow. Experimentation can lead to many variations. Baptize their babies with love before birth. Celebrate Easter as angels do below. And hang Christmas banners from the moon. Intaglio Printing With Acetate Yes, someday soon people will live like that, but we plan to start right now In intaglio printing the design is cut or scratched Right now, Lord, Right now. into a metal plate with a needle-like tool. i.,.ines Amen, Lord, Right now engraved below the surface of the plate receive Habel the ink to make the print. Intaglio printing usually requires expensive materials and equipment. With the use of acetate, some of the expenses can be Make thy life better than thy work. Too oft reduced. Acetate is available in many plastic Our artists spend their skill in rounding soft supply stores in varied thicknesses that will not Fair curves upon their statues, crack or bend. While the rough Draw the design on the desired size of paper first. And ragged edges of the unhewn stuff Place the transparent acetate over the paper and In their natures startle and offend The eye of critic and the heart of friend. 30 trace with a sharp instrument such as a scissors, Silk Screen for this purpose and is usually less expensive. tool and finger. Continue cutting the film until the Avoid cotton organdy as it has a tendency to run design is completed on the film. Silk screening is a method of applying a design and will not last as long as silk or nylon, but it Separate design taped to back. to paper or fabric by using a squeegee to press can be used. pigment through a stencil. The design is limited Cut the screen fabric about 2 inches larger ADHERE FILM TO SCREEN in size by the size of the frame but it is a fast and overall than the frame. Taking care to align the efficient way to print a design many times. straight edge of the grain, position the silk on the Take care not to dissolve film by using too much Repeats of a design are easily achieved. The top edge of frame. Staple in the center of one adherent. process may be used to duplicate a very simple short end of the frame close to the inside edge of a. Lay screen on film with organdy side down so design in one color or a complicated one the wood. Pull fabric taut and staple center of the that film is centered on frame. Anchor with involving several colors. short end. Turn frame and staple centers of long masking tape. Design should appear as it will edges, keeping the fabric tightly stretched. be printed. MATERIALS NEEDED Continue stapling in this alternate pattern all the b. Working with a small ball of absorbent cotton way around the frame about Y2 inch apart. Trim dipped in adhering liquid, squeeze out excess • Silk screen film (directions are for solvent­ edges of fabric evenly with outside edge of frame. and rub film from top side of frame. With other adhering film) Screen can be tightened by washing with a little hand, dry with absorbent cotton. Repeat in • Cutting tool (stencil knife or single edge razor detergent and warm water (silk or cotton). When small areas until entire surface is covered. Dry blade) dry, apply a coat or two of shellac to the wood a few minutes. frame and over the cut edge of the fabric to c. Remove parchment or backing. Pull in a • Frame with silk screen prevent raveling, over staples, and V2 inch in on diagonal direction on lines and printed areas. • Squeegee (size must be slightly larger than the fabric to make it water tight. Allow to dry design to be printed) thoroughly. d. Fill in open areas around design with masking tape, overlapping rows of tape a bit to prevent • Paint or printing medium Use masking tape to block off a 1-inch margin paint leakage. Tape inside pf frame along • Film adherent around each edge of the screen on the outside. edges for easier cleaning, in addition to entire On the short ends, block off at least 2 inches or • Cotton balls back around design. • Paper or cloth on which to print more as a reservoir for the printing medium. • Turpentine or mineral spirits PREPARATION OF THE FILM PRINT • Masking tape Note: Adhesive-backed paper, such as contact, Pour paint into printing frame. For best results, • Newspapers or magazines can be used for short printing runs. Apply paint should barely pour. • (Organdy if preparing own frame. Nylon directly to the outside of the screen. However, Center design over paper to be painted. Position preferred for clearer printing. Avoid red or pink the printing process will typically be the reverse register tape marks so run is consistent. Try as it is difficult to see adhered film on it.) of film as this method prints around the design. several practice runs before beginning. Draw Film usually prints the design itself. squeegee across inside with firm, even pressure. FRAME Draw or select a design suitable for the silk Lift frame. Remove print to dry. Frames can be purchased readymade with mesh screen process. Almost any kind of thin, non­ already attached or a frame can be handmade. In absorbent paper such as tracing or typewriter CLEANING THE SCREEN AND SQUEEGEE choosing a size, a 1-inch margin all around is bond paper will work. For each color used, a new Depending on type of paint used (on solvent­ needed and at least 3 inches on each short side sheet of paper will be needed. Place register adhering film), use turpentine or mineral spirits to must be reserved for the paint or ink. Commercial marks on sides of the paper to help line up the clean oil-base paint. Use water to clean tempera frames are sold by the inside measurements and design. type paint. have a removable mesh. Tape the design to the back or parchment side of To make your own frame, choose wood at least 2 the film, design side up next to parchment of film. REMOVING FILM FROM SCREEN inches by 1 inch thick and lengths suitable to Tack or tape film to a smooth cutting surface. make the size you need. Miter corners and Cut out those parts of the film to be printed just Use solvent or solvent-adhering film. Film will reinforce the joints with glue and nails or screws. to the backing parchment or paper to which the dissolve. Sand wood smooth and finish with a coat of film is attached. Avoid cutting the backing sheet. varnish to make it easier to clean. A very sharp knife and very light pressure must SOURCES OF SUPPLIES-NAZ-DAR (order be used. from catalogue), 1087 N. Branch St., Silk purchased from art supply stores is generally Chicago Ill., 60622 ; ART-SIGN, 2501 26th used for the mesh. It is long wearing and gives a After a little part of the design has been cut, peel Ave. So., Minneapolis crisp, clean design. Nylon organdy is satisfactory the film off the backing sheet with the cutting Shirley Barber 31 THE GIVING TREE

And after a long time the boy came back again. "I am sorry, Boy," said the tree. "But I have nothing left to give you- My apples are gone." "My teeth are too weak for apples," said the boy. "My branches are gone," said the tree. "You cannot swing on them-" "I am too old to swing on branches," said the boy. "My trunk is gone," said the tree. "You cannot climb-" "I am too tired to climb," said the boy. "I am sorry," sighed the tree. "I wish that I could give you something ... but I have nothing left. I am just an old stump. I am sorry . . . " "I don't need very much now," said the boy. "just a quiet place to sit and rest. I am very tired." "Well," said the tree, straightening herself up as much as she could, "Well, an old stump is good for sitting and resting. Come, Boy, sit down. Sit down and rest." And the boy did. And the tree was happy. By She/ Silverstein Harper & Row, Publishers

32 CRAFTS

regular weave across the entire loom. Pull the yarn all the way through leaving a few inches of yarn sticking out. Needleweaving Before weaving back across loom, weave the loose end over the first row of weaving using Soft, pliable, colorful yarns of many textures, a your fingers. Knots are usually. not used in simple loom of cardboard or wood, and a long weaving and loose ends are woven in as weaving needle are the basic materials for a relaxing, progresses and colors are changed. Push the pleasurable, and creative experience. Use the weft threads close together with a plastic fork or yarn like paint and allow it to flow. Be imaginative large-toothed comb. and add materials like beads, feathers, grass, and To insure straight edges, each time you weave tapestry slit driftwood. Be spontaneous and let the materials your weft thread across the loom, pull the yarn give you direction as you work. Take the easily across, but leave a slight arch before beating carried loom to the beach, camp, car, woods, or threads together with the comb. You will leave a committee meetings. Make jewelry on cardboard very small loop of yarn at each edge and the looms, weave on circular looms, or combine weaving will be straight. Begin and end the knotting and weaving. Weave sculptural pieces on weaving with a solid, well packed section of plain branches, driftwood, or hoops. Learn a few basic weave for strength. skills and make up your own rules as you go Weave in grasses, wood, leather strips, seeds, along. metal, bamboo, or feathers as you weave in yarns. The loom can be a piece of cardboard or Wrap some warp thread or spread warp threads masonite slightly larger than the weaving to be apart into an almond shape and weave another made. Cut notches or slits 1/4-inch apart and Y4- color into the space. Use curved lines and inch deep on the ends. Reinforce the cardboard exposed warp for variety. Use simple stitches lock stitch by adding another piece on the back. Run such as the rya, tapestry slit, lock stitch, and masking tape under the slits to prevent tearing. soumak. A loom can be an old picture frame, stretcher Carefully lift the weaving off the loom and tie in frame, or fruit crate. Drive a straight row of brads the two loose warp threads. Attach one end to 1/4-inch apart across each end of the loom. Slant driftwood or a dowel. Add a fringe of all the yarns the nails slightly to the outside. Tie strong cotton used in the weaving. Attach the yarn with the or linen colorful warp thread to the first nail at larks head knot. Use macrame knots and wrapped either end. Take the warp thread around the first cords in the fringe. A fringe can be made by two nails on the opposite end of the loom and twisting every two cords. Twist each one to the rya back again to the other end and around two nails right. Put them together and twist them to the left and continue to the last nail. The warp thread tying a knot at the end. should be taut. Common terms for needleweaving: Select yarns and natural materials for your weft. A • Beater-Used for beating the weft into place novelty yarn of many colors can be the beginning (plastic fork or large-toothed comb). of a unified color scheme. Choose yarns of the • Hand Loom-All looms that require a human solid colors found in the novelty yarn and repeat operator. them throughout the weaving, together with the novelty yarn. Use many textures, colors, and types • Piece-Finished fabric as taken from loom. of yarn, but keep them unified by repetition of • Shuttle-A device used to pass the weft design, weaves, and color. threads through the warp threads (large soumak Begin weaving at the end of the loom next to you. needle.) Thread a large yarn or weaving needle with a few • Warp-The lengthwise threads of the piece. feet of yarn. Begin plain weaving over and under • Weft-The crosswise threads of a piece. 33 There is No One Else Like You In The World! Warshaw

Needlework Looking for new needlework ideas? Children can have fun with counted cross stitch on gingham check fabrics. "Biackwork" embroidery, newly revised, is a good study in geometric patterns as well as being easier than regular embroidery. The best instructions are in "Leisure Arts" leaflet #82. Need a challenge in needlepoint? "Leisure Arts" leaflet #75 shows you how to do "Pulled Thread Canvas Embroidery." Both of these leaflets are available at most needlework and yarn. shops. Suppliers' addresses: Mary Lue's Yarn Shop at the Woolen Mill St. Peter, MN 56082 (10% educational discount, free catalogue) Rug supplies: Craft Supply Company John Seitzer 104 N. Front St. St. Peter, MN 56082

Donna Seitzer Puppets Children can talk openly through their puppets. Black Work Designs The unresponsive child often will tell his thoughts and feelings through his puppet. The puppet encourages humor and imagination and develops self-expression and self-confidence. When a child projects himself through his puppet, he can look at himself through his puppet and choose his own behavior with a greater understanding of himself. The child can learn to communicate more effectively without the threat of disapproval or unacceptance if he makes a mistake. The failure belongs to the puppet, but the child has learned more about himself in the process. As the child learns to communicate, his personality and self-confidence will develop. With simple puppets, the child has an immediate means of expression. The idea may be gone if a great deal of time is spent constructing a 34 complicated character. WAX HAND PUPPETS BATIK BANNERS increased through the study of beautiful forms, colors, rhythms, and texture found in nature. Carve and mold a 3-inch styrofoam ball into a Banners made of pelion can be quite sizeable, puppet head that expresses the character of your Interesting shapes in driftwood can be combined colorful, flowing pendants useable in large choice. Cut a hole large enough and long enough with relief modeling in copper. The copper spaces. Repeating colors and shapes of banners for your index finger in the spot where the neck repousse design can be an abstract interpretation throughout a large exhibit area can draw the will be. A finger stall could be made of rolled tag of a seed pod, berry, pine cone, or leaf. viewer's eyes to the farthest corner of the display. board and masking tape if desired. Insert into the Examine the wood with your fingers and eyes and Pelion allows the light to penetrate and is very finger hole. determine where to place the copper pieces. light weight. Large lettered words for Make paper patterns to fit the parts of the wood Cut another ball into pieces and mold eyeballs, identification or theme can be used also. ears, lips, nose, and hats. Attach all of these to be covered with copper. Use the design of the Determine the size and shape of banner and securely with round wooden tooth picks. wood or the design suggested by other natural design with pencil. Melt the wax (2/3 candle wax materials such as a leaf, stones, branches, shells, Place a dowel or pencil in the neck hole and V3 batik wax) in the fry pan, keeping the etc., to help you draw a design on the paper. · temporarily. This will be the handle for dipping temperature just below smoke stage. Brush the Consider the shape of the paper pattern and fit the puppet head into wax. wax on areas chosen to remain white. Do not try your design into the whole piece. to clean brushes. Crackle the cooled waxed areas Melt candle wax or paraffin in a deep cooker or When the drawing is ready, place the pattern over by crushing between your fingers. Mix dyes quite in a coffee can placed in heated water. The heat 36-gauge copper and trace over the drawing with strong and brush dye on . Colors can be changed must remain even; keep the wax in liquid form a pencil. Place the copper on a stack of as desired and even mixed on banner as painting but not steaming. newspaper and with a blunt wooden stick press progresses. Add candle color or colored wax crayons to the out slowly and carefully from back side. Turn the wax. Put many layers of newspaper under the All wax can remain on pelion if it is a once used copper over and continue to tool the front. heater and keep small children away from the hot display in which time is a consideration and Working from front to back the copper becomes wax. stiffness is needed. If the banners are to be very strong and stretches from V4 to Y2 inches Dip the styrofoam head quickly into the wax. Dip viewed closely, the wax can be removed by without breaking. When tooling is complete, it immediately into a pail of cold water to cool pressing pelion between newspapers using a clean the copper with steel wool and use it to and back into the wax. Continue to build up warm iron. Continue to change newspapers as apply liver sulphur dissolved in water. When dry, about six layers of wax on the head. wax is taken up. sand surface with steel wool, removing black coating as desired. Attach to wood with nails or Eyes, mouth, and cheek color can be added with epoxy glue. Rub edges close to wood with acrylic paint. Theatrical crepe hair can be Badge-A-Mi nit wooden tools. Finish with lacquer finish. Small stretched out and glued to the head. Students can create and design their own 2%­ copper pieces can be mounted on wood and inch button in pen and ink, water color, black used for jewelry hung on leather cord. printing, pencil, felt markers, crayons, or collage. The Badge-A-Minit hand press will encase the Pariscraft design within a permanent plastic-coated metal button. Information and materials are available Creative work in crafts must be meaningful to from: have educational value. If the project is done for NASCO the sake of doing it or for acquiring specific 901 Janesville Avenue skills, it is of questionable value. Masks would be Fort Atkinson, Wisconsin 53538 an opportune craft for developing better understanding of the African, Eskimo, or Indian cultures as masks played a significant part in Copper Repousse and Nature their lives. Masks are a great means of personal Materials: •driftwood •steel wool expression also. Plan each project to broaden the The puppet shirt should be about an 8-inch to 10- horizons of the children. Perhaps masks could be •36-gauge copper inch square body with two arms extending. Cut •liver sulphur carried into a drama that the children develop two and sew them together. Leave a 1-inch hole •pencil •nails themselves. The masks can be mounted on long at the neck for your index finger to extend •newspapers •epoxy glue sticks painted black and exciting plays could be through the hole into the neck of the puppet. worked out against a black background with Your thumb becomes one arm and your little •wooden tool •lacquer simple lighting. "Pariscraft" masks can be very finger is the other arm. Your hand is the puppet's Nature cannot be copied, but can become an effective as moods or feelings can be expressed body. inspiration for design. Sensitivity can be because the original armature of foil is flexible as 35 well as the wet "pariscraft". Cut an oval shape 4- dusting the powder through a piece of nylon design leaving V4-inch space between colors. Be or 5-inches larger than a human face of very placed over the top of the jar of enamel color. sure that wax penetrates fabric. If it doesn't, turn heavy duty foil or two thicknesses of heavy foil. Break the glass chunks into very small pieces fabric over and paint other side with wax. Let wax Shape it around the face, pushing in eye sockets, with a plier. Place the chunks and glass threads dry and place it in cold water, crushing it gently around nose, mouth, etc., and around edge of on the powdered enamel. Be careful not to between your fingers. This will give a cracked head. Do not overwork as the foil loses its disturb the powder. Place the copper piece in the look after dyeing. Place the fabric in a strong strength. Place on table and support with wadded center of the kiln and close cover. When the fabric dye solution of a very dark color. The dye newspaper. Cover with narrow strips of chunks have melted down and the powder is must be cool. Leave for about 10 minutes and roll "pariscraft" that have been dipped in warm water. smooth, remove from kiln. Place copper pieces between sheets of paper toweling. Carefully Overlap strips that are applied across mask. Place on an asbestos pad. When cool, file off the edges. remove wax by ironing fabric placed between two second layer running opposite way. Reinforce Brush and clean a redwood chip (normally used sheets of newspaper. Remove a small amount of edges. When "pariscraft" is dry (6 to 10 minutes) for landscaping purposes). Drill a hole at the top wax at first and do not push iron across remove foil and check by holding up to light to and cut a depression in the front surface of the newsprint. Press iron straight down and quickly see where more "pariscraft" is needed. Paint bark the size of the copper piece. dlue copper remove. Continue to change paper and press imaginatively with tempera or acrylic paints. into place with epoxy glue and apply acrylic gel until very little color shows on the paper. Allow Spray with a fixative or shellac. The face can be medium to the wood. Thread a thin leather strip the raw edges of the batik to be exposed when ornamented with feathers, fur, cotton, raffia, through the hole in the wood. matting the painting. Place cloth over mat rather yarns, wood shavings, steel wool, etc. than under. Batiks could be framed in an An excellent film to accompany mask making embroidery hoop and hung in a window or could would be "The Loon's Necklace". also be hung on sticks or dowels.

ENTHUSIASM Slide Making (Without a Camera) Enthusiasm for the universe, in knowing as well as in creating, Instant Batik Slide making is a creative art form that is also answers the question inexpensive and entertaining. Concern should be of doubt and meaning. Lightly sketch a design on washed cotton fabric. given design qualities and originality. Slides can Doubt is the necessary tool Peel off paper and break crayon into muffin pans. be an educational teaching tool also. The of knowledge. Use bright colors. Add V2-inch cube of paraffin to concepts learned can be shared with others. It And meaninglessness each cup. Do not attempt to clean the brushes. can be a group project when each member works is not threat Use a different one for each color. out slides around a chosen theme. as long as enthusiasm for the universe There are several ways of melting the crayon. If Slides can be made as you make a sandwich. One and for man as its center cover of the sandwich will be a piece of clear or is alive. small pieces are to be used the paper should be colored acetate (acetate page protectors are Paul Tillich removed from the crayons and they should be separated by color and placed in muffin tin available where stationery supplies are sold). The sections. The muffin tin can be placed over a other cover of the sandwich is a piece of acetate Copper Enamel Pendant cake pan partially filled with water and heated with an adhesive back (shelf contact or clear over a hot plate. A safe heating device can be contact sheets from stationery supply stores). Both covers will be enclosed in a 2-inch by 2-inch Clean the copper piece by filing off rough edges made of a 2-gallon rectangular can, possibly #127 slide mount (photo shops) so all acetate and roughen the top surface with emery cloth. Do found in a service station. Cut a hole, large not touch the cleaned copper with fingers. Flux enough to hold the muffin tin, in one of the larger papers should be cut to the exact size of the inside of the slide mount. The acetate must not does not have to be used; however, the enamel sides of the can. Punch a hole about %-inch in cover the seal strip inside the slide mount. colors will have more depth and body if flux is diameter through the cap or through the end of used first. Attach a piece of nylon stocking over the can. Insert an electrical cord through the hole A variety of materials can be sandwiched between the top of the flux jar with a rubber band. Apply and attach a socket and 100 or 150-watt light the two covers of acetate. Cut out shapes of agar solution to copper and dust on the flux. If bulb to one end and an electric plug to the other. colored acetates, stretch out steel wool or nylon you do the dusting over a clean piece of paper, Rest the light bulb on a nest of crushed net, paint with translucent paint like "Crystal you can pour the excess flux back into the jar. aluminum foil. The heat from the light bulb is Craze" or "Fun Film", or encase dried translucent Place the copper piece in the center of kiln and enough to melt the crayon and keep it liquid as it natural materials between the acetate pieces. put the cover down. When the surface of the is being used. Draw with acetate pens or India ink. copper is smooth, remove from the kiln. Apply Place the fabric square on several thicknesses of It is possible to lift pictures or letters from a 36 agar solution over fired flux. Apply the color by newspaper. Brush the melted crayon on the magazine and make a transparency of the picture. Cut a piece of adhesive backed acetate to the fold. Glue both open edges together to the pinata slide mount size. Peel off the adhesive and place starting from the bottom and overlapping each the sticky side of the adhesive on the face of the fringe. Cover the pinata completely. chosen picture. Rub the acetate with a wooden Margaret Lonnquist stick or blunt instrument. Cut the magazine page off around the acetate. Place the acetate piece into a dish of warm water with a few drops of Bread Dough Sculpture detergent added. Within several minutes the The folk artist has often used found materials. He paper can be removed very gently and the inked would create with whatever he had available. The picture will remain on the acetate. Some South American Indians of Ecuador used bread magazine pictures work better than others so dough as a substitute for clay centuries ago. They experiment. Carefully rub off any of the made bread dough ornaments for religious cloudiness and dry. Add drawings, printing, or festivals. other types of materials if desired. Cover the sticky side of the picture with another smooth Use bread dough in a creative way. It can be piece of acetate. kneaded, cut, indented, and molded. It can pick up impressions from any textured or carved Put completed slide sandwich into the folded surface. frame of the slide mount and carefully press the outside edge of the slide mount with a warm iron It can be colored, stained, lacquered, or to seal shut. varnished. Materials: Seed Jewelry • 6 slices of bread Wash and soak large beans and melon, pumpkin, • 6 full teaspoons of white glue and squash seeds over night. Make a necklace by • Vz teaspoon of liquid detergent stringing them on button cord with a needle. • scissors (small curved) String macaroni or short sections of soda straws on button cord. Color beads with water color if • glue for additions desired. • water • tempera paint or vegetable coloring • wax paper Life is the art of drawing without an eraser. • rolling pins • plastic bags. • tools to make impressions Pinatas Remove the bread crusts and crumble bread into Pinatas are used in Spain, Mexico, and South newspaper, cardboard tubes, and shaped tag a bowl or place on wax paper. Add glue and America at parties and other special occasions. board. Cut a partial circle in the top of the pinata, detergent. Stir the mixture for a few seconds and The pinata is made in many forms, filled with fold back the cover and fill with wrapped candies, knead it in your hands. It will be sticky at first. candy and other good things to eat, hung from unshelled peanuts, small boxes of raisins, and When it is no longer sticky and begins to form a the ceiling, and broken at party time. Children are other snacks. ball, it is ready to use. If it seems dry, add more blindfolded, turned around several times, and Wrap a very strong cord harness around the glue. Keep it in a plastic bag when not using. encouraged to break the pinata with a stick. body. Leave a long cord at the top of the pinata If coloring is desired, divide the dough into 1-inch A pinata can be made by covering several inflated for hanging. Cover the whole pinata with one balls and flatten, spread paint or food coloring on balloons with several layers of paper strips more layer of paper strips and finally a crepe surface, and mix with hands. Paint can be painted (approximately 2-inch by 6-inch) and wall paper paper fringe. on dried piece also. paste. After the paper has dried, the paper Fold tissue and cut 10- to 12-inch strips 3 inches Shape figure (small creatures or food shapes are balloon shapes can be attached to one another from the fold. Fringe the strip by cutting from the best), gluing parts together, and brush finished with masking tape and more paper strips and folded edge to within 11/z-inches of open side. piece with glue mixed with equal amount of paste. The body and head can be joined and ears, These slashes are Vs-inch apart. Cut a number of water. Allow to air dry on waxed paper for about nose, legs, and tail can be added with crushed fringes at once. Unfold fringe and reverse the 12 hours. 37 We often involve children in making small gifts 2. Place strips side by side with 3/16-inch space POl BALLS for people confined to their homes or hospitals, between. Anchor each securely to table with etc. It would be better if the children brought short strips of masking tape. Poi balls are used by the Maoris of New Zealand prepared bread dough and involved the patients 3. Use a continuous strip of masking tape or in their dancing and as a part of their in making their own. Often times people need colored cloth tape to join the strips along their ceremonies. They are made either with long human contacts rather than things. lengths. braids (25 to 30 inches long) or short ones (6 Margaret Lonnquist 4. Fold the three strips into a triangular tube with inches long). The long ones are used primarily in the tape outside making the corners meet as dancing and the short ones are used in .q..q..qxq. shown. Tape the third joint. ceremonies when skilled women make them seem MAKE ME ME 3/16" 3/16" to make sounds such as galloping horses or Send me somewhere new. chattering women. Give me a feeling only I can have Masking Tape Directions: This will make two poi balls so divide and a view only I can see, all yarns in half. a sound only I can hear, 1. Select three colors of 4 ply yarn. Cut 14 pieces an emotion only I can feel of each color in 5-foot lengths. Divide in half an idea only I can think, so there are seven of each color in each pile. and a hope only I can have. Make me me. Also cut 24 of each color in 7- or 8-inch lengths. Divide in half as for the long pieces Give me a new look at myself and lay aside. You will also need newspaper so that in this new way -1----- Acrylic Strip I can see what I have cut into fourths, toilet tissue, and plastic film. and who I am. 2. Working with half at a time you will make one Help me to sort out and put together ball and then make the second to match. They in some quick way, 1--....j.,.____ Colored Tape need to be the same length and size or they and to know what I need to know. will be unbalanced when twirling. Separate me from things that blur my perception. Tape Procedure: Give me a glimpse of myself. a. Using half the yarns (colors divided equally), Send me to do something tie all 21 yarns together at one end using the that is for me to do. overhand knot. Show me myself. b. Divide the yarns into three groups, each a May I accept myself ic Strip as much as you accept me different color. Secure the knotted end and and as gladly . . . tightly braid the yarns until the braid is the Herbert Brokering length of your arm. c. Using the left over loose ends, tie half the short lengths of yarn securely to end of braid. Hue Views Pull up and form a tight pom-pom. Tie around the knot with a length of yarn and 5. Colored acrylic will give a view of different Hue views are a magical way of looking at the trim evenly and neatly. color tones. Or paint the outside of the tube d. Around first overhand knot, begin crumpling world around us and are a part of the science of with tempera paints putting on the desired optics. The principle behind this toy, which is and tightly wrapping newspaper until you designs. After the tempera dries, spray with have a ball about 2 to 2Y2 inches across. related to kaleidoscopes, is that of multiple clear acrylic spray to set. reflections. As an art form it can help us enjoy the 1. Be sure the ball is tight, squeeze and roll world around us and see it in a new way. Once it is dry, begin the magic. Look through the on the table periodically. viewer at your fingers, the T.V., a newspaper, 2. Keep the ball down around the knot and The hue view can be made with three colors of leaves against the sky, power lines. Scan the don't work up the yarn braid. acrylic or, if clear acrylic is used, the outside can scene around you. It's fun to watch the 3. Work into a slightly oval. shape, the be painted with tempera. reflections change shape and color. Interesting heaviest part at the bottom, as this twirls designs also appear. Once you have seen the fun better. DIRECTIONS: in the simple toy, you are ready to make the e. Wrap toilet tissue around this in several 1. Cut or have your supplier cut three strips of teleidoscopes and kaleidoscopes. layers so that it is smooth and holds together Va-inch thick acrylic into 10- by 2-inch pieces. Marie Henriksen well. At this point the ball could be sprayed if 38 Clean dust and finger prints from acrylic. Murray County Extension Agent a color is desired. f. Wrap a sheet of poly-film smoothly around BASKETS BY COILING Start to spiral core around the center. the ball and pull up tightly around yarn. Wrap between braid and ball with a strong cord • Warp, called "core" or "coil", is the spiral such as linen or crochet cotton and tie film foundation of a basket. The weft yarn wraps a on securely. Trim excess film away. coil and stitches over the coils to hold them together. When both balls are made young people can have a great deal of fun learning to twirl them in BEGINNING THE COIL different patterns. Skill is necessary to move the balls around spinning continually and not get Taper the end of coil. Overlap the weft on the first them twisted together. The entire spinning action turn, then wrap the weft around the coil. Thread is in the wrist, so hold the balls by the tassels and the weft into a needle. begin to twirl. When several can handle this a regular chorus line can be worked out. Marie Henriksen Use the Lazy Stitch, Figure Eight Stitch, or Lace Stitch to hold the coil together. Mark the Basketry beginning of the coil with a colored thread. Begin each new row at the same point for a symmetrical BUTTERICK PUBLISHING coil. A DIVISION OF AMERICAN CAN CO. 1975 LAZY STITCH Pull the core into a hook and put the weft through the center. Catch the end and wrap A stitch that spans two or more coils and creates tightly. a visible pattern. Wrap from front to back. Bring weft from behind the coil into the center. Adjust work so that the long section of the stitch is visible and the pattern it makes ~n be controlled.

• Fibers are soft, pliable materials sold by weight or length. Such materials require no preparation and are worked dry. Look for cotton, silk, wool, linen, jute, sisal, rayon, synthetics, mohair, and horsehair as well as Hold the coil in one hand and wrap with the When the end is secured by wrapping, push the rope, twine roving, cording, yarn, and thread. other. As the coil becomes larger, wrap a longer needle through the center. • Grasses are hard, stiff materials found fresh or area of the core between stitches and, instead of bought by the pound. Fresh materials require passing stitch through the center, pass the stitch careful preparation and drying. All grasses are between the coils. soaked and worked wet. Look for reeds, willow, palm, seagrass, sedge, kelp, cattails, rushes, corn husks, pine needles, bamboo, straw, raffia, caning, wood splints, and splines. • Decorative elements include dyes, paint, feathers, beads, bones, buttons, seashells, bells, and found objects. • Needles, pliers, scissors, masking tape, and white glue are useful in some basketry situations. 39 LACE STITCH Bring needle through and pass it between the Then, begin wrapping with the new weft. Wrap A stitch that creates a negative area (opening) coils. Wrap core. over the end of the completed weft. Wrap this between coils and has a lacy appearance. area very tightly to avoid a bump. Make a lazy stitch but do not pull tight. Pass needle under long stitch.

CHANGING COLORS Wrapping the weft yarn around itself on the long stitch, separate the coils. Wrap weft two times for Use wrapping technique of adding weft to change SHAPING color. greater separation. A flat coil is made by placing all coils parallel on Color wefts can be carried along under the the same level. Basket shapes such as cubes, wrapping. cones, cylinders, spheres, and free forms are Lazy stitch or figure eight stitch taken in a new made by positioning one core on the other to color to bind coils together will introduce that gradually create the shape desired. The core is color to the coil it crosses. flexible and the shape possibilities are endless. Complex shapes may be assembled from basket Wrap with two different wefts at the same time for parts. color or textural effects. Attach fringe to the coil by holding the middle section of cut lengths next to the core and wrapping with the weft. ADDING WEFT There are no set rules for adding weft. Many FIGURE EIGHT STITCH imaginative and inventive methods including ADDING CORE knotting are possible. A stitch worked around the core without making For heavy rope core, secure with glue or stitching a visible pattern. The figure eight is stronger than When 2 inches of a weft remain, thread a new and wrap tightly. the lazy stitch. weft and place end on the core. Wrap the new Wrap core from back to front. For the figure eight end with 1 inch of remaining weft. stitch, pass needle underneath the adjacent coil. ~ 'Q-f::;y ~ For soft fiber core like roving, twist core ends together and wrap tightly. For grasses like cane and willow, taper ends for 2 or more inches fitting the ends together and 40 continue wrapping. FINISHING Push warps close together to form a sturdy base Decreasing or adding warp evenly around a for the basket. basket shapes the basket symmetrically. Finish coil directly over the beginning point of the Decreasing or adding warp randomly around a coil. Taper the end of the coil. Place a needle basket shapes the basket into a free form. next to the core and wrap over it. Continue with binding stitch. FINISHING When a twined or woven basket is completed the warp must be finished in a way to secure the weft. One way is to bend each warp over to the adjacent warp and push it into the weft. Overlap warps so that a loop secures the weft. Decorative variations include adding beads, feathers, or fringe to the warp loops.

Thread weft end into needle and pull through. Pliers may be helpful. Decorative additions of feathers, buttons, beads, or embroidery stitches could be added to finish the coil.

COLOR WEFT In twined baskets, the weft pair may be one color Begin weft in the middle of a warp group instead or different colors. The way the wefts cross of at the corner. Beginning at a corner can create influence the color pattern. Cross wefts the same a hole. Attach yarn to warp. Use twining, plain way for solid color and in opposite directions to change color. Stripes in woven and twined Practice an art for love and weave, twill weave, or variations and the happiness of your life­ combinations of these techniques for weft baskets occur when weft colors are arranged in you will find it outlasts pattern. rows. almost everything but breath. Katherine Anne Porter SHAPING To narrow basket shape, pass weft over more than two warps at a time. This is called decreasing. Pulling weft tighter in some areas will BASKETS BY TWINING AND WEAVING also narrow basket, but not as noticeably as Twining makes a solid basket structure. Use decreasing. The man either soft fibers or stiff grasses. To widen basket shape, add warps or spokes. who cannot wonder Push warp end against the weft and twine or is but a pair of spectacles Weaving does not result in a solid structure and weave it into the weft pattern. Pull weft very behind which works best in stiff grasses rather than soft fibers. tightly to hold new warps. Warps can also be there are no eyes. Thomas Carlyle BASKET BASE added by pulling the warp end through the basket and knotting. With this method, .the knotting Weave a base of individual or grouped warps. In becomes a decorative element while it secures basketry terms, the warps are called "spokes." the warp. 41 I, who cannot see, find hundreds of things the Metropolitian Museum of Art in New York, MATERIALS AND SUPPLIES NEEDED: to interest me through mere touch. The Art Institute of Chicago, Henry Ford Museum, I feel the delicate symmetry of a leaf. and the Essex Institute at Salem, Mass., and in Quilling strips, corsage pin or round toothpick, I pass my hands lovingly the homes of collectors across the United States. glue, straight pins, ruler, egg carton or muffin tin, about the smooth skin of a silver birch, Paper work adorned inkstands, trays, oval fire­ quilling workboard (styrofoam or other soft or the rough shaggy bark of a pine- screens, tea caddies, picture frames, small table material covered with wax paper). Quilling pattern / feel the delightful, velvety texture of a may be slipped under the wax paper to serve as flower, tops, even cribbage boards, coats of arms framed with wreaths, and sconces, to mention a few. design guide. Quills will be pinned in place over it and discover its remarkable convolutions; while the glue dries. and something of the miracle of Nature is Quilling is just now enjoying its modern revival. revealed to me. New objects are being created all the time. An Optional: Sponge, palette knife or spatula, clear Occasionally, if I am very fortunate, inexpensive craft, the only limitations are your acrylic spray, small scissors, graph paper, I place my hand gently on a small tree and feel imagination. The growth of interest in quilling has tweezers. the happy quiver of a bird in full song- led to the availability of quilling supplies in most At times my heart cries out with longing TYPES OF QUILLS to see these things. craft shops and craft departments in many stores. If I can get so much pleasure from mere touch, Precut quilling paper is one of the least expensive how much more beauty must be revealed materials for creative and beautiful designs. Let's start quilling. by sight. Although today's craftsman's tools and materials Tight Roll-Roll a strip of paper Yet those who have eyes apparently see little. have changed from quill to toothpick or pin and tightly around a corsage pin. The pan·orama of color and action an infinite variety of paper is now available, the Glue the loose end and hold which fills the world is taken for granted­ 0 It is a great pity that, in the world of light, craft remains essentially the same. There are only until set. Remove the pin. (Use a Tight Roll the gift of sight three basic tools needed to learn to quill: paper 5 3/4-inch strip for large roll and is used only as a mere convenience rather than strips, a tool on which to roll the paper, and glue. 3-inch strip for a small one.) as a means of adding fullness to life. There is only one basic step to master-rolling Helen Keller the coils. Loose Roll-Roll a strip; remove the pin and allow the cylinder to The choice of paper is determined by personal uncoil until the roll is the desired preference and the desired finished appearance size. Glue the loose end. Loose Roll Quilling of your project. Quilling paper 1/8 inch wide is most widely used and sold. For a more delicate Quilling, also known as paper filigree, paper lace, look 1/16 inch strips could be used, or widths up Tear Drop-Make a loose roll; or paper mosaic, is the art of rolling thin strips of to an inch for a massive appearance. Paper strips then tightly pinch the glued end paper into various shapes and using the shapes can be cut by hand or with a hand paper cutter if into a point. Allow the opposite to form designs. A possible origin for the term desired. Paper of varying weights can also be side to remain round. Tear Drop "quilling" is suggested by Webster's definition of colored with dyes, water colors, or sprayed with quilling as a "band of material fluted into small gilt paints to produce the effect you wish and Marquise or Oval-Make a loose ruffles so as to resemble a row of quills." Fluting then be cut by hand. Experiment for a totally roll. Tightly pinch the glued end formed an important part of the design in many original look! into a point. Then pinch the early American paper fifigree pieces. You may prefer one quilling tool over another, the opposite side into a point. Marquise or Oval Since quilling was never a major art form, there is thing to remember is that each tool gives you a not a great deal of information available. different looking coil. The larger the tool, the Quillwork probably originated in the elaborate larger the hole in the center of the quilled piece. filigree work of lacy scrolls, arabesques, and A very delicate coil should be rolled with a Pressed Heart-Make a loose leaves found in ancient Egyptian, Greek, and corsage pin, for example, while a wooden roll; pinch together at the bottom Etruscan tombs. The history of quillwork is also toothpick or even a knitting needle produces a and indent at the top. Pressed Heart closely connected with the history and availability large, loosely coiled center which may be desired of paper. Travelers in Europe have reported for the quilling design. seeing elaborate paper work in old churches All quilled pieces need glue to hold their shape where the paper forms were adapted to the styles and to attach the quills to each other. A small of mosaic and filigree to replace expensive drop of clear-drying white craft glue applied with Pressed Square-Make a loose metals. the tip of a pin or toothpick is adequate. This roll; pinch together at four A minor revival of the art in the early 18th century same glue is also used for attaching the finished points. Pressed Square 42 produced many fine examples of work found in design to a backing. "S" Shape-Loosely roll one end of a strip of paper and then loosely roll the other end in the .o1~ ~~ ht ;·kllHrtn opposite direction. Do not glue. Use 3-inch length for small "S" "S" Shape and 1V2-inch length for tiny "s". Scroll-Loosely roll each end to the center of a paper strip. Do not glue. Practice with a 2-inch length. Scroll Open Heart-Fold a strip of ABCDEFQ-ffJ KLMN paper in the center. Loosely roll ROMAN CAPITALS, C-2 each end inward to form a heart shape. Do not glue. Use 3-inch length for practice. Open Heart

Open Scroll or "V"-Fold a strip of paper in the center. Loosely roll each end outward to form a "V". Do not glue. Use 3-inch Open Scroll or "V" length for practice. Carol Shields ( Because I Loved You I Gave ... I gave you my imagination so you would paint images in the sky. I gave you my ambition so you could climb steep walls and build bridges into unchallenged minds. I gave you dedication to achievement Calligraphy that gives you little rest. I gave you my sensitivity Calligraphy, "the art of oeautiful writing". Done so you could feel a pea under a mattress with a square-edged pen tip, the effect achieved and hear a tear drop in the ocean. with the thick and thin strokes is one of classic I gave you my courage beauty which has lasted for centuries. so you would dare to be as unique Calligraphic writing is now in the midst of a as a plug in a field of graceful seahorses. world-wide revival. Its influence can be seen in You have left me now ... beautiful greeting cards, posters, official taking from me what you could use. proclamations, advertising copy, and even I Am Not Empty ... "quotes on rocks". Until recently, we associated I am discovering buried dreams, unused calligraphic writing primarily with church strengths, mature passions, and the publications, but now imaginative use of the power to touch that only life can give. You must give me the freedom alphabets has no limits. Properly used, they can to develop my unnurtured self. enhance many artand craft experiences and add Give me your support and love so that a distinctive appearance to poster printing. I can soar with my unused wings. The tools and materials needed for calligraphic I want to become all that you are today. writing are relatively inexpensive. A pen holder, My Beautiful Children. several sizes of Italic square-edge dip pen nibs June C. Schultz (such as Speedball C-0, C-2, and C-4), and a 43 bottle of India ink or fountain pen ink will cost (some free) from the manufacturers of Because the fired stars move so well together you less than $3. Properly cared for the nibs and transparency materials. with such high grace, we do not see them. ' holder will give you many years of ~se. Italic Start a collection of clip art from any source Because the red water of our veins strives fountain pens are also available with so faithfully for our fingers we do not feel ~elevant to your teaching subject. This is an it. !nterchangeable nib-units and require a thinner Immense help in stimulating ideas and for doing mk made especially for them. They are We never miss what does not fit. sketches both for transparencies and posters. We are visionaries of violence, and so servants convenient to carry with you without worrying of it. about the bottle of ink required for the dip pen. We are educated by what we see. We learn 11 percent of what we hear and 83 percent of what We are experts at what goes wrong, and so disheartened. For practicing, a smooth paper such as bond or we see. T~e use of transparencies in reaching even a good grade of typing paper can be used. The dragon we fear in guilt is the child of our and teachmg could be an important part of your boredom. Experiment with many kinds of paper. The results program when done creatively and imaginatively. can be surprising. Stationery and art supply We are blind to the harmonies of minor life and so ruthless with all other. stores carry a large selection of paper stock for Carol Shields use with India ink and calligraphic pens. Ranging Posters If, for example, sunrise were an accident, from a few cents a sheet to $8 or more, you can a one time eccentricity, dawn would find us sel_ect what is appropriate for the project you are Posters are used primarily to announce events or ga_thered on the beach murmuring, cameras ready, domg. If you have questions, ask for help. Most to give specific information. Effective and m1crophoned. employees are knowledgeable and will be glad to interesting posters can be created by But the sun is no accident, neither is blood, advise you. remembering four main elements: nor top-soil, nor playground basketball An attention-getting heading. Tempt the viewer to nor spring, nor low laughter, nor rain. ' Buy at least one good reference book. It is It is all grace dancing. important to always have a good model alphabet read the rest of your message. Lettering done on We were given nerve to notice. for reference. Many books are now available the heading should be bold and neat. The use of We were given legs to dance along especially excellent self-teaching manuals th,at extra-large felt tip pens, steel brushes or flat Author Unknown contain several different alphabets. Your library is !ettering brushes used with India ink or poster also an e~cellent source for books on calligraphy mk, and cut-out stencil letters will improve the and lettenng. What could be nicer than a book of appearance and speed the execution of the BIBLIOGRAPHY Shakespeare's sonnets done in Italic to inspire !ettering. Be sure the letters are large enough, 1 the beginning scribe? mch for every 25 feet of viewing distance. Illustrations, if they add to the appearance of the Albenda, Pauline, Creative Painting With Tempera Van "The essential qualities of lettering are legibility, Nostrand Reinhold Co., New York, 1970. ' poster without cluttering it. Many media are beauty, and character." Edward Johnston appropriate, such as tissue collage, print Alkema, Chester, Alkema's Complete Guide to Creative Art for Young People, Sterling Pub. Co. New York processes (potato, eraser, carbon, and vegetable 1971. ' ' Carol Shields pnnts), print lifts, magazine cutouts, photos, etc. Brommer, Gerald, F., Transparent Watercolor Davis ~ If 1t 1s colorful and interesting it will reinforce the heading. Publications, Inc., Worcester, Massachusetts, 1973. To live is to be slowly born. Saint-Exupery Brief message to the viewer. Keep this short so Brooks, Walter, Acrylic Painting, Wester Pub. Co. Inc., Racine, Wisconsin, 1974.

Beautiful young people are accidents of nature; but beautiful old people are works of art.

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45 Hello, Hello!

Hel - lo. Hel - lo (o), and wel-come to our show (o),. and if you'll let us, we'll show you we're glad ya came. We're set to

go (o), so if you're feel-in' low (o), be - gin-nin' now, we II show you how to play the game. 0 -pen

Follow with 18 beats during which everyone acts • "And if you'll let us, We'll" • "Beginnin' now we'll show you how" and ticks like a clock. Then back to the Everyone points at themselves. Gradually stand up straight. beginning. Take it through ... play the game. • "Show you" • "To play" Stay on knees for four beats after the song is Point to audience. Extend right hands. done, then everyone jump up and yell "Hello". • "We're glad" • "The game" Extend right hands. Extend left hands. Movements • "Ya came" • "Open the curtain" Extend left hands. Everyone faces center, pretending they are pulling on the curtain. Take a step back on • Begin with group split in half, separated, facing • "We're set to go" each syllable. center. Cross arms Indian style, leaning heads first right, then left, right, left. • "Fill the empty time" • "Hello, Hello, and welcome to our show" Everyone acts as clocks for 18 beats. Group moves to center, bending up and • "Uh!" down from the waist, shaking their up-stage Heads thrust forward. • "Hello. Hello, and welcome to our show" hands as if they have straw hats. When the • "So if you're feelin low" (Same as beginning) two groups get to center, everyone faces Put right arms above heads, let hands • "And if you'll let us, We'll" 46 forward. droop, and gradually sink at the knees. (Same) • "Show you" INCREASE MY FEELINGS (Same) NO MOLD FOR I like to live. • "We're glad" EDUCATION I have a lot of feeling for things and people. (Same) There's a lot going on I don't seem to see. • "Ya came" The uniqueness of the individual is a great asset I need to know where the real life is, (Same) in youth development. Henry M. Wriston, where the joy is, • "We're set to go" professor emeritus of Brown University, believes where the peace is. this and has some suggestions for educators. I want to get all I can out of life; (Same) and I want to give it back. • "Uh" "Again there is hue and cry in the search for a Keep me curious in all my senses. (Same) 'relevant' general education. Along with a Don't let me quit having a lot of feeling • "So if you're feelin' low" modicum of wisdom are large portions of naive for what's going on, (Same) speculation, false and deceptive measurements, here and anywhere. Make me more aware as I get older. • "Beginnin' now, we'll show you how" meaningless statistics and exceedingly bad history. Increase my feelings. (Same) Bring me to my senses. • "To play" "No such viable pattern ever existed; the notion Author Unknown Extend right arms. If there is one row, is as unrealistic as that of a golden age. everyone goes down on left knees. Education and standardization constitute a If there are two rows, add the second perfect example of a contradiction in terms. bending over from the waist. Human chemistry is such that no two pe.rsons of WHY DRAMATICS? If there are three rows, stand straight with like ability, so far as that is possible to identify, exposed to the same curriculum, taught by the right arms stretched higb. Oreative drama, theatre, and performing permeate same teachers, reading identical texts would • "The" achieve the same educational results. all areas of life. Extend left arms. "Teach them to read, induce them to write, give "A basic definition of drama might be simply 'to • "Game" them enough mathematics to manipulate a hand­ practice living'. The same definition might well be Both together held calculator. Those are the basics. Then open both adequate and precise as a definition of • After four counts, jump up and yell "Hello".' the widest possible opportunities. education; for this reason it is suggested that (taken from Gary Parker) opportunities for drama should be provided tor "Some will read avidly, insatiably. Others will every child and should be the concern of every master the mysteries of science, and some will teacher." find a home in the laboratory. Verbal skill may not flourish among some, but they will do magical Activities in the arts, in this case drama, prepare If you believe things in art, in music, the dance-an infinite participants to be creative, responsible, problem­ Within your heart you'll know variety of careers. solving individuals. It any member of the community cannot see this as an end relating to That no one can change "Let us cease to long for that educational cookie­ The path that you must go. the general well being and development of the cutter designed to shape our youth. Instead, let child, he is sure to acknowledge it as an asset for Believe what you feel us rejoice and be exceedingly glad that human And know you're right because the "society'' of the future. For these attributes The time will come around diversity is literally infinite-in the most exact are of increasing importance as we look toward When you'll say it's yours. meaning of that unique word. Open doors, reveal the day when today's youth are the controlling Believe that you can go home opportunities and release a myriad of talents. and producing citizens of the world. Fertilize minds, let them grow as they (not we) Believe you can float on air As important as contributing to the development Then click your heels three times will. If you believe, then you'll be there. of our future society, however, is the contribution ''There is no pot of gold at the end of the we make to the "person" that is developing. It Believe in yourself right from the start rainbow. But across its spectrum there are Believe in the magic that's inside your heart might be said that existence did not place men in diverse aptitudes waiting for a chance to find shells. It wrapped them in sensitive skin. Our goal Believe all these things expression." Not because I told you to then is also to develop a group of sensitive, But believe in yourself perceptive, and feeling young people. If you believe in yourself To Life, To Life, L'chaiim. "The answer to many simple questions might take Just believe in yourself L'chaiim, L'chaiim, To Life. one of two forms-either that of information or As I believe in you. Sheldon Harnick else that of direct experience; the former answer Charlie Smalls belongs to the category of academic education, 47 the latter to drama. For example, the question participating. Remember, we are trying to: of the arts is greater, without depending on might be 'What is a blind person?' The reply provide a controlled, emotional outlet for someone else's tastes. Their discovery of the could be 'A blind person is a person who cannot youth; provide an avenue for self-expression; creative part of themselves may be likened to the see'. Alternatively, the reply could be 'Close your encourage and guide the child's creative discovery of a hidden gift, and there are untold eyes and, keeping them closed all the time, try to imagination; give young people opportunities numbers of gifts awaiting discovery. find your way out of this room'. The first answer to grow in social understanding and (quotes from Development Through Drama, contains concise and accurate information; the cooperation; and give youth experience in by Brian Way) mind is possibly satisfied. But the second answer thinking and expressing ideas fearlessly. leads the inquirer to moments of direct • Be prepared and equipped with many ideas. experience, transcending mere knowledge, Also, be willing and flexible enough to accept enriching the imagination, possibly touching the suggestions and modify plans, if appropriate heart and soul as well as the mind." for the situation. A leader of dramatics should: • Be honest and straightforward, not an authority • Have a full, generous, and compassionate who is controller and dictator, but a congenial, interest in children, irrespective of academic understanding leader with ideas and ability. suggestions. "Drama is concerned with the development "One false idea of drama and the approach of intuition, which is no less important than to developing people through drama is the intellect and is part of the essence of full notion that the activity is free, implying that enrichment of life both for those who have the participants are left to swim in the limbo intellectual gifts and those who have not; of self-experience without assistance. It is intuition, like intellect, needs training. With important to remember that in the early intuition, all individual differences are stages of all creative work the participants developed to their full; there is no single experience a kind of fear of freedom, which criteria of what is right or wrong, or good can be a total uncertainty as to what to do; or bad." ideas either don't come or are self-rejected • Be understanding and accepting of each child as inadequate. There is a need for someone ~/a~! and his resulting work. Encourage individuality. to give a start." The essential technique in this drama activity is "Education is concerned with individuals; the leader's use of open-ended questions to allow CREATIVE DRAMATICS drama is concerned with the individuality the participants to solve the situations and AND THEATRE GAMES of individuals, with the uniqueness of problems in their own creative ways. each human essence. Indeed this is one of the reasons for its intangibility and its The leader should remember that the "playing" is Play is children's business. It embraces the use of immeasurability, 'No two people are alike' a means, not an end, but that it should never be imagination, is creative, and offers an opportunity may well be an accepted truism of carelessly done. Leaders help youth make use of for learning by discovery. physical appearance, but it is equally true their own resources and give form and substance The dramatic activities that follow can be used in of emotion and imagination, which to their feelings and ideas. The experience can many contexts. Perhaps with groups of young comprise the root of full individuality, and (and should) be a rewarding and satisfying one children at a camp, at club meetings, as warm­ yet are often the anthithesis of academic for the participants. ups to working on stage performances or mime education, which inevitably (because of The leader's function is not that of imposing a and pantomime, or as brainstorming to develop tests and examinations) tends to be whole new set of factors upon participants, but of ideas for plays. concerned with the sameness rather than starting with the facets of human life that exist in No line can be drawn where creative dramatic the differences of people. The differences all people-emotion, intellect, concentration, the activities stop and theatre games begin. are often most clearly reflected through senses, the physical self, and the imagination. Generally, creative dramatics are done with the arts, and opportunity for actually With these, and some guidance, anything is younger children; theatre games with older 'doing' the arts is sometimes the wisest possible. children and teens. Any age will find the creative way of developing individuality." Also, we can think of ourselves as breeders of dramatics activities enjoyable and useful, the • Believe in the reasons for involving youth in individual thought and discrimination. For if every degree of sophistication will depend on the age these activities. We must be sincere in this person is helped to enjoy and to know what it of the group. Older children and teens are belief. If it is not important to us, it will not be feels like to use the creative part of themselves capable of doing both creative dramatics and 48 of importance to the young people when they are young, their eventual appreciation theatre games. For younger children, activities should be in the creative drama area unless the MUSIC STATUES may have to interject animal changes if everyone youth progress through a series of the is moving correctly for a long period of time. Taking "musical freezes" a step further is fun. introductory activities and are ready for more Use the same freeze/go technique with the music. sophisticated activities. WHAT AM I DOING? Allow more time during the pauses, however, and In all dramatic activities it is useful to be have the children think of a character or person. Have one person think of an action to perform for conscious of, look for, and plan for three When the music begins again they should move the rest of the group, and have the group guess progressions. The progressions move from: and be that character. the action. Have them answer the questions, 1. Non-verbal to verbal activities. "Where are you?" and "Who are you?". Games 2. Group to individual activities. OBJECTS and sports offer many ideas, but so do everyday 3. Directed to non-directed activities. A ball will be the example, but many other objects activities and occupations. ..q..q-..q-..q-. can be used. Begin by having the group throw a ball back and forth. After they establish the size, MAKING MACHINES All the turtles of all the Tomorrows are have it get bigger and smaller, then lighter and Divide the groups into teams. Have each group hidden in the Shells of Today. heavier. Have them throw it very fast, then in slow decide on a real machine. Have each person J. Monahan motion. become part of the machine, making appropriate sounds and movements. Make no attempt to THE FACE guess what the machine is at first but react to the Creative Dramatics Begin with the group facing you, so they won't images it evokes. An alternative would be to worry about seeing each other. The children will create a machine that really makes something, SPARKLERS mask the emotion you tell them. Emotions such such as doughnuts, toast, or popcorn. as hate, fear, anger, love, surprise, pain, joy, Use very active music for this activity. Establish embarrassed, etc. Their cue to "mask" the word that the environment is completely dark. When SEASONAL IDEAS you throw them will be when you say "go". Tell the music starts, everyone turns into sparklers, them to relax after each mask. You may want to The time of year is a boundless source of and they must fill up as much of the space with invent emotional situations rather than specific inspiration. light as possible. Movements should be up and words to add variety. 1. Prepare the soil, plant seeds, weed, and water down, back and forth, and around and around. the garden. The children could even become This activity is excellent to release an initial burst THINGS IN THE HOUSE the plants. of energy. 2. Be a bird building a nest. Sit on the eggs, Divide the group into teams. Select a room in the then become the young bird who carefully MUSIC BALLOONS house, and ask each team to think of an object tries to stand and stretch. from that room and act it out. You will see For this activity use soft billowing instrumental toasters, can openers, radios, T.V.'s, clocks, 3. Paint the house and wash the car. music, with eventual builds if possible. As the faucets, etc. Have each group share with the 4. Pack a picnic lunch. music begins have the children pretend they are others. balloons and the music is the air that is filling 5. Have fun in the sand at the beach. 6. Rake leaves. them up. As they become full and begin to float, FOODS have them look below. Ask questions such as, 7. Make a jack-o'-lantern. "What is on the ground?", "What kind of a day is Again in teams, have each group think of a 8. Build a snowman. specific food to act out for the other teams to it?", "Are you happy or sad?", "What color are 9. Wrap a gift. you?". Eventually have the music decrease in guess. Foods with action will work best­ volume, and have the air trickle out of the popcorn, toast in the toaster, Rice Krispies, eggs 10. Practice a trick on ice skates. balloons. and bacon sizzling, bread being cut, a banana being peeled. Other possibilities might be jello, USING AN ACTUAL STORY AND MUSIC MUSIC FREEZES spaghetti, pie, and a bunch of grapes. They will A very convenient and effective source of think of many more. Use a variety of musical styles for this activity. inspiration is an actual story, with a musical background if possible. Recordings of stories Have the participants begin in a frozen position. ANIMAL TAG When the music begins they should begin moving would also work well. The steps are: the way the music makes them feel. When the The players move as whatever animal "it"' names. 1. Read the story, for example the "Nutcracker", music stops they should freeze, and begin Each new "it"' calls out a different animal. Any playing the music. moving when the music begins again. The player whom "it"' observes not moving as the 2. Have the participants decide on who will play excerpts should be short and interesting. animal automatically becomes "it"'. The leader which role. 49 3. Make very general plans for how characters 6. Read aloud from one of your schoolbooks, will enter and place themselves. pretending that you have a mouthful: of 4. Read the story and play the music again, with marbles; of peanut butter. the actors performing with the reading. Show how you feel when: If possible, have the entire group involved in the 7. you get a phone call: someone invites you to presentation. You will note that there is no a party. audience, it is completely for the involvement and 8. you get a phone call: the dentist tells you that enjoyment of the children. Other specific ideas you have an appointment this afternoon. might include: "Peter and the Wolf", a circus story with Calliope music, or Dr. Seuss 9. you are looking out a window and see a little THE UNFOLDING FACE recordings. bird hit the glass and fall to the ground. 10. you look out the window and see it's raining This is a variation of mask activities. Rather than having participants react to one emotion, have TO RELAX hard (a) on the day of the game; (b) on the day of your school picnic. them react to statements and stories that suggest When it comes time to end or there is a need to changing emotions, and thus changing facial 11. you see a large dog running toward you. calm down, there are several techniques that expressions. The result is a Jekyll-Hyde effect that naturally diminish the zest of the young 12. you open a large present. shows great contrast in emotional representation dramatists as they act. 13. you find (a) a pretty stone; (b) a butterfly; (c) through the face. Have them become: a bird's nest. This activity allows for great individuality of •flames that are flickering and going out. response. Some emotional changes might reflect: •a snowman melting. hate/love, surprise/fear, joy/sadness, •an ice cube in the hot sun. indecision/rei ief, passive/excited, •a glass of milk that someone is drinking. To laugh often and much; confident/embarrassed, etc. To win the respect of intelligent people and the affection of children; PASSING OBJECTS To earn the appreciation of honest critics and Either/Or endure the betrayal of false friends; Have the group stand in a circle, and begin by To appreciate beauty; having them do the "objects" activity already The following activities could be used in creative To find the best in others: mentioned. Have them then move to passing an dramatics, as warm-ups for theatre games, or To leave the world a bit better, whether by object from one person to another. The object work in pantomime and mime. a healthy child, a garden patch, or a redeemed should change as it changes hands. The social condition; 1. Pretend that you are walking: through very To know even one life has breathed easier participants should not draw the object in the air, deep snow; on marbles; through fallen because you lived; but rather use it to show the person next to him leaves. THIS is to have succeeded. what it is. Once around the group begin again, 2. Pretend to eat: an ice-cream cone; a potato Ralph Waldo Emerson passing objects that have a lot of texture (a soft baby, gum, a pin cushion, a hot potato, etc.). Next chip; a lollipop; a pickle; a toasted ~~~~ marshmallow; cotton candy; a lemon. time around add sounds as the objects are made and used. Next time add more and larger 3. With another person or in a circle of people Theatre Games movements. This exercise is fun, and a logical pretend to toss back and forth: a baseball; a introduction to pantomime and mime. basketball; a chunk of ice; a feather; a porcupine; a pillow; a very hot potato. PASS THE MASK BODY SCULPTURES 4. Show what you would do if: you had just Begin by doing the "The Face" activity already Call out a word that represents an emotion or walked 5 miles; the temperature is 95° in the described. Then have participants sit in a circle. feeling. Have four members of the group (one at a shade; you tried to lift some barbells; you The first person contorts face into a mask without time, but in quick succession) move forward to had a blister on your heel but were late for the use of hands. He then turns to the person on create a sculpture of that feeling. Each person school; you had a cinder in your eye; you had the right. The next takes on the facial expression, should be touching at least one other person in to carry a full pail of water without spilling as if turning into a mirror image of the first. When the sculpture. Have the sculpture freeze. Then any. the second person has completed the mirror have the rest of the group name the sculpture 5. Without using any objects, show how you: image, he changes the mask into his own, as he and speculate as to what may have happened brush your teeth in the morning; nail two turns to his right, to pass his mask on to the next directly before, and what will happen from this 50 boards together; put on a pullover sweater. person, etc. point on. BODY METAPHORS More on Creative Dramatics Two men looked out through prison bars, In small teams, have the participants act out the One saw mud; the other stars. Everyone is creative-anywhere, anytime, following phrases and cliches for the rest of the Oscar Wilde group. anyplace! Creativity needs only to be practiced and encouraged. It is limited only by the extent of Head in the clouds Get it off your chest the imagination. Any restrictions of time, space, LOOSEN UP THE GROUP! Head in the sand Butterflies in your stomach conditions, and numbers involved call for more Hot-headed Ants in your pants creativity. Ask everyone to stand like a chicken, feet apart, Hair-raising Twist his arm knees bent. Add the 'wings' by putting your In creative dramatic activities, whether for Nose out of joint Fight tooth and nail hands under the armpit and flapping. Now for the recreation, group mixers, or a production, the Sink your teeth into it Uptight 'crow', "Er-er-er-er-Errrrrrr"! The crow becomes process is as important as the product in the Eat your words Blow your mind the chorus for the director's line. For example: educational sense. The process involves Lump in your throat Walk a straight line decisionmaking, working together cooperatively, Director, "In the morning the rooster crows" and having fun. Chorus, "Er-er-er-er-Errrrrrr!" The following creative dramatic activities can be Director, "He gets us up and on our toes" If you want to be original, be yourself; used for recreation, workshops, mixers, or as Chorus, (repeat crow) God never made two people exactly alike. exercises to loosen up a group that may be Director, "Today he crows as if he's froze" planning to develop a production or play. (Chorus) Because there are always some members who are "I think that's ice upon his nose" (Chorus) more inhibited or embarrassed about 'letting Music As Inspiration For Action loose', it is best to begin with everyone in the The director can make up lines to fit the group doing the same thing. Another suggestion occasion. Perhaps take the group to the zoo, add Use music that has three definite feelings: is to start with the non-verbal activities and work other animals with characteristic sounds and tranquility, excitement, and surprise or resolution. toward the verbal (the easiest form of verbal body stances. In the process of this exercise, the Play the music for the group. After playing being group singing). director relates the ESP's, character development, through it once tell them where the action for the etc. short scene will take place. The only information There are some simple tips for working with a you provide is the location. Possibilities could be group. First, explain that you will be using two NON-VERBAL ACTIVITIES "Take Space" the dentist's office, an art gallery, a store, or the terms-"take space", meaning to make sure • Shake and loosen the face kitchen. everyone has some room around them in which • "Mirror-Mirror on my neighbor"; "Pass the Play the music through again as the small groups to move, and "freeze", meaning to freeze in that Mask" (in partners) position and stop talking. Second, briefly talk of 2-4 listen, now knowing where the location is. • Move as a character (young child, elderly, about the ESP's of Drama. This will give you Then have them decide who the characters will cowboy, etc.) be, and how the action will proceed. some simple terminology to use during the course of the activities, pointing out the examples • Pass an object around the circle: pantomime The "William Tell Overture" is a possibility, and size, weight, etc. you will be able to find many short spans within of good use as you observe them. • Be an object from the kitchen: divide group other pieces of classical music. The action • E=exaggeration, energy, enthusiasm, into groups of three or four. They each have a usually progresses as follows: emphasis, enunciation few minutes to 'become' as a group an 1. During the "tranquil" part of the music the • S=spirit, splash, sensitivity, sincerity appliance, object, or item from the kitchen. place and characters are established. • P=pizzaz, polish, practice, pride in Show the rest of the group. Repeat being 2. During the "excited" portion of the music performance, projection something from inside the refrigerator; another some conflict or a chase develops. These ESP's, when used in producing a play, room in the house. 3. During the "surprise" or "resolved" music musical number, Share-the-Fun 4-H act, county (whichever you choose), the action comes to a Arts-In Show, church drama presentation, or for ADD PROPS TO SUPPLEMENT climax or is resolved in some way. just the immediate experience of recreation, will Use a simple prop (for example, open-mesh paper The possibilities here are endless, and sometimes serve as simple guides for the participants. meat trays, one for each person in the group, and offer funny results. The leader's main responsibility for these have each person use it as a different prop). It activities is to be enthusiastic, to enjoy, to 'let might be a tennis racket, an egg carton, a sieve, a your child come out and play', so to speak. The car radiator, etc. Have members 'freeze' with prop Leisure is the time for doing something useful. leader's attitude will be caught by the entire and then use in a different way, 'freeze' and group. repeat. 51 PROPS PLUS MUSIC HELLO-HELLO would be an ideal opening CRAWDAD SONG number to quickly choreograph with the group Use a jazz music selection and have members and could be used at county events, program You get a line and I'll get a pole, select an item from a 'prop bag' you have put openings, etc. Honey. together. (Might include ice cream buckets, poles, The energy, enthusiasm, and exaggeration of the You get a line and I'll get a pole, hats, wrapping paper tubes, pieces of fabric, Babe. paper plates, cups, etc). As music plays, each song, enunciated clearly, will be more important person uses prop as some item in scene from the starting points for vocal verbalization than the You get a line and I'll get a pole Mardi g ras or parade. Stop music, 'freeze', musical quality. The important thing to remember We'll all go down to the crawdad hole, exchange prop with person near you, start music, is to get everyone involved, to have fun, and Honey, oh, babe of mine. and repeat several times. encourage an awareness of how the ESP's lead (2) Yonder comes a man with a sack on his back to Exciting Showmanship in Performance if (fi II). creative dramatic activity leads to producing a show or act for public performance. Got more crawdads than he can pack. (3) Stuck my hook in a crawdad hole. Couldn't get it out to save my soul. PEANUT BUTTER SONG (repeat first verse for ending) Peanut, peanut butter, jelly " First you take the peanuts Do more than exist-live And you dig 'em (5 times) Do more than touch-feel Then you smash 'em (5 times) Do more than look-observe Then you spread 'em (5 times) Do more than hear-listen Peanut, peanut butter, jelly Do more than listen-understand " Do more than talk-say something. Then you take the berries John Rhoades And you pick 'em (5 times) And you smash 'em (5 times) Then you spread 'em (5 times) PANTOMIME AND MIME You get Peanut, peanut butter, jelly II II II II "In the age of noise we live in, it is sometimes VERBAL ACTIVITIES wise to listen to what silence has to tell us." Start by re-emphasizing the ESP's! These are as Then you take the sandwich Samuel Avital important when singing as when speaking or And you bite it (5 times) pantomiming. Action songs are an easy place to And you chew it (5 times) start. The PEANUT BUTTER SONG can be turned And you swallow it (5 times) Mime into an opera by setting the stage and asking all You get (pantomime a stuck together David Alberts says, "The words· 'mime' and to sing it as if they were opera singers. Each mouth while humming first two lines) 'pantomime' (meaning the art) are often used person assumes the attitude, stance, and GOPHER GIRLS AND GUYS alternatively, yet they are not synonymous. In character of an opera singer. The director can simplest terms, a pantomime is an illustration of a serve as the concert master, I isten ing to the We are the gopher girls, story. It depends heavily upon accurately 'pitch', etc. If space allows, set the stage with We always go-fer boys described objects, actions, situations, and events chairs for members to stand on, blocking group They never go for us to tell the story. Mime, on the other hand, may tell into interesting levels and stage positions. If We always go-fer them a story, and relies upon a more implicit, more using for club activity or recreation, divide the abstract approach to the theme, which is of group into smaller groups and have one sing the But when we go-fer them, They always go-fer home greater importance in mime than the means of song as if an opera singer, as if a pre-schooler, presentation. Pantomime is explicit, whereas cowboy, movie star, elderly person, etc. We are the gopher girls Please go-fer us! mime is ambiguous. But to be ambiguous is not The CRAWDAD song is another simple song to necessarily detrimental. In mime there is no right (Can insert guys for girls and girls for guys) learn and allows for simple characterization, or wrong interpretation. There is less questioning swinging partners, hand clapping, prop Melody: Ta-Ra-Ra-Boom-D~e-Aye of motivations and situations in pantomime than 52 improvising. Carole Bonesho in mime. "A pantomime can cover any subject, from an ant pointed toes to form perfect circles. Make sure The greatest unexplored area you do both clockwise and counterclockwise. to the universe, with reasonably equal success. lies under your hat. Mime takes this basic concept one step further. It Repeat with other foot. Abbey Press deals not only with the physical aspects of the ant 6. Pretend you're a marionette. Let outside force and the universe, but also with any underlying yank up body parts (one at a time, hold 2 seconds motivation, question, or implication in its FACE each}. Start in loosely bent-over position, head existence, function, or merit. Mime also presents resting on chest, knees together and bent slightly, situations that otherwise could not or might not 1. Pretend you have a thousand strings attached toes toward each other. Yank up head, shoulders, exist for the express purpose of posing questions to all the muscles, pores, even hairs of your face. elbows, wrists, hands, fingers, rear, chest, knees or offering a perusal and perspective of that A force outside of yourself pulls from above. (to start you walking, stay loose). Always do a which could or might happen. Pantomime deals Every part of your face should snap up, lips, shoulder, elbow, etc., at a time. Reverse process with the physical world. Mime deals with the eyebrows, nose, cheeks. Do the same with the until you're back to your original position. physical world, its implications, and its force pulling from the the left, right, and down. interpretations-a much broader and less Practice rotating into four positions, holding each 7. Make believe your fingers are dominoes. Hold conclusive range or subject matter." 2 seconds. hands out in front of you, fingers spread, palms away from you. Let thumb hit second finger, When reduced even further, pantomime is the 2. Practice standard expressions of joy second finger next hit third finger, and so on. As substitution of a gesture for a word, a specific (everything up, especially corners of mouth}, each finger pits next finger let previous finger word, represented by a specific action. In formal sorrow (everything down), surprise (everything snap back into place. Reverse process by starting pantomime there is very explicit indication of open, think of being whacked unexpectedly in the with little finger. character and communication as a narrator face), anger (everything tight, teeth clenched but introduces and makes transitions between the bared and eyes focusing directly forward}. Think 8. In standing position stick arms straight out in characters involved. up more of your own. Work only on face. Keep front of you, palms away from your body, fingers spread, and snap shoulders back and forward. Mime reaches further into the emotional body relaxed. It is important to be able to isolate your head movement from your body. Great technique for coming up against a flat involvement of situations, extends beyond surface. language and direct substitution of words for 3. Scrunch face tight, then explode on handclap 9. Still in same position, rotate arms in large full actions, and the story it tells is dedicated to an (or any other signal} to wide open. objective. circles while crunching your hands into a fist and 4. Practice focusing eyes on a distant object, then then exploding them into an open position. Get focus slowly in to about 6 inches in front of your the hands opening and closing as fast as face. This is an important technique when you possib.le. Think of sending out large spurts of Speaking to start to work on 'the wall'. the little prince energy. about love and life, 5. Rotate the eyes in circles first clockwise, then 10. In same position with palms down and fingers the fox says: counterclockwise, keeping them as wide open as together but straight, move hands slowly forward ''And now here is my secret, possible. Stick out the tongue and add it to the while bending fingers a knuckle at a time starting a very simple secret: rotation. with the tips of the fingers. Excellent technique It is only for exploring the edges of surfaces (tables, walls, with the heart BODY that one can see rightly; etc.). What is essential 1. Rotate shoulders, with arms hanging loosely at "Mime is like moving in water, has the rhythm of is invisible your sides, forward 1o· times, then backward 10 fire, and is bound to the earth." to the eye". times. Rotate one shoulder forward while rotating Samuel Avital Antoine de Saint-Exupery other shoulder backward. Reverse. The Little Prince Undulate in a free form, keeping the image of 2. Move head from side to side while facing water. Think fluidity and stay relaxed. forward. FRONT UNDULATION 3. Lift rib cage up and out from rest of torso and Exercises move from left to right with arms stretched To begin have: straight out from your shoulders. • Knees straight The exercises which follow prepare for and lead into movements that can be used in pantomimes 4. Rotate hips without moving rest of your body. • Straight back, bending slightly from the waist and mimes. When doing them, keep thinking of Feet should be approximately 18 inches apart, • Head in straight line with back what the intention or purpose· of the exercise knees slightly bent. In succession, as if being pulled by a string, might be. You may come up with some good 5. Rotate one foot at the ankle while standing on bring: ideas to incorporate into a mime or pantomime. the other foot. Keep leg straight and lead with Knees-forward 53 Hips-forward energy to create something from nothing. Specific Movements Chest-forward Maintain: Head-back, gradually springing forward as the 1. A fixed point or focus. It must be obvious at all The following basic movements are used again original position is assumed. times where the eyes are looking. The mime must and again in building mimes and pantomimes. It is important to encourage beginning mimes to go Activities utilizing this movement include: serving focus there, on that point, and not gaze randomly. beyond these movements to develop and practice a tennis ball, smoking, horseback riding, a whatever moves are necessary for the stories they cowboy drawing a gun. When practicing, have 2. Diction of Movement: There must be no wasted wish to tell. They have the tools they need in the everyone think of many more and share them. movement to distract from the important action. exercises and their imaginations. All actions must be specific, clear, and REVERSE UNDULATION purposeful. To begin, have: 3. P-C-D (Preparation, Contraction, MIME WALK #1 • Knees bent Decontraction): In other words, every time the This walk is used as a traveling walk, begin with • Back curved (rounded) mime grasps an object or touches something he legs together to show the mime is covering • Head directed at toes must: ground. Then: In succession, as if being pulled by a string, a. Prepare to take it with his hand • Put left leg forward with foot flat on the floor. bring: perpendicular to the object and his wrist. Also swing the right arm forward. Weight will Knees-back (straighten) b. Take it or do it (contraction). be on right foot. Hips-forward c. Release it or move away. Again with the • Pull the left foot back, flat along the floor, and hand perpendicular to the object. Back-straight (to stand) bring back right arm. Then reverse: If you practice and employ these rules, your mime • Think of having a tightly coiled spring under and pantomime movements will be clear, direct, the heel of right foot. As the left leg comes Knees-forward and understandable. Most important, don't be back even with the right, the spring pops up Hips-Back sloppy. forcing you to switch the weight over to left Back-curved (collapse from waist to shoulders) foot and right foot arches. Activities utilizing this movement include: flipping • Put right leg forward with foot flat on the floor. a penny, getting shot, smoking. Also swing left arm forward. Repeat sequence. MINI-MAXIMS SIDE UNDULATION FOR MY GODSON When walking, the shoulders should remain on one level and focus should be on the line of the To begin have: -when I was a Boy Scout, horizon. • Feet slightly spread apart, weight evenly I had a troop leader who would take us distributed on hikes not saying a word, and then challenge us to describe what • Back straight we had observed: trees, plants, MIME WALK#2 • Arms directly out to sides, from shoulders birds, wildlife, everything. This walk is used when the mime wishes to show In succession, as if being pulled by a string, Invariably we hadn't seen the weight of a burden on his back, to appear to bring: a quarter as much as he had, run, or to appear to skate. nor half enough to satisfy him. The right knee-directly right, staying straight "Creation is all around you," he would cry, Begin bent over slightly from waist, have weight The right hip-directly right, staying straight waving his arms in vast inclusive circles. on the ball of left foot with knee bent; right foot The right side of the torso-directly right "But you're keeping out- flat on the floor, perpendicular to the left. Then: Stop wearing your raincoat in the shower." The right shoulder-will follow to the right • Roll weight to heel of left foot. I've never forgotten the ludicrous image • As this happens, the right foot crosses behind The head will lean to the opposite direction. of a person standing in a shower booth the left. Return to center, repeat to left. with a raincoat buttoned up to his chin. Activities using this movement include: flying a It was a memorable exhortation • Bring right foot back to its original position, kite, pulling a rope, walking a dog, a baseball to heightened awareness. transferring weight to the ball of right foot, swing, a golf swing. The best way to discard the raincoat, I've bending right knee. Repeat procedure. found, is to expose yourself to new experiences. Rules It's routine that dulls the eye and deadens THE WALL the ear ... There are three important rules to remember Get rid of that raincoat and let creation in. This effective illusion is the basis of many mimes. 54 when working with imaginary objects and using Arthur Gordon The three rules are important to remember here. Begin with feet slightly spread apart, slightly bent ladder.) These points should be above shoulder Come on, ease on down, ease on down the road. over from waist, and knees slightly bent. Then: level. Don't you carry nothin' that might be a load. • Let one hand snap on the wall with fingers • Simultaneously, as the hands are pulled down Come on, ease on down, ease on down the road. spread. Be sure to indicate it as a point of to chest level, the weight shifts to the ball of Cause there may be times when you think visual focus. left foot, and left knee bends. Repeat. you've lost your mind and the steps you've taken leave you there • Let other hand snap onto the wall with fingers THE STEPS four steps behind. spread, and focus on it. Just you keep on keepin' on the road that • Pull first hand away. It may be helpful to think Going up steps is similar to "The Ladder", except you choose of pulling it away from a sticky surface. Be that we establish a banister off to the side. To and don't give up walkin' cause you gave up sure not to move one hand before establishing begin have: shoes. the next place on the wall. • Back straight. Come on, ease on down, ease on down the road. This technique can also be used to create • Right arm elevated slightly and right hand Charlie Smalls windows by looking through the wall instead of at establishing the height and shape of the it. To cover ground and move along the wall, side banister, forward of the body. undulations work best. Do them only after both • Left knee bent, weight on the ball of left foot. hands are established. Remember to keep hands Pantomime Activities Then: at the same depth (so wall doesn't look uneven), 1. Go around the group having everyone perform and do not tilt them forward or back. • Bring right hand down along the banister in a straight diagonal line, to slightly behind the actions that are direct substitutions for words. These moves are also used to create the illusion body. Possibilities include: "Oh Wow!", "No, No", of being inside a box that is growing or shrinking "Shame", "Darn", "Ish", "Give me!", "Love", etc. in size. Also think about touching and moving • Simultaneously, transfer weight from left foot to ball of right foot. Right knee will be bent. 2. Have everyone perform a formal pantomime along rounded objects with two characters and a narrator. • Move right hand forward of the body, Procedure: establishing the banister again, and repeat the THE CORNER procedure transferring weight back and forth. a. Mime stands center, as narrator, and mimes, "I speak, you listen." This technique is used to create a corner for a wall or building. We will build a corner to the The Rope b. Narrator gestures, "Here" and moves to one side. right. This movement is also useful for flying a kite and • Create the side of the building with "The Wall". walking a dog. c. The mime takes on the appearance and movement of the first character and establishes • Move along with side undulations to the right To begin have: it. No action takes place. until edge of the building is reached. • Back straight. d. Again, as narrator, the mime gestures • Leave left hand on the building directly in front • Feet 18 inches apart. "Here" and moves to the opposite side. of body. Then: e. The mime then takes on the appearance and • Place right hand perpendicular to the left • Turn upper part of body to the left. movement of the second character and (around the corner). • Reach over body with right hand, grab rope. establishes it. No action takes place. • Do one more side undulation to the right and • Grab further out with left hand while leaning to f. Resuming the first character, after the appear to be looking down the street. the right (by bending the right knee slightly narrator again gestures "Here", begin the inward). action between the two characters, passing the • Pull rope from left to right across body at waist sequence of .events and each character's THE LADDER reactions from one to the other. level using a side undulation movement. There To begin have: should be no reason for your feet to move 3. Have mimes in pairs having an argument. One • Feet placed evenly on floor. unless you're being pulled. is trying to convince the other the world is flat, • Back straight. and the other is trying to convince the first that Then: the world is round. Give participants some time to consider how they will deal with the problem. • Bend right knee. All the Have them first perform the argument in normal • Establish two fixed points with your hands. wonders pantomime "conversation". Then have them (These will be the sides of the ladder so they you seek are within yourself. exaggerate the movements first as if they were should be an appropriate distance apart and across a lake (big), and second as if they were Sir Thomas Browne the hands should maintain the shape of the very close (minute). 55 Ideas for Mimes/Pantomimes Each living being is an important part in the life of to insure correctness of information and every other living being, each :ninute atom of life is results. 1. Solve the problem: an important part of eternity, an unbroken chain of • Commercials-Develop original commercials You are carrying a suitcase in one hand, and your life and love that draws us together whether we be pointing out preventative or remedial actions. rain coat is over your arm. You have an umbrella large or small, the perplexingly intricate or the They might relate to "Mr. Yuk" or antidotes for purest essence of simplicity. We are all valuable to poisons and poisonous plants, bulging cans, in the other hand. It is closed. It begins to rain, each other for if one link of this chain breaks it takes and you want to put on your coat, and open the eons for the wound to heal. When one of our etc. Again, research will be necessary. umbrella. You cannot set the suitcase down on brethren suffers a part of us suffers too, that small • Home Remedies-Research old-fashioned the ground. voice inside of us is stilled in mourning. When a new home remedies (poultices, etc.) made of foods, 2. Think of situations which employ the basic life joins us, the quiet song becomes a loud why did they work? Or didn't they? Dramatize mime movements you know and weave a story. symphony, echoing from the mountain tops and the preparation and use of the remedies. crashing down rocky rapids, declaring that the God 3. Think of situations involving a discovery that of Light has drawn us closer to Him with the gentle • Fruit Face-Research the fruits, vegetables, will lead to an abrupt change of emotion (result yet commanding bond of Love. Let us, therefore, and foods that are considered "beauty should be an obvious body and facial change). become welcoming symbols of this Life by spreading treatments." Why? Once you know which are Think in opposites. Love/jealousy, trust/anger, our Love over all the universe. considered "O.K." for your face, create an joy/sorrow. Mary Seabloom array with a variety of color. Then create an 4. Be an animal with subtle human qualities. Try original "fruit makeup." Avocado, strawberry, being a human character and then an animal. and apricot makeup might be fun and good for 5. With a partner, set up a situation in which one your face (it won't last on stage). of you is an inanimate object (machine, tree, Maybe you'll want to try adding a wig made of gum, etc.) acted upon by the other. Develop a corn husks, dried banana peels, or a variety of story line. greens? 6. Explore ideas from fantasies, famous quotes, • Cultures-Select and research the food current events. nurturing, processing, and/or preparation of a 7. Some further specific ideas to elaborate on different culture or period of time and then might include: dramatize it. Discuss nutritional values, A cowboy-riding horse, adjusting hat, shooting, differences. opening saloon doors. Riding a subway-starting • Role Playing-Select a location, situation, and and stopping, hanging onto cuff, getting bumped, characters with a purpose or problem. Then reading paper. create an original impromptu drama. You may Being on a boat-walking the ramp, rising and want to go through it more than once. falling with the waves, being sick. Examples: A burglar-moving along house, going up ladder, Location: Kitchen opening window, looking in jewelry box. Situation: Evening, family dinner over, dad not A picnic-eating foods, spreading blankets, home. playing, having difficulty with insects. DRAMATICS UTILIZING Characters: Mom-Interested in good, well balanced diet for family. Sports-as the individuals, teams, or spectators. FOOD OR FOOD AND Grandma-Can't believe the The artist-setting UIJ easel and canvas, NUTRITION CONCEPTS newfangled kitchen conveniences. squeezing out paints, painting, looking out the Father-Is home late because of window at the view. Commercials-Pick the 10 commercials you work, missed dinner. The mirror-two mimes doing a mirror image of consider "Best" in that they advertise what you Kids-One is a snacker, the other each other. A twist might include an irnage that consider to be a good product, portraying honest is on a diet. doesn't follow the master. information in an honest way. Dramatize the Location: Park The park-people walking dogs and pushing commercials. Situation: Picnic carriages, fishing, children playing, gardeners, • Commercials-Pick out products with Characters: Sis-Trying to start grill and planting flowers. unfavorable points (perhaps no nutritional having difficulty. She's trying to The above ideas are only beginnings. It is up to value, artificial sweetners, dangerous dyes, or do all of the work so mom and the performers to give the ideas life and develop artificial perservatives) and develop original dad can have a nice time. story lines. The imagination of the mime is the (and perhaps humorous) commercials pointing Little Sis-Trying to help having 56 best source for idea development. out these factors. Research will be necessary trouble with ants. KISS A FROG Mom-Playing frisbee with Dad, THE BIG MOUTH BULLFROG can't keep her mind off the girls. Ever feel like a frog? Frogs feel slow, low, ugly, There once was. a big mouth bullfrog. The important factor is to use the beginning puffy, drooped, pooped. I know. One told me. The frog feeling comes when you want to be bright but He went to the mama giraffe and asked, only as that-a beginning. Let the characters feel dumb, when you want to share but are selfish, "MAMA GIRAFFE, WHAT DO YOU FEED YOUR develop the situation as they go. You can think when you want to be thankful but feel resentment, BABIES?" of many ideas of your own. when you want to be great but are small, when you And the mama giraffe said, "Milk." Brainstorming-One way to get ideas might be want to care but are indifferent. "OH, THAT'S NICE!" said the big mouth to brainstorm and list very quickly all of the Yes, at one time or another each of us has found bullfrog. things you can do with a: walnut, whole pepper himself on a lily pad floating down the great river of life. Frightened and disgusted, we are too froggish to And he went to the mama lion and asked, corns, brown sugar, molasses, flour, Crisco "MAMA LION, WHAT DO YOU FEED YOUR (line of the Tin Man from "The Wiz". "Slide budge. Once upon a time there was a frcg. But he really wasn't a frog. He was a princ.e who looked and BABIES?" some oil to me, run it down my spine, if you felt like a frog. A wicked witch had cast a spell on And the mama Lion said, "Milk." don't have STP, Crisco will be just fine."), him. Only the kiss of a beautiful maiden could save "OH, THAT'S NICE!" said the big mouth baking powder, a strainer, etc. him. But since when do cute chicks kiss frogs? So bullfrog. there he sat, unkissed prince in frog form. But .q..q..q..q. And he went to the mama monkey and asked, A generous heart dares to speak, it needs no miracles happen. One day a beautiful maiden grabbed him up and gave him big smack. Crash." "MAMA MONKEY, WHAT DO YOU FEED YOUR preparation. a Boom." Zap.'." There he was, a handsome prince. BABIES?" And you know the rest. They lived happily ever after. And the mama monkey said, "Milk." So what is our task? To kiss frogs, of course. "OH, THAT'S NICE!" said the big mouth POETRY UTILIZING FOOD Wes Seeliger, Episcopal Priest bullfrog. OR FOOD AND NUTRITION And he went to the mama alligator and asked, "MAMA ALLIGATOR, WHAT DO YOU FEED CONCEPTS YOUR 'bABIES?" And the mama alligator said, "BIG MOUTH Any thought or subject can offer inspiration for BULLFROGS." poetry. Foods can be the basis for funny, serious, "oh, that's nice." said the big mouth bullfrog. or endearing poetry. Look at a food or think of an occasion when food was important and write a poem. Construction of the puppet Here are examples that took only a minute each: There are some patterns available for puppets. If You appear a lovely orange, not appropriate in size or character, perhaps they How succulent you feel. could be adapted. But, will I have a "sour" face "Frog" is an original design, developed to be When I get within your peel? large enough to be an effective and colorful Mama made it fresh today. communicator. The steps in his design include: Delicious blueberry jam. 1. Drawing a rough picture of the general Be careful though, you'll get the stick, appearance of the puppet desired. It melts in your mouth, but messes your hands. "FROG" PUPPET 2. Redrawing the puppet, isolating just the shape Where are those golden days of the family of the outer sewn edge. (This will be the basis for turkey? This frog puppet has many uses in teaching a "prototype puppet.") Try to anticipate where the Different now, because of growing. situations. Youngsters love talking to and design will need extra fullness for shape and Growing distances, answering puppets; it seems it's easier than allow for seams. Growing change, talking to adults. 3. Using flexible fabric, cut a small version of the Growing apart. "Frog" is a wonderful get-acquainted tool, but pattern, sew it, and determine where it needs to The fires of those days, beyond that it serves as a vehicle to begin have additions or subtractions in fullness to get have died, discussions in many subject areas. For example, the shape desired. in many ways. a discussion of nutrition might begin by asking 4. Repeat #3 if changes are necessary. But there need be no kindling, the question, "What do mothers feed their (Constructing a small version of the puppet may to make the mind blaze babies? and why?'" after having "Frog" tell this save much time and materials in the long run and with warm memories. story. there will be a baby puppet, tool) 57 THE HEAD -cut double -before sewing sides: insert rear head piece along vertical cut along center back. -insert mouth along horizontal cut in front, at points.

REAR HEAD -Cut single -insert in ver- tical cut in head.

Especially about "Frog" Materials and construction: Soft, fuzzy material was used. The material in the front section of his stomach was reversed for THE TUMMY some variety of color and texture. -cut single, not double -insert along a vertical His head and front stomach section were lined cut in the frog's body front with a very thin sheet of polyurethane to add for fullness body and strength. Pelion could be used also, and in many cases nothing is needed. The foam in this case meant the head needed no extra stuffing. Felt was used for his mouth and offered strength with flexibility. The stuffing used was cotton upholstery stuffing used in making toys. Polyester batting and foam also work well. Elastic finger holders were sewn inside the mouth prior to the final sewing. These give the operator greater control. If there are not appropriate eyes available, 58 buttons work very well. All of the puppet pieces should be increased proportionately when making the pattern. Thus, any size can be achieved by using an opaque projector or multiplying the existing measurements by the number of times you would like the puppet enlarged. Any puckers left after easing pieces into slits will work out when puppet is stuffed.

MOUTH -cut 2 pieces -insert in horizontal cut in head piece.

59 5. Increase the small pattern 1-2-3 or however The comparison and judging that goes on in the many times you wish to achieve the size you THE PERFORMING ARTS minds of the participants bring us to another desire. (Frog's measurements were increased future asset of stage performance. This three times.) Draw the enlarged pattern on paper. The Value comparison will undoubtedly serve to develop the (Tissue works well with a black pen or small tip personal tastes and preferences of the youngster marker.) Any form of expression is of great value in and also to develop his critical nature. 6. Lay out your pattern on your fabric and cut. developing the minds and attitudes of young Somewhat related to the idea of the development Fabric for larger puppets may be somewhat people. The expression could involve creating of a critic is the development of an observer. heavier and less flexible, but keep weight and through art forms, literature, music, oration, Activities might be considered a seasoning manipulation capabilities in mind. drama, dance, or any related fields. ground for the potential audience of tomorrow. 7. Hand baste each section of your puppet before The experience of preparing and performing can Experience on stage and in rehearsal will make the final sewing. You may save yourself a lot of be of great value in the development of what the participants better listeners and a better ripping. might be called a person's inner self. Any form of educated audience. entertainment serves as an emotional outlet. 8. Sew each section by machine. Pay careful Thus, it is I ikely that tense or frustrated energy attention to the progression of construction after could be directed toward a rewarding and the pieces are complete. Figure out what spot It is not the critic who counts, productive end. As a vehicle for expression, not the man who points out must be left open so the puppet can be turned performance involves the feeling of out and stuffed. how the strong man stumbled accomplishment that may be a result of giving or where the doer of deeds could have done 9. Turn out and stuff puppet. form to an individual's ideas and feelings. Also, better. 10. Hand sew the opening closed. (Don't sew your there is the satisfaction of seeing an extension of The credit belongs to the man who is actually in the arena; hand opening closed, however!) yourself praised and appreciated as enjoyable work well done. Satisfaction in any of these areas whose face is marred by dust and sweat and will encourage and may result in the willingness blood; who strives valiantly, who errs, on the behalf of the participant to work on a and comes short again and again- life's music began similar task again. who knows the great enthusiasms, the great as the puppet walked upon the stage Performance experiences can contribute also to devotions; held by the master's hands the development of a person's outer self, or what who spends himself in a worthy cause; do what I command, my little wooden friend may be called "presence". An activity such as this who at best knows in the end the puppeteer grunted the triumph of high achievement I gave you life gives the participant more experience in relation to capabilities, relationships to others, and and at the worst, if he fails, and by these strings at least fails greatly only shall you live performing. This naturally serves to build so that his place shall never be with when the audience confidence and also increase poise. The idea of those timid souls who know neither victory or finds you tiresome the participant's relationships to others brings us defeat. I will cut your strings to the value of performing in developing the Theodore Roosevelt and discard you social self. This involves gaining a better to the pile of trash understanding of the working, producing, and for I will need you no more so be of good use to me playing relationships with peers or with adults. as you live Also related is the idea of being "sociable". The USING THE STAGE that coins shall preparation of an act or play will assist in making jingle in my pocket a young person a more well-rounded and diverse When involved in a stage presentation, one now a puppet is a puppet individual. concern is what is going to hold the attention of and a puppet has no choice the audience, direct it to where it is wanted, and Besides the influence performance may have on but you, my friend, are human convey the message. Following are some factors the development of the participant's "self", there and with this you can rejoice that contribute to these ends. Walter Rinder are other developments which might be considered assets for the future. It takes a MOVEMENT relatively organized effort to develop and present a program. This may increase the participant's There are a variety of reasons for the movement Each soul must meet the morning realization of what goes into the coordination of of a character from one place to another on sun, the sweet earth, and the Great such an effort. Also, what his part in the overall stage. Some stem from inner meaning, as does Silence alone. effort may be. This lets the participant get a body movement. Those reasons include: venting 60 Dakota Indian feeling of being a part of a whole. of emotions, telling the story, visualizing interpersonal relationships, revealing the Two actors should not walk in the same flexible and dominance is easy to control. character to the audience, establishing mood, direction at the same speed nor should they sit Therefore, furniture is often arranged in a providing motivation for another actor's line. down at the same time, nor get up at the same triangular pattern. The apex of the triangle is the There are also technical reasons for having an time. dominant position, and as the dominance actor move. Three closely related ones are: An understanding of the playing areas of the changes from one character to another, the apex opening of stage or doorway areas for action, stage may assist in decisions made in relation to shifts. linking two visual pictures that may exist on movement. The stage is traditionally divided into stage, and improving composition and restoring nine blocks. The three horizontal divisions balance to the stage picture. Another group of running from the front of the stage (downstage) technical reasons for movement relate more to the back wall (upstage) are known as planes, directly to the effect of the movement on the and the three vertical divisions going from left to audience. Their purposes include: providing right are known as areas. variety, developing rhythmic patterns, building The center area downstage is the strongest climax, and getting laughs. Purposes relating playing portion of the stage. The (X) marks the directly to the actor include: keeping the actor strongest standing position on the stage. The open for good projection and visibility and shaded area indicates the most dominant area. helping the actor express his emotions. With all of these purposes, and potential for the PLAYING AREAS OF THE STAGE meaning of movement in mind, it is important to In this picture, A has dominance as he is the apex remember some guidelines for the execution of of the triangle. Also, he is standing in an open those moves. body position, and the other characters are giving • All movements must have meaning and him focus, thus his position is strengthened even motivation. There must be a reason for the more. movements the character makes. That reason Bady Position can grow out of his line or the situation. • If it is necessary to move an actor for a The more of an actor's face the audience can see, technical reason, such as clearing a doorway the more attention he will command. The person for action, and there is no movement indicated at the apex has the other characters looking at in the actor's line, there must be another him, therefore he has dominance. motivation for the movement. Perhaps he goes This diagram shows the body positions an actor to a table to light a cigarette or walks to a can assume. The arrows show which way the window to look out. This situation may involve o.Q'>o.Q">o.Q">o.Q-> actor is facing. some extra "stage business." You can't control the length of your life, • Movement is usually a move toward or away but you can control its use. from an object or character. The actor is wise You can't control your facial appearance, to look for the direction by what may be but you can control its expression. implied in his lines. You can't control the weather, but you can control the moral atmosphere that surrounds • Movement before a line is delivered you. accentuates the line; movement after the line You can't control the distance of your head delivery accentuates the movement. above the ground, but you can control the • Movement is often in relation to the furniture height of the contents in your head. on stage. That is why each piece of furniture You can't control the other fellow's annoying represents a motivational unit. The faults, but you can see to it that you do not develop similar faults. arrangement of these units should be such that Why worry about the things you cannot control? A-full open, the strongest position. the actors can move around them easily. A Get busy controlling the things that depend B-3/4ths open right. somewhat triangular pattern is often used. on YOU. • No movement should be unnatural. An actor H-3/4ths open left, the second strongest should not back up or walk in reverse unless a position. comedy effect is desired. BLOCKING C-in right profile. • Avoid movements that are the same type at the Triangularity is a basic and much used blocking G-in left profile. same time, unless a comedy effect is desired. pattern. One reason is because the arrangment is D-3/4ths closed facing right. 61 F-3/4ths closed facing left. If life hands you a lemon, make lemonade. Besides reflecting age and sickness, rising and E-facing full back. This, too, can be a very ~..q...q.~ falling movements are great reflectors of emotion. strong position. If the actor has lines to Downward: lines overcome deliver, however, you must be sure they will BODY MOVEMENT by gravity suggest sadness, be heard. depression, and despair. Movement is a very important part of what These lines can be shown FOCUS happens on the stage in relation to drama. From through facial expression; the body movement of a character we can learn a An actor can have attention in almost any neck, shoulder, and arm great deal about him and his relationship to the position and movement; position on the stage if he has focus. That rest of what is happening. involves the other characters directing their and back and torso attention and eyes to that character. Focus will be There are two basic influences on our human position and movement. strongest if, in addition, the actor is in a strong bet:lavior and thus our movement. One is biology, Emotion can also be shown stage area. the other society. Biology is concerned with the in the amount of spring physical welfare of man: his nutrition, growth, and uplift in a character's SPACE rest, reproduction, and general bodily comfort in walk. relation to his environment. Rooted in primitive Upward: lines overcoming Spatial dominance can be attained if an actor is urges, it is often expressed in gross, sometimes separated from the rest of the cast, with a clear gravity have the opposite violent movements such as running, leaping, effect. They suggest area of stage around him. struggling, chasing, fleeing. happiness, joy, optimism. LEVELS We can say that the general purposes of These feelings can be movement stem from inner meanings. shown through upward line The higher an actor is, the more dominant he is. 1. To vent a strong emotion: reflected in facial Therefore standing on a platform is stronger than When feeling a strong emotion, either happy or expression, a head that is standing on the ground, standing is stronger than sad, a person's feeling is to express the emotion held high, shoulders that sitting, sitting is stronger than lying prone. with bodily movement. are high and back, an upright back and torso, and 2. To tell the story: CONTRAST springy steps. The arms The entire story could be told with movement can be uplifted or Contrast can be influential in making a character alone, as in dance. A story can be more powerful dominant. If everyone is standing, the character outstretched to contribute if embellished through movement in addition to to the impression. sitting will have dominance. If everyone else is pictures and words. facing the audience. the character with his back The second set of basic movements is to the audience will be the strongest. If everyone 3. To visualize interpersonal relationships: approaching and avoiding. Besides reflecting is dressed in yellow, the character in blue will be A clue to the relationship between two characters physical conditions, it too shows emotions and dominant. is the distance between them and the type of feelings. movements they make toward or away from each A movement toward, other. whether horizontal or As you sit in silence on a lonely beach The social influence is concerned with man's vertical, suggests a desire Object or a drifting sand dune, adjustment to other men. This includes restraints to have contact. Some you discover the possibilities imposed upon the primitive movements. In other things are pleasant or for a new world words, "civilization" demanding control. beneficial, thus they are and a new self. There are three sets of large movements that are approached. It could be r Man----+ Object The greatest thing a human soul the most important basic material for bodily food, a friend, a person ever does in this world is to see something offering help, or perhaps and tell what it saw in a plain way. movement and dance pantomime. They are rising, sinking; approaching, avoiding; nurturing, even reaching for a deity. Hundreds of people can talk for one who can think, destroying. A movement away suggests and thousands can think The idea of rising and sinking comes from man's a desire to avoid or stay Man---+ Object for one who can see. struggle with gravity. When a man is young and isolated. This reflects the To see clearly is poetry, prophecy strong he stands erect. When old, sick, weary, he avoidance of harmful or and religion-a// in one. succumbs and unites himself with the earth. A unpleasant objects. John Ruskin 1 basic human feeling is the yearning to be light Possibly a harmful animal Object 62 and free of the earth, to fly. or an enemy with a gun. The third set of movements, nurturing/destroying, has gone before. The storyteller knows in body more freely to express what is being displays both the physical and emotional advance how each of these parts of the story conveyed through the story. Because storytelling potential movement has for display. must be arranged in order to create the effect he and oral interpretation are somewhere between Nurturing involves caring for or building up a intends. public speaking and acting, they embellish a "good" object or person. Related gestures are A story is a purposeful narrative. The selection of speaking situation with more dramatic voice caressing and fondling. Destroying, on the other its details and their organization create variation and depth, body tension, and suggestive hand, involves tearing down a "bad" object or excitement and concern in reader or listener. A gestures. These activities further help the listener person and usually involves some type of successful storyteller shapes his material with identify with what is happening in the story, and struggle. purpose, passion, and pretense. also convey the attitude of the author. The purpose of storytelling is to engage the Movement and dance pantomime demand total THE STORYTELLER AND THE LISTENER involvement on the part of the performer. They listener in an identifying, suspenseful response to may in turn elicit more response from the The fundamental characteristic of a story is that it a story. The potential is there, and it is the job of spectator. is based on an experience that will assume or be the storyteller to call up in the audience the experience of the story. Besides ... it's fun! of interest to the listener. The storyteller can interest the listener only if he re-creates the event «7>«7>«7>«7> «7>«7>«7>«7> and his first response to the event. This will then Even if I knew the world were going to FORTUNATE PEOPLE stimulate the audience's ability to identify with end tomorrow, I would still plant trees what is happening. today. For certain fortunate people St. Francis there is something which transcends The effective storyteller: all classifications of behavior, • can suggest an air of expectancy. and that is awareness; something which rises • can arouse and satisfy the listener's appetite To be able to love a butterfly, above the programming of the past, for suspense. we must care for a few caterpillars. and that is spontaneity; • can, through physical and vocal ·«7>«7>«7>«7> and something that is more rewarding expressiveness, demonstrate the story's than games, suspense and its development. Scripting-Short Plays and that is intimacy. • is quick to detect changes in the story and The need is to come up with a play developed by Eric Berne reflect them to the listeners. young people, for presentation by young people, THE STORYTELLER AND THE AUTHOR in a style that is both pleasing to the audience and within the realm of the group's performing Storytelling/Oral Interpretation If the person relating the story to the listener is ability. also the author, he is in an unusually convenient The key to the entire situation is simplicity. The The most important thing about storytelling is to position, as he knows the precise attitude of the degree of simplicity will depend on the age of the interject enough emotion to make the story come author When that is not the case, however, the group and the amount of time they have to alive for the listener, and to relate and make storyteller must be sensitive to the attitude of the prepare. In addition to the story, the setting, sense out of the words on the printed page. author. costumes, and makeup must be taken into (Some of the following ideas are taken from Oral He then becomes the interpretive reader, consideration when beginning to make plans. Interpretation of Fiction, Thompson and interpreting the words and thoughts of the author Keep in mind: Fredericks.) for the listener. One way to detect the attitude of the author is through word usage, another is • The play is being performed by young actors. THE STORYTELLER AND THE MATERIAL writing style. It is important that the reader be • The play should involve easy settings. One, or, A dictionary says a story is a "narrative, either aware of the author's attitude and tone of voice. It if more than one, sets that can be changed true or fictitious, ... designed to interest or is also important that he grant the author the easily and swiftly. amuse the hearer or reader; a tale." This right to take that attitude and tone. • The play may have to be performed in a variety definition covers informal stories told in daily life of situations. as well as artistic creations such as short stories THE STORYTELLER AND THE • Do you have time for elaborate costumes? PRESENTATION or novels. Whether the scripting is to be an individual or An effective story has a beginning, a middle, and As in any speaking presentation, it is important group project, the person or persons must be an end. Its beginning is chosen to arouse interest. that the storyteller be heard. Unlike some made to feel as though they have something to Its middle section is pointedly going somewhere. speaking situations, however, the storyteller has contribute. The atmosphere must encourage Its ending is a significant conclusion to all that an advantage in that he can use his voice and willingness to share their ideas. 63 Though an extremely creative effort, writing a • Keep everything clear and easy to understand, short play does demand some discipline and both dialogue and action. structure. This structure need not be obvious at • There should be economy in the number of all times, but there are several factors to incidents that lead to the high point of the remember when planning and writing. story or climax. • Suspense can be effective. DRAMATIC QUESTION • There should be some sort of conflict. There No matter what the subject or form of a play, it must be something we want to happen. establishes a dramatic question. This is the • The characters should be made to seem real, question that seizes the audience in the even if they are animals with human beginning of the play. It may be as simple as: characteristics. Who will win the battle between the sexes? or • The story should suit the interests and tastes of What is wrong with this fellow? This is a low level those who are going to play it. question. The plot may deal with a more specific version or part of the dramatic question. <0>~~~ The world will never starve for wonders; STRUCTURE but only for the want of wonder. Gilbert K. Chesterton The play should have: 1) a beginning which introduces the plot and the characters and lets us ~~ know something about them. IDEAS 2) a middle section with continuity, yet conflict, action, and things happening. Ideas are not usually a problem when energetic Makeup 3) an ending that has all conflicts resolved. (There playwrights get together. If stumped when they are some instances, however, when rather than are started, though, have them think about: There are different purposes for makeup, and ending in a resolution, a play ends by asking a animals places special events different types. They generally might be broken question.) nature people different situations down into four areas: The action of the play includes the plot, the stage Also, they might recall instances in their own lives 1) Compensatory makeup-to compensate for the business, and the entrances and exits. All of that could be a basis for a play. Other stories or washed out effect that stage lights and distance these contribute to the theme, characterizations, plays that could be twisted or changed slightly have on facial features. and total effect of the play. might be the basis for a "spoof". 2) Corrective makeup-to correct the The writer must remember, too, many long ~~~~ imperfections in the facial features of the actor. speeches may result in static quality, lack of 3) Age makeup-to create the impression of age action, and meaningless stage business. There's a new world coming, in the character. This could be middle age or old and it's just around the bend, There's a new world coming, age. DIALOGUE this one's coming to an end. 4) Non-realistic makeup-this includes those There's a new voice calling, makeups not covered in the other categories: Dialogue is the rehearsed line that should sound you can hear it if you try, animals, fairies, monsters, witches and trolls, like conversation. This conversation must and it's growing stronger clowns, and other non-realistic characters. with each day that passes by. advance the play in some way. It can tell us about Compensatory makeup is the minimal amount the story, the character, give us factual There's a brand new morning that should go on a face to be under stagelights information, or provide revelations. rising clear and sweet and free, There's a new day dawning and/or any distance from the audience. The tone and atmosphere of a play can be that belongs to you and me. Exaggeration distinguishes facial feat!Jres. determined by the style of dialogue. Yes, a new world's coming, The facial areas to consider are: Here are some reminders when planning and the one we've had visions of coming The eyes-define by using liner all the way scripting: in peace, coming in joy, around, mascara on the lashes, and • Keep the speeches short. In general, keep coming in love. shadows on the lid. Also some dialogue simple and to the point. Barry Mann and highlighter in the hollows under the Cynthia Wei/ • Let action do the talking. There should be a eye would be a good idea, as would 64 great deal of physical action. the darkening of the eyebrows. The cheeks-to put back facial color use rouge hollows must have highlights where the bones spot, effective for an instrumental solo, wouldn't on the cheeks following the contour protrude. work for a tumbling routine. The lighting will also of the cheekbone. The lines and wrinkles are basically the same as vary according to your location on the stage, The lips-lip rouge or lipstick is needed to restore in the context of middle age, just more where and how quickly you move around the the contour of the mouth. exaggerated. An addition might be lines or stage, and how many people are in the act. Corrective makeup is for the actor who wants to wrinkles around the actor's mouth, drawn in as Lighting is many times forgotten in the look like himself, but better. This may involve he purses his lips. preparation of an act. It can be a great addition to some minor changes in the shape of his mouth or Graying hair can be suggested by using powder the effectiveness of an act, so it might be the curve of his eyebrows. For example: sprays, white powder, cornstarch. For graying worthwhile to think about it. As with any of the 1) If the forehead is too high it can be darkened temples, perhaps white shoe polish or white "technical trimmings," lighting is not what is near the hairline with a wide stripe of blended mascara. most important. It is most important to work on the content of the act. color. Non-realistic makeup affords great opportunity .q,.q,.q,.q, 2) If the nose is too long, it can be shortened by for ingenuity and creativity. Some non-realistic bringing a deeper color up over the tip. If too characters will have mostly human features with The harshest winter finds an invincible short, a highlight can be brought down under the only some modifications, such as pointed ears. summer in us. tip. There are situations that require complete A. Camus 3) If the chin is too long, the lower area can be departure from reality. In either case, instead of shadowed, and thus reduced. If too short, the aiming for realistic accuracy, thoughts should be lower area can be highlighted. of line, color, and form to heighten, to clarify, to satirize, to amuse. Instead of photographs, look at Costuming Through shading, shadowing, and highlighting a works of art. Instead of hair and wigs, wool, yarn, nose can be made wider, wrinkles less obvious, wood shavings, feathers, plastic, or metal might Costuming can be very elaborate, expensive, and and eyes further apart. The contour of the lips be looked at for hair. effective. Or, it can be simple, inexpensive, and can also be modified. effective. Sometimes, the latter is even better than Purposes might range from the heightening of Age makeups begin to show the combined the first. details for better definition, to strong effects that age, health, temperament, and exaggerations of line and color for dramatic A period in history can be hinted at through environment have on a character. effect. Those elements must be selected that simple modifications in clothing, through hats, In middle age, the color of the skin and hair make the most positive contribution to the and through the objects people carry. A good way change, muscles begin to sag, wrinkles form, projection of the character. to get ideas for these modifications is to refer to curves become more harsh and angular, and hair old books, papers, periodicals, or some of the .q,.q,.q,.q, falls out. many costume books that are available. Most simply, middle age can be shown by the use So, don't waste your precious gift of laughter Things need not be done perfectly. The distance of lighter and more yellow bases. This will vary and immunize yourself from strife. involved and the imagination of the audience can from character to character depending upon Only a face made of plaster easily turn old material and netting into a lovely conditions. Lines are indicated on the face. The is immobilized to life. gown. laugh line from nose to chin should be drawn in, Oh no, face lines are a treasure. Be proud when yours begin to show. and wrinkles should be drawn in around the eyes, My goodness, what on earth good under the eyes, and on the forehead. Each line or is a lovely cover if Scenery and Props shadow on the face must have a highlight above the inside could not show. it. In reality you cannot have one without the Bobbie Soutar Generally a great deal of scenery is not other. There may also be some shadowing under necessary, or convenient. For many acts, specific the eyes and in the cheek hollows. (If for a scenery is not required. If it is required, for a skit woman, she would also have to incorporate her or pantomime for example, just a hint of the room eye shadow, lipstick, and rouge.) Lighting or place is enough. This makes it easier for the Old age makeup further exaggerates the lines groups to prepare, while still filling the needs of and shadows suggested in middle age, and uses In the places where acts are performed there are the act. Again, with scenery, the distance and an even paler base color. The hollows of the face generally two types of lighting available. These imagination of the audience. can easily turn a are more distinct, and must follow the actual include general overhead lighting and spotlights. piece of painted shrubbery into a real bush. features of the actor. These occur in the In some of the facilities there are more available. The same is true for props. Easily made out of forehead, the cheeks, under the eyes, and The type of lighting you consider using will vary cardboard, wood, and paint, they can quickly sometimes under the lower lip. Remember these according to what your act involves. A single change into a gun or a candelabra. 65 It is convenient for us that today's trend is toward Voice Leading Activities in the Performing suggestive, rather than very elaborate, scenery. Arts This allows for a stylish presentation with easier The voices of the participants should be as clear preparation and better mobility. as possible, as should their diction and One of the tasks of the leaders involved is to give enunciation. Nothing should be sloppy. shape and direction to an individual act, or show, Sound Volume, with the assistance of microphones, as a whole. Directors, emcees, or club leaders should be no problem. Everyone should project should be aware of an effective plan that will Sound equipment is an important consideration to maximum ability, however. This is true show a group off at its best. The concept that when working up an act. The mikes you use especially in cases where there is movement in an generally seems to promote the best efforts should always be checked prior to the time you act and the performers may move out of the involves a continual building of the act or show. are going to use them. In fact, rehearse with the range of the microphone. This building can be done through excitement or mikes, if possible. Don't be afraid of a mike. Those singing or speaking should direct their variety. Ultimately, there should be a high point or Remember what comes out of it is what you put vocalization directly to the audience, even if far climax in the act or show that will leave the in. away. This will help to transmit warmth and a audience with a feeling of elation and satisfaction. Other equipment that you may use should also be close feeling to the audience. It is difficult to generalize about being a leader. A checked. This might include record players, tape good leader knows his own talents and those of recorders, or any other technical equipment. Even God cannot make two mountains without a Learn to properly use and operate any equipment valley between them. the youth with whom he works and tries to utilize the best of both. Examples: Some leaders stand utilized in your act. If possible, test it in the .q..q. facility where you will be giving your back and let the youth do everything. Some performances. Audio equipment, used for General Attitude leaders have much technology, and are much like background music or special effects, many times teachers. Some leaders are greatly involved in contributes to the overall effectiveness of an act. The importance of the attitude of the performers helping youth develop their own ideas. It can serve many purposes. Music can support cannot be stressed enough. It is important that the movement on stage, assist in making smooth every performer look as though he is enjoying transitions, and set the mood, which will also give and involved in what he is doing. The group or the audience clues as to what is happening on individual must "sell" what they are doing to the A Plan to Follow In Putting on a stage. Pantomimes are greatly assisted by the use audience. This takes showmanship. Performance of music and sound effects, even masters such as The beginning of showmanship lies in the look of 1. Decide on an idea for your act. This, of course, Marcel Marceau and Red Skelton use them. involvement and enjoyment of the performers. A will involve a number of considerations. The Numbers using records could explore the pleasant facial expression or a smile transmits talents within the group, what they want to do, possibility of tape-recording the music and great vitality to the audience, as well as and what they have time to do. editing it to a proper length. Tape-recording establishing rapport. People who won't become solves the problem of timing, and saves the worry active and involved participants in the act are 2. If necessary, seek the information or person of finding the exact spot tor starting on the going to attract attention, and detract from the necessary to assist in planning the act. If the record. general effectiveness of the act. A "dead pan" supervisor or director does not have the specific can be a disaster, unless in a comedy routine. ability to give good direction, he should seek Just remember these important attitude keys: assistance in the form of literature or people. WHATEVER YOUR GIFT interest, enjoyment, excitement, vitality, 3. Formulate specific plans of what is to be done. What is that you hold in your hand? showmanship! This will include answering the questions: What Nothing you say? Look again. do you need? What do you want? What is Every hand holds some special gift­ available? The next step is to assign tasks. A hammer, a broom, a pen, Oh, it's time to start living, A hoe, a scalpel, an artist's brush, time to take a little 4. Make a schedule for rehearsal and other work A needle, a microscope, from the world we're given, that needs to be done. A violin's bow, a way with words. Time to take time, In the giving of faith and hope, for Spring will turn to Fall, 5. After a period of rehearsal, try the performance What is that you hold in your hand? In just No Time At All. out on someone. Feedback is valuable. Whatever your gift may be, It can open your door to abundant life­ 6. Use the act as a tool in the development of the You hold in your hand the key. The secret of life is not to do what you like, young people involved, as a joy in the community, 66 Helen Lowrie Marshall but to like what you do. and to share the 4-H story. BE A DIRECTOR Members will learn by your example and catch your attitudes and enthusiasm. If you are conveying the attitude that this is only work and not enjoyment, they will feed it right back. Being a director doesn't mean being a dictator. Establish room in the early stages of planning for members to feed in their ideas and opinions. When a final plan is established, direct it to its completion. Encourage members to see that the first 10 seconds on stage are crucial. If they are confident and enthusiastic during those first 10 seconds, the audience will catch that and react in a way that gives confidence to the performers.

Share-the-Fun Suggestions practice, and meet the time and number FOR THOSE WHO AREN'T STAGE-STRUCK requirements as specified by State Fair. If there are members who would rather work on • Do we want to 'do our own thing' without time props, costumes, makeup, staging, publicity, etc. and number requirements, and not be * If your 4-H Club is interested in participating in help them to see that these areas are equally as concerned with State Fair participation? Allow Share-the-Fun, why not start with a variety of important as being on stage. a longer program to share within the creative dramatic activities within your yearly club community that includes all our members? program? Share-the-Fun should not be Share-the­ YOU DON'T HAVE TO DO IT ALL ALONE Work, but rather a growing, enriching, and SET YOUR OWN PRIORITIES Involve other leaders, mothers, fathers, and enjoyable program for all involved. Creative community members when you need them. dramatic activities at club meetings, events, and After determining the purpose for your club, a Share-the-Fun can be an excellent way to use the recreational meetings can help give the committee of members and leaders are ready to talents of all. The main requirement for the background and encouragement to members brainstorm. All ideas are treated positively, written director in seeking the help of others is the belief before participating in Share-the-Fun, just as the down, and saved. One idea may build on another, that this can be a good learning experience for project meetings do for members before stimulating each other. No one should get 'locked the members and a real opportunity for participating in dress revues, animal shows, etc. in' to one idea before brainstorming is done. communication and development for all involved. in the rest of the 4-H program. Ideas may be stimulated by records, children's books, musicals, current events, etc. · Carole Bonesho WHYSHARE~H&FUNFORYOURCLUB? BE REALISTIC Start by determining as a club what your What will work for our club? What are the ages of purposes are for participating. Each club is members who will be involved? What other unique and at a different stage, depending upon conflicts in activities do we need to consider? the members and emphasis. This is an opportunity for leaders to help • Do we want to develop club rapport and group members through the decisionmaking process. spirit through participation in Share-the-Fun? "You can't make chocolate chip cookies without • Do we have particular talents and strengths chocolate chips. You might have to make right now to share? oatmeal-raisin." Encourage members to take a simple idea and build it into something well done • Do we want to develop something to share in rather than be frustrated by a grandiose idea they The greatest gift one can give to the community? another person aren't able to follow through on. Be realistic in Is a Deeper Understanding of Life • Do we want to use Share-the-Fun for scheduling rehearsals, consider other events. It showcasing 4-H members in action as PR for and the Ability to Love and may be appropriate for the director to work with Believe in Self. the 4-H program in our area? several small groups, then when the full group Chantal • Do we want to develop the kind of quality that rehearses some of the 'kinks' are already worked we'd like to have considered for representation out and the more inhibited member has had at the State Fair? If so, be willing to rehearse, individual time to be encouraged. 67 BIBLIOGRAPHY

Alberts, David. Pantomime: elements and exercises. Lawrence, Kansas: The University Press of Kansas, 1971. Avital, Samuel. LeCentre du Silence Work Book. Boulder, Colorado: Aleph-Beith Publishers, 1975. Barlin, Anne, and Paul. The Art of Learning Through Movement. Los Angeles, California: The Ward Ritchie Press, 1973. Bloomstein. Teaching About Spaceship Earth. New York, New York: Intercom, 1972. Chesler, Mark, and Robert Fox. Role-Playing Methods in the Classroom. Chicago, Illinois: Science Research Associates, Inc., 1966. Conrad, and Van Dyke. History on the Stage. New York, New York: Van Nostrand Reinhold Company, 1971. Corey, Irene. The Mask of Reality. Anchorage, Kentucky: The Anchorage Press, 1968. Corson, Richard. Stage Makeup. New York, New York: Appleton-Century-Crofts, 1967. Cothrell, June. Teaching With Creative Dramatics. Skokie, Illinois: National Textbook Co., 1975. Dezseran, Louis John. The Student Actor's Handbook. Mayfield Publishing Co., 1975. Gillies, Emily. Creative Dramatics For All Children. Association for Childhood Education International, 1973. Hodgson, and Richards. Improvisation. London: Methuen & Co. Ltd., 1966. - King, Nancy. Giving Form to Feeling. New York, New York: Drama Book Specialists/Publishers, 1975. Kipnis, Claude. The Mime Book. New York, New York: "Why does man have creativity? Why can man think Harper & Row, Publishers, 1974. of many things in his mind and choose, then bring Markun, Patricia Maloney. Play: Children's Business. forth something that other people can taste, smell, Association for Childhood Education International, feel, hear and see? Because man was created in the 1963. image of a Creator. Man was created that he might Mearnes, Huges. Creative Power. New York, New York: create. But in creativity choice is involved. We start Dover Publications, Inc. 1929. with an idea, or a number of ideas. Something comes into our minds. We have a flow of ideas, Spolin, Viola. Improvisation for the Theatre. Evanston, sometimes a tremendous flow of ideas, at times in Illinois: Northwestern University Press, 1963. one direction, or at other times in another direction; Spolin, Viola. Theater Game File. St. Louis, Missouri: or perhaps even ten directions at once. And we have CEMREL, Inc., 1975. to make a choice. We cannot do everything that Ward, Winifred. Playmaking with Children. New York, comes into our imaginations. There is a choice New York: Appleton-Century-Crofts 1957. involved in the very simplest form of creativity, Way, Brian. Development Through Drama. New York, because as any set of alternatives comes into our New York: Humanities Press, 1967. minds, we have to choose. This is a particularly important concept in the field of art. Creative people are people who can find alternatives. There are no dead ends if you are full of alternatives." Author Unknown

68 Patty Cake Polka Records may be obtained from DANCES World Wide Games, Inc. Use the "Little Brown Jug" record. Box 450 Seven Jumps Delaware, Ohio 43015 Directions: Use the "Seven Jumps" record. Form a circle. Partners join hands (men with Directions: backs to center of circle facing ladies). Both Salty Dog Rag (American Couple Join hands in a circle. Take 14 short running extend the counterclockwise foot forward and Dance) steps to the left, reverse and take 14 short touch heel to floor (man left; lady right). Bring running steps to the right. Lift right knee. same foot back, touching toe to floor beside Formation: Repeat above actions and add-lift left knee. other foot. Repeat. ' Double circle: Couples facing line-of-dance (CCW), a woman on partner's right. Repeat above actions and add-kneel on right Take four slide steps counterclockwise around knee. circle. Starting position: Skater's position: Right hands joined over left, in Repeat above actions and add-kneel on both Repeat above instructions in clockwise direction front. Right foot free. knees. with clockwise foot (man right, lady left.). Drop partner's hand. Clap hands together, then Repeat above actions and add-place elbow on MUSIC 4/4 PART I floor. right hand with partner; clap hands together, then left hands with partner; clap hands together, both Step sideward right on right foot (count 1), Repeat above actions and add-place both hands with partner; clap hands together and clap cross and step on left foot in back of right elbows on floor. own thighs. (count 2), step sideward right on right foot Repeat above actions and add-bend down and Link right elbows and skip in a tight turn with (count 3), hop on right foot (OR brush left touch forehead on floor. man moving out of his turn on to the next lady on foot across in front of right) (count 4). Repeat running steps to left and right then bow at his left who becomes his new partner. 2 REPEAT pattern of measure 1 reversing waist. Taken from "A World of Fun" book. direction and footwork. 69 3-4 Four step-hops (OR eight walking steps) • With pointed toe, extend the right leg out and forward starting with right foot. touch the floor directly forward. Hop as it is ORGANIZATION 5-8 REPEAT pattern of measures 1-4. Finish done. facing partner, man facing line-of-dance. • Extend the right leg, touching the floor in front 9 Releasing right hands, REPEAT pattern of of left foot directly across from the first toe touch point. Hop as it is done. The Calf ,Path Sam Walter Foss measure 1. by • Bring leg back to the original standing 10 Releasing left hands, one left-face roll position. Hop as it is done. One day through the primeval wood turning counterclockwise once around A calf walked home as good calves should; with three steps (Left, right, left) and • Each hop should take up three beats of the But made a trail all bent askew, moving left (man toward center, woman fast moving music. A crooked trail as calves all do. reverse) (counts 1-3), hop on left foot • Reverse the step using the left foot. Once the Since then three hundred years. have fled, (count 4) basic step has been completed twice with each And I infer the calf is dead. 11-12 Joining right hands, REPEAT pattern of foot, the first ~epeat of the music will have But still he left behind his trail, measures 3-4 turning clockwise once been reached and the theme of the song And thereby hangs my moral tale. around. played once. The trail was taken up next day • Repeat the theme again doing the same steps. By a lone dog that passed that way; 13-16 REPEAT pattern of measures 9-12. 3. The travel step: And then a wise bellwether sheep Pursued the trail o'er vale and steep • Using three beats of the music, lead with the And drew the flock behind him, too PART II right foot and take a short step to the right. As good bellwethers always do. Bring the left foot to meet the right in a 17 Touch right heel forward (count 1), close And from that day, o'er hill and glade, horizontal motion. (This is all in three beats.) and step on right foot beside left (count 2), Through those old woods a path was made touch left heel forward (count 3), close and • Repeat the above step three times. Thus, four And many men wound in and out, step on left foot beside right (count 4). series of steps to the right will be made. And dodged and turned and bent about, 18 With weight on both feet, spread heels • Repeat the above four times to the left. And uttered words of righteous wrath apart (count 1), click heels together (count • Repeat to the right. Because 'twas such a crooked path; 2), touch right heel forward (count 3), • Repeat to the left. At this point the second But still they followed-do not laugh­ touch ball of right foot beside left (count theme will have been heard once. The first migrations of that calf. 4). This forest path became a lane, • Repeat the entire "Travel Step" series to the That bent and turned and turned again; 19-20 REPEAT pattern of measures 3-4. theme a second time. This crooked lane became a road. 21-24 REPEAT pattern of measures 17-20. 4. Swings: Where many a poor horse with his load 25-32 REPEAT pattern of measures 9-16. • Have two people from opposite sides of the Toiled on beneath the burning sun circle quickly move to the center of the circle And traveled some three miles in one. (NOTE: There are a few minor variations to this locking right arms and swinging to the right; And thus a century and a half dance.) then turning and locking left arms and They trod the footsteps of that calf. swinging to the left. This should utilize 20 The years passed on in swiftness fleet; beats of the music. The road became a village street; The Tarantella • Have a total of four couples do this. And this, before men were aware, A city's crowded thoroughfare. 5. Basic step: "Tarantella No. 1" is a wedding Tarantella, and is And soon the central street was this still performed by the wedding party at some • Repeat the step as outlined under #1. Of a renowned metropolis. Italian weddings. The old story says the dance Music for the dance can be found in. And men two centuries and a half. originated when a person, bitten by a great World's Favorite Italian Music Trod in the footsteps of that calf. tarantula, danced to sweat the spider's poison out Albert Gamse A hundred thousand men were led of his body. An original drama could even be Ashley Publications By one calf near three centuries dead. woven around the idea incorporating the dance. New York, New York 1968 For men are prone to go it blind 1. The group stands in a circle with hands on Along the calfpaths of the mind .q,..q,..q,..q, And work away from sun to sun waists. Who walks with Beauty has no need of fear; To do what other men have done. 2. The basic step: The sun and moon and stars keep pace with him. They follow in the beaten track 70 • Stand with feet slightly apart. David Morton And out and in, and forth and back, And still their devious course pursue, • WHNDTB-Supports WWPT because We Have Resolved to spend less time scheming and more To keep the path that others do. Never Done That Before. It is scary to try time doing; They keep the path a sacred groove something new because it is a departure from Resolved to quit being afraid of troubles that Along which all their lives they move, the past. But oh what fun it can be to bring haven't even shown up yet; and finally, But how the wise old wood gods laugh new ideas and new ways of doing things. Resolved to have these same resolutions next Who saw the first primeval calf. • WDWDL Y-ls another creativity stopper. What year, only bigger. Did We Do Last Year? is a real crutch. The Thought is powerful. We become what our tried and true is comfortable, but what a rut it thoughts are. may be!

We Know What We Are • I can't, I should, I ought to, I have to are all

73 Page VISUAL ARTS ...... 3 June C. Schultz Century Ill Statement ...... 3 4-H Expressive Arts Program ...... 3 Relevancy of the Expressive Arts ...... 5 Roles and Responsibilities of a Youth Leader .. 6 Qualifications of a Volunteer Leader ...... 7 Environment for Creative Teaching ...... 7 Art in the Park ...... 9 The Arts-In ...... 1 0 Aesthetic Judgment ...... 11 Measuring Artistic Skills ...... 12 Collage ...... 13 Drawing ...... 17 Painting ...... 20 Printing ...... 26 Crafts ...... 33 Bibliography ...... 44

PERFORMING ARTS ...... 46 Lianne M. Anderson Hello, Hello ...... 46 No Mold for Education ...... 47 Why Dramatics? ...... 47 Creative Dramatics, Theatre Games, Role Playing ...... 48 Pantomime and, Mime ...... 52 Drama and Poetry Utilizing Food and Nutrition Concepts ...... 56 "Frog" Puppet ...... 57 The Performing Arts ...... 60 Values ...... 60 Techniques ...... 60 Planning ...... 66 Share-the-Fun Suggestions ...... 67 Bibliography ...... 68

RECREATION ...... 69 Stan Meinen Dances ...... 69 The Calf Path ...... 70 Programming Success ...... 71 Films ...... 71 Resource People ...... 73 Cover Design: Dale Reed 74 Illustrations: Carol Shields The world reveals itself to those in love enough to accept its gifts.

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