Windows Into Art Classrooms. INSTITUTION International Society for Education Through Art, Arnhem (Netherlands)

DOCUMENT RESUME

ED 385 478 SO 025 110

AUTHOR Grauer, Kit, Ed. TITLE Windows into Art Classrooms. INSTITUTION International Society for Education through Art, Arnhem (Netherlands). REPORT NO ISSN-0268-2346 PUB DATE Apr 95 NOTE 29p.; For related theme issues, see SO 025 107-109. Photographs may not reproduce well. AVAILABLE FROM International Society for Education Through Art, P.O. Box 1109, NL 6801 BC Arnhem, The Netherlands. PUB TYPE Collected Works Serials (022) JOURNAL CIT INSEA News; v2 nl Apr 1995

EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Art Education; Classroom Environment; *Classroom Techniques; Early Childhood Education; Elementary Secondary Education; Foreign Countries; Learning Strategies; Teaching Experience IDENTIFIERS Australia; Brazil; Hungary; Japan; Singapore

ABSTRACT An editorial by Kit Grauer introduces this collection of articles which establish that these is no such thing as a simple definition of art education even within one culture, and that people's views can be reflected by art educators across the world. The first article, "A Window on Three Singapore Art Classrooms" (Jane Chia; John Matthews; Paul O'Shea), provides a view of art education in a nursery school, a primary classroom, and a special Art Elective Program at the secondary level in Singapore. The plight of art as a second class subject at the elementary level and the problems and difficulties of the educators echo a common familiarity. "A Classroom in OZ" (Chris Parmenter), looks at art in two secondary classrooms in Australia. "A Look Over the Diversity" (Mirian Celeste Martins), describes the use of three philosophical and pedagogical orientations at work in Brazilian elementary art classrooms. Other articles discus.: "A Personal Window into an Art Class in Budapest" (Istvan Bodoczky); "'A Funny Jungle Gym': In the Front Line of Japan's New Policy for Individualization" (Toshio Naoe); "American Arts Education in Elementary Schools: Craft, Child Art, and Fine Art" (Liora Bresler); and "A Day in the Life of an Elementary Art Specialist in Rural Midwestern America" (Leah H. Morgan). The articles are followed by reports and news from the International Society for Education Through Art (INSEA) members of various world regions. (MM)

Reproductions supplied by EDRS are the best that can be made from the original document. *A;:****:'.'*:'-',A.*A;.;.***************************** U S DEPARTMENT OF EDUCATION Orhce of Educat.onal Res011,Ch anC),,,P,OverN". EDUCATIONAL RESOURCES INFORMATION CENTER .ERIC ISSN #02682346VOLUME 2, NUMBER 1,1995 X th.s doc.menthas been reproduced as ece.ed Io- the oe,son organ.zat on InSEA is the International Editorial kg.nahng Mno, changes ha.re been 'nage !c Non-Governmental WorldKit GrauerCanada ep,od,z1.on ovar Organization for Education PO.M5 0..e. 0, coons slated n Ins coo through Art in consultative relations do no ^ecessa,.. ,eo.ese,! olcc4 Theme : OE R. post,o, m oC.Cr with UNESCO Windows into Art Classrooms A Window on Three Singapore Art Classrooms Jane Chia, John Matthews & Paul O'Shea Singapore "PERMISSION TO REPRODUCE THIS A Classroom in OZ MATERIAL HAS BEEN GRANTED BY InEMChris Parmenter Australia b. to. Se A Look Over the Diversity Mirian Celeste Martins Brazil TO THE EDUCATIONAL RESOURCES InSEM INFORMATION CENTER (ERIC).- A Personal Window into an Art Class in Budapest InEMEIstvan Bodoczky Hungary " A Funny Jungle Gym"In the Front Line of Japan's New NEWS Policy for Individualization Toshio Naoe Japan

American Art Education in Elementary SchoolsCraft, Child Art, & Fine Art Liora Bresler USA

A Day in the Life of an Elementary Art Specialist in Rural Midwestern America Leah H. Morgan USA NOMINATION FORMS & ELECTION INFORMATION

The child art illustrating this cover is included in the InSEA slide sets from the Montreal World ENCLOSED IN THIS ISSUE Congress. This window is from Kenya. REPORTS & NEWS RAPPORTS ET NOUVELLES World Directory of Collections & Archives of Children's Art Research Board ReportInSEA Congress Taipei (94) InSEA/ASIAN Regional Congress 1995 call for Papers InSEA WORLD CONGRESS 1996 Call for PAPERSChild Art Exhibit Information

Coming InSEA Conferences InSEA Asian Regional Congress Taiwan, R.O.C. November 10-15, 1995 WORLD CONGRESS 1996 Lille, France July 8-14, 1996

III'I INSEA NEWSApril 1995 BEST COPY AVAILABLE 2 EXECUTIVE REPORT World Council convened in Houston, Texas

INSEA News InSEA's World Council met in Houston on April 11, during the 35th annual Volume 2, Number 1, 1995 convention of the National Art Education Association. The most important points to be Editor : Kit Grauer discussed were the forthcoming regional congress in Taichung, Taiwan, R.O.C., in Novem- ber 1995, and the next InSEA World Congress in Lille, France, in July 1996. The World Council was impressed by the way the organizers of both congresses- Ann Kuo and Marie- Noel Thirion-Wattin - handled the organizational and financial problems.The congress in Taiwan will present keynote-speakers from all over the world. Congress languages will be Chinese and English. The Lille Congress has the active support of UNESCO and many French authorities, and the financial support of none less than 22 national French companies and organizations. Simultanious translations will be provided in English, German and Spanish, which will Editorial Board make this congress a real world congress. Special provisions are offered for the housing of students. Additional ways to sponsor students are being explored. The enormous brand- new Lille congress center offers sufficient space for large exhibitions of student work. A Doug Boughton, Australia major event, unsurpassed in InSEA's history is to be expected. Andrea Karpati, Hungary The World Council supported the proposal presented by Mr. Stuart MacDonald, to Meri-Helga Mantere, Finland organize a European regional congress in Glasgow, Scotland, in July 1997. At that congress Norihisa Naskase, Japan special attention will be given to architecture and design. The World Council discussed the financial situation of InSEA, which is healthy, but Ivone Mendes Richter, Brazil needs continuing review. Additional funding is needed. A structural solution for the Enid Zimmerman, USA problems of ever changing office addresses, membership handling and costly international financial transactons is highly needed. The World Council agreed to revise the text to InSEA's Rules and Constitution in order to eliminate gender bias and to adjust the formal structure of the organization to actual layout & designPeter Scurr practice. The new texts will be presented to all members next year and submitted for vote to the general assembly in Lille next year. Many other issues were discussed, including reports from world councillors from all continents who were able to be present in Houston. INSEA News is the official publication of The World Council expressed its appreciation for the executive board of the NAEA the International Society for Education through Art. that kindly supported this meeting and paid its respect to the World Council. Diederik Schonau/ Peter Hermans Reprinting for educational purposes is Secretary/Treasurer encouraged. Credit should be given to InSEA.

Articles and regional reports are welcome at all times. Please send copy to Kit Grau?r, Faculty of Education, The Univr:rsity of British Columbia, 2125 Main Mall, Vancouver, BC, Canada

V6T 1Z4. U e-mail grauerk 0 unixg.ubc.ca

Abstracts are welcome with articles. Authors are encouraged to submit photographs and/or art work.

Themes for articles for 1995.1996 are: Community (June 15, 1995 deadline) Research Issues (October 15, 1995 deadline) InSEA History & Directions (March 15, 1996 deadline) Multiculturalism June 15, 1996 deadline) Gender Issues October 15, 19% deadline)

2 INSEA NEWSApril 1995 InSE Editorial Windows into Art Classrooms

Kit Grauer University of British Columbia, Canada

111111111101111111111111111111111111K Our view of art education is very much iar and will be echoed throughout this issue. tins' describes in Brazil. Here, students and shaped by our experience in art and art On the early childhood side of this art edu- teacher build an art education experience teaching in our own schools and communication experience at the nursery school the based on teaching through art where physi- ties. This issue of InSEA News provides us view is decidedly more regional in nature.cal and intellectual experience meet. with both outsiders and insiders "eyes" as With minor adjustments, the elite art elec- In Japan, we are privileged to watch we enter the worlds of the art classroom in tive program description could be of similar a master teacher as he teaches a model les- six different countries. Collectively, the arti- programs situated on any continent at this son around the theme of a "funny Jungle cles display the similarities and diversities time of our history. This appears to be a time gym" Our "eyes" Toshio Naoe describes the of art education for children in a variety of of change and promise for art education in lesson with great clarity and then focuses it school settings. Our insights into both the Singapore with developments at the terti- within the context of Japan's new educa- culture of the school and the culture of what ary level that open future windows of op- tional policy on "individualization". art means in that context are sensitively and portunity for art teaching. Finally our windows open into el- careful articulated by each of the authors. To The windows on Australia are open ementary art education in the United States. understand what art education can mean in into two secondary classrooms. This view is In the first article, Liora Bressler identifies an international organization such as InSEA, decidedly culturally based and gives us a three orientation( shadows of Brazil?) that theseart education worlds allow us glimpses glimpse at the unique characters and char-help clarify her observations made in a sus- at the social institutions which influence acter of Australian art classes. Here the atti- tained and systematic analysis of art educa- and are influenced by art in schools. tudes of "irreverence and individuality" that tion by generalist classroom teachers from a What this collection helps us realize Parmenter suggests permeates Australianthree year ethnographic study funded by is there is no such thing as a simple defini- culture are played cut by adolescent art the National Endowment for the Arts. The tion of art education even within one culture students as we glimpse their art education views described will seem very familiar to and that our own views can be thoughtfully unfold. anyone in the North American context and reflected by art educators half way across Mirian Celeste Martens undertakes perhaps also ring surprisingly true on other the world. These descriptions and interpre- to open the diverse windows on art educa- continents as well. The analysis is insightful tations tell us about the values of those de- tion in Brazil using the key of three philo-and meaningful. scribed and of those describing. In thai way, sophical and pedagogical orientations. The Leah Morgan, an elementary art spe- we gain insight into our own beliefs. What first, teacher centered and technique en-cialist, provides us with a more personal we gain is a window into the world of others trenched will he tamiliar to many as will the view. A Day in the life" is a tour of the mc.ny and a reflection of ourselves. child centered model described next. The demands and decisions faced by an art spe- The first article by Chia, Matthews third window is where learning and under-cialist on an average day. and O'Shea -novides three window into art standing are built by an interaction of teacher These articles are the reflective win- education in Singapore: a nursery school; a knowledge and student interest and illus- dows of a much larger house of art educa- primary classroom and a special Art Elec- trated with samples of children's work. tion. They open vistas that are both informa- tive Program at the secondary level. Each Martins asks,There are many windowstive and familiar and they sharpen our un- view shows us something about the cultural and they are so different. Are there win-derstanding of the world of art classrooms. values in Singapore and something about dows with similar views in other places ofTogether, they provoke us to look further the values of the three authors ; all teacher this planet?"That affirmative answer is found into the multiple perspectives that InSEA educators in the only institution which pre- in the pages of this issue and in art class- represents. pares art teachers in Singapore. The plight of rooms in every region. ( orrection: Apologia, to 1)r. Rachel rt as a second class subject at the elemen- From Brazil to Budapest and the win- \ lason tor the misprint in Vol. 1, Num- tary level will come as no surprise to many dow opens on the secondary art classroom ber 3 I 904.. of Is from most parts of the world. The of Istavn Bodoczky. This personal view per- :leveral columns ol her artit le were transposed. Alert readers \\A11 easily problems and difficulties sound very tamil- haps echo's the third orientation that Mar- readjust the text.

111900 INSEA NEWSApril 1995 3 4 A Window on an Art Classroom Jane Chia, John Matthews and Paul O'Shea Art Division, National Institute of Education Nanyang Technological University Singaporer

For the Singapore contribution to thisorder in which to draw the shapes. One boy, times she actually grasps the child's hand edition of the INSEA Newsletter, we havefor example, starts by drawing a large circu- in her own, completely enclosing it, forcfully decided to create three windows on art class-lar shape and trying to attach a triangle to it. manipulating the child's arm movement rooms: one pre school, one primary and oneThis configuration nearly fills the page. and completely controling the drawing. In secondary. The writers are all faculty in theBelatedly remembering the aquarium, he other cases she simply takes the drawing Division of Art, Nanyang Technologicalplaces a vertical line on each side of these from thechild and draws the shapes herslelf. University which is the only institution in shapes. All the children continually refer to When these children are left to continue, Singapore that prepare art teachers. Wethe teacher's drawing on the whiteboard. they sit nervously, pencils hovering uncer- prepare art teachers for primary and second- Many of the children constantly call out to tainly in their hands, unable to draw. ary schools across a range of programmes;the teacher for help. One girl's repeated cry It turns out that some of the draw- under-graduate, post graduate and (increas- "Teeeeeeeachee regularly punctuates the ings have exciting qualities, partly the prod- ingly) higher degree programmes. Our "win- entire session. Some children look at their uct of the children filtering the teacher's dows" are our perceptions, gained over sev- neighbours drawings, trying to find a draw- exemplar through theirown schemas. How- eral years of close and regular contact with ing procedure they are capable of imitating. ever, it is not clear that the teacher appreci- schools in Singapore and elsewhere in theOne girl can only draw a series of closed ates these - she tends to perceive these world, as visual educators and researchers. shapes, and she looks anxiously around the variations as errors, and tries tp" correct" An Art Lesson in a Singaporean Nursery room, unconsciously and nervously screw- them. All the drawings, even those which Class ing up and unscrewing the corner of her excape her interference, are of the same The scene is a Singaporean nurserypaper. format as her example. class of 2.5 children aged between 3 years 6 The children who are more success- The physical manipulation of the months and 4 years. The children are sitting ful interpret the teacher's exemplar into child's drawing (not atypical in Singapore) on the floor in front of their teacher - adrawing schemes they understand; a wavy is only a more extreme example of an ap- friendly, smiling, young Singaporeanline is translated as a dynamic zig-zag; a proach to teaching which takes the process woman. She is asking the children to pro-circle as an irregular closed-shape; a trian- completely out of the child's hands in the . duce a drawing of fish in an aquarium, using gular fish tail as a U shape. deepest sense. In this case, we have a well- only the shapes she draws on the whiteboard; The teacher is continuously on intentioned, friendly teacher adopting an a square, oblong, circle, oval, triangle and themove, trying to help the children. Some extremely prescriptive approach which to- star. She dra ws a roughly rectangular shape, telling the children that they should draw the aquarium like this. Inside this shape, at the bottom, she makes a series of dots, ex- plaining that this is the sand. At the top, she draws a wavy line, saying that this is how they should draw the water. At equidistant intervals along the "sand" she draws a series of circular shapes in groups of three. She says these are "stones." Midway between these shapes she draws three elongated ovals for water plants. She draws fish composed of combinations of two or more Euclidean shapes in her repertoire, for example, she draws a fish using a circle for its body with a triangle for its tail. She gives all the fish a stereotyped human "face." She explains all the while to the children that she expects them to make their pictures in this way, using these shapes and drawing them in the sequence she used. The children return excitedly to their seats and some start drawing, using pencil on A4 size paper. This initial excitement quickly dissipates however. Some of them have immediate difficulty remembering the

4 INSEA NEWS April 1995InGE2 teaching is erroneously justified in terms of "cultural variation" or "theSingaporean con- Agma.:s2 text. An Art Lesson in a Singaporean Primary Class Primary art classes are large in Sin- gapore, there are usually over forty children in any group, and facilities and materials scarce in most schools. Usually, art teaching would be in an ordinary classroom which means no basic facilities such as a sink. Children are responsible for purchasing most of their own materials and equipment which creates the familiar problem of what to do about students who do not bring their materials to class. Under such circumstances, and with a time allocation of about one hour per week, art experiences are understand- ably very limited.Teachers are worried about emess' when the room is used by many other subject teachers and rarely inte- grate art making with other aspects such as art history and evaluation appropriate to the primary level. Similarly, little cross-curricu- lar work involving art will be seen in primary schools and the opportunity for long term projects in art classes are limited. The Ministry of Education sets out this syllabus for Art teaching at the Primary level in its Arts and Crafts Syllabus, 1992, and states that the Arts and Crafts programme should follow this weighting in terms of time allocation: Picture Making 30% Design 20% 3-D Activity 15% Handicrafts 15% Art Appreciation 20%

Additionally, the Ministry of Educa- tion, through its Curriculum Development Institute, publishes a series of visual resource guides to help teachers with this art programme. These guides are professionally produced in colour and are very attractive visually. Typically, over 10 weeks, students tally dominates and oppresses her pupils. this process.If continued, such methods would be involved in a range of activities for Every stage of the process is planned inhave far-reaching effects on later art-educa- about an hour each week and the Primary 5 advance, with it-1 understanding of the chil- tion and probably on other aspects of devel- guide (10-11 year olds) will give an idea of dren's own approach to the drawing me-opment. Those children in the class more the diversity of the art content: dium or the task-demands which may con-successful at producing a drawing are so Unit 1: Collage (imaginative) front them. Like so much so-called "art-because their modes of visual representa- Unit 2: Stencilled Wrapping Paper teaching" in Singapore, it is a series of rigid tion fortuitously overlap with the teacher's Unit 3: Painting and Drawing/ stages towards a pre-envisaged end-prod- drawing actions and shapes.They can Collage (imaginative) uct of the most banal and stereotyped kind. "copy" the shapes insofar as they them- Unit 4: Kite Making The children are being drilled in anselves are spontaneously generating simi- Unit 5: Charcoal Drawing extremely restrictive drawing practice which lar forms. (imaginative) will damage the development of their abili- The way out of this had practice will Unit 6: Poster Design ties to organize their own drawing strate- only occur if there is a genuine concern Unit 7: Styrofoam gies. Research shows that very young chil- about identifying vital processes of visual Sculptures (barges) dren pass through an important sequence of representation and expression in early child- Unit 8: Miniature Gardens approaches to visual expression and repre- hood and to provide art experiences which Unit 9: Painting and Drawing sentation (Golomb 1992; Matthews 1994).will promote, rather than destroy these. (imaginative) The teacher's method completely sabotages The damage will continue as long as poor Unit 10: Graphic Layout (using commercial postcards)

BEST COPY AVAILABLE InSE2INSEA NEWS April 1995 5 6 'stand by' favourites which have little edu- The following statement, made by a cational purpose to them. trainee primary teacher in his journal after There is a sense of aimlessness about his final teaching practice, is sadly all too art teaching in many primary schools. common a situation faced by our students Children soon become aware of this lack of and newly qualified teachers. The prepara- purpose. At primary level, there is a need tion of generalist art teachers for primary for proper training for teachers who will classes, although reasonable, cannot ever teach art at either the pre-service or in- be sufficient when these young teachers service stage. There is a need for more time encounter a typical situation as the one to be allocated to the subject and a need for described. resources such as a realistic budget for Art is certainly not valued as highly materials, specialist art rooms and better as other subjects in schools such as english, display areas for the children's work maths and science.Partly this is due to throughout the schools. teachers perceptions and lack of training in Unless art is planned profession- art.They see art as a pastime and not ally and thoughtfully, it will always be a academic. They do not see the value of the second class subject. There are too many subject and are unable to motivate their talented students of art in the schools who students. Their students tend to be left are simply turned off and away from the very much to their own devices with the subject as early as the primary level. The

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minimum of guidance.But how can a result of this is that we lose talent. Can we teacher with little or no training in art give afford not to develop talent? Particularly guidance? The teaching of art skills and creative talent. concepts is inadequate and art/history/ Having described a rather dispirit- appreciation is simply not even attempted ing situation, our students leaving NTU by the majority of primary teachers. Again, with some art background and a greet deal this is due to their lack of training. of enthusiasm, are making a difference - This lack of status for the subject is slowly! However, serious attention does made worse by the fact that there is no need to be given the issues discussed so examination in art at the primary level. As eloquently by the student such as time allo- a result, teachers take time away from art to cation, in-service programmes and re- use for the exam subjects. No wonder the sources. students get the message that art is unim- portant. As the time is so limited, teachers tend to get students to do art work at home. An Art Lesson in a Singaporean This is not satisfactory as very often stu- Secondary Class dents hand in work which is not their own. Students are generally eager for art lessons, This window opens onto an Art Elec- certainly at the lower primary stage. This tive Programme (AEI') class.There are soon wears off as they encounter apathetic fifteen Secondary Two boys in the class, teachers. Teachers who rely on their old INSEA NEWS April 1995 InSEM InSEE small by Singapore standards, where art in the production of their work. tions and Design. All in all, this would seem classes of forty are the norm, even up to the The Art Elective Programme (AEP) to be an opportune time to review what is public examination level. The art class walls developed out of the general changes in art happening at the secondary level in Singa- and flat areas display a wide variety of education initiated by the then Parliamen- pore 's art education, both philosophically work, including photographs, mixed-me- tary (Education), Mr. Ho Kah Leong in theand practically, in order to aim for excel- dia constructions, ceramic sculpture and early 1980's (Ho 1981). In the revised Gen- lence in the next century. structural and environmental designs. The eral Art Programme (GAP), design educa- teacher is showing slides of various 19th tion, art appreciation and aspects of local art References and 20th European art movements while and architecture were to be integrated with the students identify their salient character- craft and drawing and painting.It was Matthews, J. (1994) Helping Children istics, questioning the teacher and exchang- hoped that this approach would broaden toDraw and Paint in Early Childhood: Chil- ing information and points of view with the scope and give more rigour to the teach- dren and Visual Representation 0-8 Series, each other as they discuss the project which ing of the subject while endowing it with a Series Editor Tina Bruce, Hodder & they have been set.The slide sequence much-needed measure of intellectual re- Stoughton, England. finishes, and following some final advice spectability, a concatenation of historical Golomb, C. (1992) The Child's Creation of a from the teacher, the students move to a circumstances and cultural attitudes, com- Pictorial World. University of California large worktable where relevant books and bined with the pragmatic education needs Press. postcards from the AEP library have been of a rapidly developing society having rel-Art and Crafts, Primary 5. (1987) Curricu- set outAfter scanning the material and egated art education to a lowly ehand-eye' lum Development Institute of Singapore. finally selecting an image from the 19th craft status in the curriculum. The AEP was Art and Crafts Syllabus, Primary. (1992) Cur- century which appeals, each student begins set up in order to cater for the needs of the riculum Planning Division, Ministry of Edu- a 90x120cm masonite board which he will more able students; to develop "well- cation, Singapore. divide into twelve rectangles. Starting with rounded" persons who would exercise lead- Ho, K.L. (1981, September) Review of Art a faithful rendition of the image each stu- ership favourable to the development of and Craft Teaching. Singapore Ministry of dent will then begin to interpret it in eleven aesthetics and creativity in society, and set a Education. other art styles of his choice: e.g. J.L. David's standard for other schools to emulate (Ho, Ho, K.L. (1983, July) The Art Elective Pro- Oath of the Horatii' might undergo various 1983). In 1984/85 the AEP was set up in four gramme. Singapore Ministry of Education. transformation, complete with appropriate prestigious, high entry-threshold schools costume as well as stylistic changes, from and one junior college. Delacroix, through Courbet, Seurat, The AEP has succeeded admirably Gauguin, van Gogh or Cezanne to Picasso, in its first two aims, but its success as a role Munch, Da li, Mondrian or Hockney. The model is rather more debatable, given that it student also has to decide on and explicate has an all-graduate staff teaching small the best medium for each transformation, classes of well-funded, highly motivated the art historical background to which will students in elite educational establishments, be thoroughly researched. whereas conditions in the GAP schools will This project will continue for the best be deficient in at least one of these advan- part of a term (about 10 weeks) and can be tages at any one time. worked on in the student's spare time. At The "new" art syllabus has now been the end of the project each student will operating, with some minor revision in 1991, exhibit his piece with all the relevant re- for approaching twelve years. During this search and give a presentation to the rest of time many exciting developments in the the group and the other AEP classes. field of visual education have been initiated As can be seen from the above de- at tertiary level. For example, the National scription AEP takes a similar approach to Institute of Education (NIE) part of the new that advocated in the General Certificate of Nanyang Technological University since Secondary Education (UK) or Discipline 1991, is running a four-year modular BA Based Art Education (USA) that is a creative with Diploma-in-Education programme interface of the practical and theoretical/ where undergraduates can pursue Art as critical aspects of art and design located in a the main of two Humanities subjects, while socio-economic historical framework. Stu- the two local Colleges of the Arts have affili dents are encouraged to find their own path- atet1 with degree-awarding institutions. In ways, with thinking and problem-finding/ the polytechnics there has been a massive solving skills emphasized as prerequisites upgrading in theareas of Mass Communica-

InSB2INSEA NEWS April 1995 7 A CLASSROOM IN OZ Chris Parmenter

From the air, one Australian High create a need for a definite winter uniform, As these students continue with the School looks much like any school around and the freedom suggested by short sleeved development of their basic skills and techni- the world, with some buildings set out in summer shirts and cotton dresses, combined cal exercises, in the classroom next door, ordered rows, and other buildings added on with the large windows and open play-older students are completing their final as the school expanded. But the things that grounds, adds to the students' feelings of year of art studies, as they move toward make our classrooms special is what hap- casualness, as if the whole process of educa- graduation. There are only a few students pens inside. The attitudes and lifestyles of tion is not to be taken seriously. here, as the subject is no longer compulsory both teacher and students interact to create These students are working on de- at this level.Each of the few who have an art classroom that is uniquely Australian. veloping basic drawing skills. The teacher chosen art have done so for very different Looking in on the classroom reveals has placed a couple of interesting objects and individual reasons. Some have chosen some distinctive physical features. For in- around the classroom, and the students are it because they wanted a subject that re- stance, there are planty of wide, clear win- grouped around them. They need to move quired little academic work (they were sur- dows. Australians are seen as outdoor peo- around the room, drawing each object using prised) and other because they felt the need ple, and the classroom relects this by being techniques such as contour lines and shad- to seek answers from within themselves, as open and light as possible. The windows ing that they have studied over the past few and this was the only place in the syllabus are rarely covered with artwork, as the sun- weeks. Each student has their own pencils, where they were more important than the light is seen as an intrinsic part of the art and there are more in a box at the front of the textbook. This reflects the individual nature class. The Australian impressionists of the class. There is plenty of paper stacked on a of each of the students. One was a newly Hiedelberg school and their fascination with table, and students can just go up and help converted vegetarian, another an avid sci- the effects of Australian light did more than themselves. There is no real danger that ence fiction fan. One of the girls is gregari- effect the course of art history, but also the students will abuse the use of materials like ous, regaling anyone who will listen on the attitude of people toward the positive ef- paper, as they can't yet see its value. To most exciting things happening in her life, fects of natural light upon the students. them, the paper means more work, and for while another girl retreats into the corner to Let's look at two different art classes. most students that is to be avoided. Even focus on her internal dialogue. The first is filled with Year 8 students. This their finished art works are not seen as valu- One or two of the students are ex- is their first year at High School, and they are able, and can just as easily be thrown away ploring three-dimensional structures, while having to make personal adjustments to at the end of class like their uneaten sand- the others concentrate on traditional two- being the youngest ones in the school, as wiches at the end of lunch. dimensional media. The teacher here ex- well as starting on the path toward adoles- One student sits down and avidly horts them to experiment, push the bounda- cent discovery. For them, art is compulsory, starts drawing. Another student sits suck- ries of what they think Art should be, and and they have yet to see its value. In primary ing a pencil and regaling the others with although few of them go far beyond the school, art was seen basically as a fun sub- stories from last night's T.V. shows.All bounds of tradition, they do as far as they ject, and now they have to work harder to around the class, students are in various can allow themselves. They know at the end produce project books, preliminary sketches stages of completion, from those who are on of this final year, their work will be assessed and essays on famous artisits or art move- their third drawing, to those who have yet to by strangers, and for the first time their mark !wants. make a mark. The teacher wanders around, will not depend on answers that are right or The students start arriving soon after gently urging and encouraging, exchanging wrong, or how well they have memorised the bell rings, and stand outside the door. insults with some students, anecdotes with formulae.It will be their skill and under- The teacher, who is in the staff room next to others. The job of the teacher here is to standing on display, and their result will the classroom, finishes up some last details. befriend the students, to win their confi- depend as much on who they are as what One of the students at the door, a year 11 dence. The teacher wants to create an at- they've done. boy, decided that to pass the time he would mosphere where the students can be them- Australia was originally settled by jump up and push the ceiling tiles out of selves and explore their developing person- convicts who had little regard for authority place. This just seemed to be a habit with alities. This will hopefully lead to one of the and traditional values. This has led to what him - he wasn't looking around for atten- most fundamental reasons for art - the ex- many see as an attitude of irreverence and tion, and he seemed to be able to do it and pression of the artists personal perception individuality that permeates our modern maintain a conversation at the same time. of the world for others to set'. The next culture. This can best be seen in the develop- They enter the class as a group, as all young fifteen minutes consist of three students start- ment of the relaxed, jovial, intense and social people seem to find comfort and confidence ing to paint, four girls asking the one boy at atmosphere of our Art classrooms, and the in numbers. There are around 20 or 30 stu- their table why he would bother dating the unique views of Australian artists. dents in this class, and they seem to fill every girl he was apparently in love with, when nook and cranny of the classroom. They are everyone knew she was no good, and the all wearing light, summery uniforms. The teacher wandering the class giving mini climate in most parts of Austrailia doesn't versions of "How To Draw An Object From The Inside Out" to several students. 8 INSEA NEWS April 1995 InSE2 9 A LOOK OVER THE DIVERSITY

Mirian Celeste Martins Institute de ArtesItINESP and Espaco Pedagogico, Sao Paulo, Brasil

"Come closer and behold the words. silence, but a silence endowed by omission, Each one apathy and the lack of interest by a person has thousands of secret faces under the neu- whose thoughts are beyond the classroom tral face boundaries. and asks you, not caring for the answer, Learning is evaluated by memoriza- poor or terrible, that you give: tion of concepts and by rule obedience. Aes- Did you bring the key?" thetic and artistic conventions are repeated Carlos Drumond de Andrade as the "correct" way to draw something, as the rules to "look like the reality", the renais- Modern windows, with large glasses, clean sance perspective as the unique way to cre- or dirty... ate depth illusion, the models copies, etc. Small and old windows, opened to well or The search for homogeneity is the main poorly kept gardens... goal. Equal exercises, equal folders and, if Free spaces, yet covered, adequate or "ar- possible, equal attitudes. What is different is ranged" to art works... considered random, thus, must be reorgan- Different windows. Different geography. ized and controlled. Different "keys" to the reading. The conception of arts in an authori- tarian education, emphasizes the figurative Looking through art class windows and loyal reproduction of the reality. Art in Brazil is like facing diversity. Not only teaching focuses on the process of learning 4t because it comprises distinct material sup- techniques. They aim is making the student figure 1. port possibilities for pedagogical work and express himself through the "correct:" use different levels of access to knowledge, but of things. So, there is a claim for enlarging stereotypes and controlled activities. The mainly due to the contrast among art and the art folders, for learning perspective rules important point is the pleasant involvement teaching philosophies. These philosophies on the purpose of "drawing well", rules to with knowledge, that is not systematized or were designed, peacefully or not, by institu- stage, to "speak correctly", to rehearse socialized, because the model, the "shape", tional directors as well as teachers, students scripts, poetry, music, to be presented in is a ghost. Stereotypes are fought like dis- and the community: contemporary philoso- commencement day, at Christmas's and eases. Any influence is considered to be damaging in the search for identity and phies or those rooted in the past, which are New Year's parties, or cillc dates. individuality. disconnected from the present reality, even The images that illustrate the content The student evaluation is centered on the lived process, exposed by those divulged by art-ed ucation associations are absorbed, but not actually read. The and recent publications. teacher instructs" the meaning of a work o. self-evaluation. The inquisitive look through class- art, established by theories. The lessons on Pre planned proposal and the work room windows can read the reality from some works of art are imposed and followed with consecrated pieces of art can be reject at various angles using different keys. Among by inflexible questionnaires, usually re- this school, because it can take away "vir- gin" eyes from children. The teacher is a them, I propose a reflection exercise over peated. The expressive action proposed is witness of the student's development. His possible conceptions of education and art linked to re-reading of works, frequently role is restricted to providing opportunity teaching, trying to classify them into three chosen without clear goals. The use of con- for action and creating a positive atmos- large block`, centering the analysis on the temporary facilities such Xerox, computer, phere towards learning. The results can be educator viewpoint. I believe in this way it videos, etc., sometimes just conceal the au- excellent, because in this case personal ex- will be possible for us to look into our own thoritarianism.It is possible to use van- pression is valued by the attentive educator. history as student and as art educators; and guard methodologies and theories, but the But this is rarely possible, especially in classes review our own conceptions and actions. attitude remains unchanged. 2. A pedagogical revolution, specially with a large number of students and short in 1. From any window, modern or old, time (forty five minutes in average). The conserved or deteriorated, it is possible to fortified by movements that began at the find teachers with plans prepared many end of last century, was responsible for the contact with works of art, videos, materials, in classes are being randomly lived. Things years ago. The content of learning is defined change of the scenario we have just described and that we can still see through happen... and imposed on the students. Students are 3. There are other types of pedagogi- expected to always give the same answers, other windows in many schools. The rela- cal views. But we can retain ourselves on a or to use the same colors for painting. More tionship with authorities was weakened. attitude that is built today, with the passion emphasis is put on discipline than on knowl- The teacher is called "uncle"", as a member to teach and learn inherent to the educator. edge, because the knowledge will be trans- of the family. The task of the pupils is to No matter what are the material conditions, mitted in a frightening and respectful at- participate and to create without models mosphere towards to the teacher. There is and interferences. They avoid repetition,

BEST COPY AVAILABLE In5122 INSEA NEWS April19959 10 as

In figure 2

figure 4 figure 3 there is a new attitude being constructed. This pedagogical view can be illus- The educator is recovering authority, with- trated by the photos above. Through the out neglecting the interest and the needs of photos we can see the path which students the student, on a search for a substantial and teachers followed, perceiving the com- learning. The democratic conception (so prehension of texture, of the mark of the called by Madalena Freire Weffort), chal- drawing and painting of each person. From lenges the student to build knowledge, ar- the explorations of colors, children between ticulating their own thinking, through their nine and ten years old, discover strokes with symbolic system, mediated by the educator. a brush. In the next step they investigate The educator challenges the students to re- Van Gogh, entering in contact with his paint- late their ideas to the group's ideas, including and his trajectory (fig. 1-2-3). The inves- ing historical knowledge. The teacher helps tigation headed, then, to texture, us;ng only in this process pointing and returning to the black and white, with black pen or water group similarities and differences of thought color(fig. 4 -5) discovering tonal values. and provides that the group continually con- Experiences with clay also were done (fig. struct meaning always open to new enlarg- 6), for the perception of texture and move- ing. This is what I consider significant learn- ment. After a planned visit focused on per- ing. In this process, students build a sym- ception of different texture, we returning to bolic outline for reality, trying to influence the color content. In M ASP, Museum of Art and transforming this reality. of Sao Paulo, headed to rococo "The Bet ry's Through this third window, in sim- Duke and the Province'.. Count' of Francois- plified or sophisticated versions, we see the Hubert Drouais and the impressionist "['ink challenge of the attentive teacher upon the and Blue" of Renoi-, the aspects studied interest of each student and upon his need of were questioned again.After that a new figure 5 knowledge, developing constant evaluation series of works were created, not related to of the class, generating the learning situa- the analyzed paintings (fig. 7 -9); opening tions disco. sed herein, in order to effect space for personal search as the case of a girl transform, ion.

*ARABLE 10 INSEA NEWSApril 1995 InSE2 BEST COV-"1 11 was enchanted with the ballet-dancer. In this way, during five months, children in- vestigated and found some elements of visual language in a meaniful way. In other window in a class we can find another example of this pedagogy of art in relation to the evaluation process. Evalu- ation, in this case, is considered an important step towards the acquisition of knowledge generating new possibilities of new learning challenging students to hal. e deep meaningful encounters with art. The evaluation occurs during all process, with the teacher and student reflecting upon their learning actions re- planning to adjust the paths to get to the planned goals. At the end of unit of work there is a more formal and systematized evaluation that is built upon the other ones. An example of this can be seen through the following text wrote by chldren five to six years old after a work developed during three months: We love to make works of art. We learn a lot of things for example: drawing people in different ways, before we only drew people standing up. Now we know how to draw people in differmt positions. figure 6 We draw people laughing, crying, running, jumping lying, on knees, etc... We learned that when we don't know how to draw a certain thing, we just look at it and try to make it equal. We can search in books, magazines or if it is a natural object, we only need to look at it to draw it the way we can, or even we dev:. There are manyindows... And they are so different Are there windows with similar views in other places of this planet?

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figure 9 figure 8 InSE2INSEA NEWS April 1995 11

BEST COPY AVAILABLE A Personal Window into an Art Class in Budapest Istvan Bodoczky Budapest Vocational School for Fine & Applied Arts

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, t I J )1.3.°14Mrrfirt4.- 'kv; " figure 2Study drawing, paper, crayon. Zsolt , 7 Fejer, /7 years old

The school where I have been teaching art for many years in actually the oldest figure 1Drawing, paper, acrylic paint. Emese Benczur, 16 years old art institution in this country. The Budapest Vocational Secondary School for Fine and Applied Arts was founded in 1778. My students are between 14-18 years old. Apart from all the subjects children learn in a secondary school (like literature, math, phys- ics, etc.) they learn a certain chosen craft (eg., pottery, textile, print making, computer animation, etc.) and they all have to take "drawing classes" as an art foundation course throughout the four years. Through one of the more positive traditions of art schools is to give consider- able freedom to the art teachers, the general concept of teaching drawing in Hungarian secondary art schools (there are six similar secondary art schools in Hungary) seems to be fairly homogenous.It is based on the figure 3Group work tradition of drawing after nature. One may have a lot of good arguments to defend this, however, I find it far too "cra ft-centered" ;too much attention is payed to perfecting skills 4 anc; not enough to creative thinking). So I started to introduce certain changes in my classes.I believe art teaching - or teaching through art - in any type of school has the greatest possibility to help the students' personal development, helping them to become an "all-round human beings", for art teaching fuses physical and intellectual activities, helping the students to experience (much desired) wholeness. Of course I also find it important that my students learn to "draw well".But developing drawing skills is only one as- pect to art teaching. Apart from being able figure 4Group work to depict their experiences, they should also be able to create new experiences. 12 INSEA NEWSApril 1995 111E32BEST COPYAVAILABLE InSEA W orld Council Conseil Mondial de l'InSEA1996 - 1999 In ELECTIONS

Notes for Guidance Propositions pour les Nominations

Proposals for Nominations Pour 'etre eligibles les membres doivent

To be eligible for nomination members must: 1. Avoir regle leur cotisation a l'INSEA.

1. Be current members of INSEA. 2. Avoir servi comme membre du Conseil Mondial pendant une periode n'excedant pas trois mandats consecu- 2. Have served as World Council member for a periodtifs. not exceeding three consecutive terms of office. 3. Avoir accepte et signe le formulaire ci joint par lequel ils acceptant la nomination. 3. Have signed the proposal attached indicating their willingness to accept the nomination. 4. Soumettre un bref curriculum vitae indiquant nom, adresse, date de naissance, adresse professionnelle, role dans 4. Submit a brief curriculum vitae, e.g. name, date ofl'INSEA, responsabilites dans l'education artistique nation- birth, place of work, PNSEA service, other national art educa-ale et les organismes associes, responsabilites dans le systeme tion or affiliated body service, educational leadership, textseducatif, travaux ecrits, communications presentees dans written, papers written and presented in different countries,divers pays, participation a des commissions, voyages a commissions served, countries travelled and conferencesFeta nger, participation a des congres et organisations. Maxi- attended or organised - maximum 100 words. mum 100 mots. Notes: Notes: A. Pour la fonction de President, le comite de nomina- A. For the office of President, the nominating Commit-tion devra limiter son choix a des personnes en service ou tee will confine its choice to persons either serving or whoayant servi auparavant dans le Conseil de la Societe. have in the past served on the Council of the Society. B. L'election se fera par bulletin postal, retourne 60 B. Elections shall be by postal ballot conducted at leastjours au moins avant la date d'ouverture de l'Assemblee 60 days before the opening date of the General Assembly. Generale.

C. World Councillor should aim to: C. Un Conseiller Mondial a pour mission:

1. De defendre l'ideal et les objectifs de la So- 1. Foster the aims and objectives of the Society ciete 2. Act as a catalyst to promote the aims and ob- 2. D'agir en tant que catalyseur pour pro- jectives of the Society mouvoir cet ideal et ces objectifs

3. Serve on committees that promote the devel- 3. D'etre membre de comites qui encouragent opment of art in education le developpement de l'art dans l'enseignement.

4. Attend World Council meetings once per 4. D'assister aux reunions du Conseil Mondial year une fois par an

5. Attend Regional Council meetings and act 5. D'assister aux reunions du Conseil Regional as liaison for World Council. et servir de liaison avec le Conseil Mondial.

14 Eligibilidad para Nombramiento Himweise fur die Nominierung

1. Los miembros deberan haber pagado las cuotas deNominierbar sind Personen, die die folgenden Vo- socio de INSEA. raussetzungen und Bedingungen erfullen: 1. Mindestens INSEA ZugehOrigkeit als zahlcndes 2. Deberan haber servido como miembros del ConsejoMitglrlied. Mundial durante un periodo consecutivo sin exceder de seis anos en este cargo. 2. Tatigkeit als Weltratsmitglied wahrend hochstens dreier aufeinanderfolgender Amtsperioden. 3. Deberan haber aceptado y firmado la hoja adjunta que indique su consentimiento ce aceptar el nombramiento. 3. Erklarung des Einverstandnisses mit der Nomini- erung durch Unterschrift auf den beigeftigten Nomini- erungsformularen. 4. Deberan presentar un breve curriculum vitae, indi- cando, por ejemplo, su nombre, fecha de nacimiento, lugar de 4. Einreichung eines kurzen Lebenslaufes von nicht trabajo, servicio en INSEA, otra educacion nacional artisticamehr als 100 Wortern, der Angaben zu folgenden Punkten o servicios afiliados, responsabilidades en el aspecto educa-enthalt: Name, Geburtsdaten, Tatigkeit, Beschaftigungsort, tivo, temas escritos, ensayos escritos y presentados en difer-Tatigkeiten im Dienste der INSEA, Tatigkeiten im Dienste entes paises, participacion en comisiones, paises visitados yanderer, nationaler Korperschaften/Vereinigungen im asistencia a conferencias o congresos organizados por ellos Bereich der Kunsterziehung, fiihrende Funktionen auf hasta un maxim(' de 100 palabras. erzieherischem Gebiet, Veroffentlichungen in schriftlicher Form vorliegende und in verschiedenen Landern gehaltene Vortrage, Dienste als ofhntlich Beauf tra gter, bereiste Lander, Notes: besuchte Konferenzen.

A. Para el cargo de Presiden,e, el Comite debera limitarNotes: sus nombramientos a personas que sirven o hayan servido anteriormente en el Consejo de la Asociacion. A. FUr das Prasidentenamt soil das Nominierungskom- itee seine Wahl auf Personen beschranken, die im Rat der Vereinigung entweder noch dienen oder in der Vergangen- B. Los votos para las elecciones se haran por correo yheit gedient haben. deberan enviarse como minimo, sesenta dias antes de la fecha do apertura de la Asamblea General. B. Wahlen sind als Briefwahlen abzuhalten und sollen spatestens 60 Tage vor dem Eroffnungsdatum ciner Gener- C. El papel del consejal mundial puede ser el siguiente:alversammlung stattfinden.

1. ... de fomentar los propositos y los objetivosC. Die Rolle des Weltratsitzenden wiirde folgender- de la Asociacion. massen sein: 1. die Ziele und Absichten des Verbandes zu 2. ... de servir do catalizador para fomentar lospflegen. dichos propositos y objectivos de la AsociaciOn. 2. als Katalysator die Ziele und Absichten des 3. ... de formar parte de los comites quo fomen-Verbandes zu fordern. tan el desarrollo del arte en la educacion. 3. an Komitees teilzunehmen,urn Kun- sterziehung waiter zu entwickeln. 4. ... de asistir a las reuniones del Consejo Mundial una vcz al ario. 4. einmal jahrlichan Weltratsitzungcn teilzunehmen. 5. ... de asistir a las reuniones de Consejos Regionales y servir de enlacecon el Consejo Mundial. 5. an Regionsitzungen teilzunehmen und diese mit dem Weltrat in Verbindung zu setzen.

This form when completed should be sent to / Une lois rempli,ce formulaire devra etre renvoye a / Ausgefuilte Formularesollen geschickte werden / Una vez cumplimentada esta hoja de dittos biographicos deberaser enviada al: Ana Mae Barbosa R Monte Alegre 1003 Ap. 41, Perdizes Sao Paulo, SP Brazil 05014-001 Tel/fax 55-11-62.8055 15 Before August 15, 1995 NOMINATION FORM

rempli par toute personne desirant (To be completed by a member wishing tomake a nomination; Ce document sera proposer une candidature) (This form may be photocopied as required; cedocument peut etre reproduit si besoin)

Please use type letters; Veuillez taper votrelettre a la machine

I wish to propose the followingnominations: Je desire proposer la candidadaturesuivante: Ich schlage hiermit folgende Nominierungen vor: Desearia proponar la siguiente nomination: MUNDIAL 1. WORLD PRESIDENT PRESIDENTMONDIAL WELTPRASIDENT PRESIDENTE Name/Nom/Name/Nombre Address/Adresse/Anschrift/Direccion

Country/Pays/Land/Pais

2. VICE PRESIDENT STELLVERTRETENDERPRASIDENT VICEPRESIDENTE

Name/Nom/Name/Nombre Address/ Adresse/ Anschrift /Direction

Country /Pays/ Land /Pais

WELTRATSMITGLIEDER 3. WORLD COUNCIL MEMBERS MEMBRFSDU COUNSEIL MONDIAL MIEMBROS DEL CONSEJO MUNDIAL

1. Name/Nom/Name/Nombre Address/Adresse/Anschrift/Direccion

Country/Pays/Land/Pais

2. Name/Nom/Name/Nombre Address/Adresse/Anschrift/Direccion

Country/Pays/Land/Pais

des Nominierenden. Nombre y Name and Address of Proposer. Nom etAdressqdu proposeur. Name and Anschrift direcciOn del proponente:

16 NOMINATION FORM FOR WORLD COUNCIL OF INSEA 1996- 1999

(To be completed by member accepting nomination; doit etre remplipar la personne acceptant sa candidature)

(This form may be photocopied as required; ce formulaire peut etre reproduit si besoin)

Please use type letters; Veuillez taper votre texte a la machine

Biographical Information to be included on ballot form/ Photograph Black and White Renseignements biographiques fournis lors de l'election/ Photographic Noir et Blanc Biographische Informationen auf den Wahlzettel Fotografia einzutragen/ Foto Datos Biograficos, a ser incluidos en la papelata de voto

1. Name/Nom/Name/Nombre

2. Title/Titre/Titel/Titulo

3. Address/ Adresse/ Anschrift/Direccion

Telephone Fax No

4. Country/Pays/Land /Pais

5. Occupation and place of work/Profession et lieu de travail/Beruf und Arbeitsort/Profesiony lugar de trabajo

6. Previous INSEA activity (eg World or Regional Council, INSEA membership, attendanceat Congress); Role anterieur dans I'INSEA (Membre du Conseil Mondial, Membre du Conseil Regional, Membre de INSEA,Assistance au Congres); Fruhere IKV Tatigkeiten (z.B. Welt-bzw. Regionalrat; IKV Mitgliedschaft, Teilnahmean Tagungen, usw.); Actividads anteriores en INSEA

Any other information (maximum 100 words)/ D'autres renseignements importants (jusqu'aun maximum de cent mots); Sonstige Informationen (hochstens 100 Worte); Otra informacion (hasta cien palabrascomo maximo)

I am willing to accept nomination for: World President; Vice President; WorldCouncil (delete as applicable) and agree to undertake the responsibilities listed overleaf. J'accepte volontiers la nomination pour: President Mondial; Vice President; Membredu Conseil Mondial (barrer selon le cas). Ich erklare mich bereit, als Weltprasident, Stellvertretender President, Midglieddes Weltrats (Nichtzutreffendes bitte streichen)nom- iniert zu werden und die umscitig aufgefiihrten Verantwortungenzu ubernehmen. Estoy dispuesto a aceptar el nombramiento para: Presidente Mundial;Vicepresidente; Cosejero Mundial (tachese loque no interesa) y me comprometo a cumplir todas las responsabilidades inscritas al dorso.

Signature Signature Unterschrift Firma tions of the length of the corridor thus visually blocking it (illustration no.3). Later they were asked to "create a "conceptual shell" for the class inside the school". I remained totally passive, a mere onlooker - with a video camera. (With the If they liked group activities, they help of this video documentation we could also liked to have a lot of personal attention, analyze the group dynamics afterwards). for tney were very keen, (like all of us) to find They built a tent-like construction from sticks the right balance between being part of a inside the studio (illustration no. 4). Later, group and defining their own "personal wanting to make it more like a real shell, space". I was surprised myself how popular they covered it with paper and painted it on a small pile of pebbles, brought back from the outside, emphasizing it as a positive my holiday, became in the class. I told them form as well as a negative one. Group works I had collected a pebble for each of them at arevery unusual in art schools. Most artistic the seaside, one that I felt could be related to work is based on individual efforts, which - him or her.I put the pile on the table and to some extent - is isolating. So no wonder asked them to find their own. If they got they welcomed these activities. stuck, I helped them by reading out a short Their next task was to "create the text (I had previously prepared) describing small scale model (200 cm high) for a tower each pebble. With this help they easily found as an art work, a dynamic construction em- their own. phasizing the directions: "up and down". figure 5Tower, cardboard, acrylic paint. 200 cm high. Krisztina Bognar, 16 years old

figure 6Pyramid, alumin771, strong, paper 800 cm high. Designed by Erika Ignacz, 17 years old.

It is impossible to give a realistic pic-Each student was given a sheet of card- ture of a teaching process through one project. board (200x100 cm) and they were restricted Therefore I will shortly explain a series ofto useonly that and paint (illustration no. 5). related projects done with the same class The next 3D project (in their third during the four years I was teaching them. year) was to design a three dimensional art While !earning all the possibilities ofwork econnect; ng Earth and the Skyi. The depiCtion and expressions in two dimen-class would then execute the best two - life sions (illustrations 1 and 2) is always presentsize - in a park, the scene of a student festi- in the curriculum all through the four years, val.This time there were no restrictions projects of totally different character also (other than financial and technical of course). play a part. For example from the secondThe class acted as the "jury" and decided on year on I started to give the students tasks in the "Pyramid" and the "Mast" (illustrations which they had to not only study and inter-no. 6 and 7). The actual constructing work pret the space (the model) around them, butwas done after school. They enjoyed them- figure 7Mast, paper model for the 500 cm high actually make changes to it.This meantselves the most when we worked all through construction. Designed by Marton Cserny. working in three dimensions.First theythe night to have the work ready for the were asked to "change the meaning of afestival next day. Though this was not certain space (in the school) by minimal in-strictly speaking art education, it was a great tervention". I divided the class (15 students)experience for all of us, helping to enhance into three groups. One of the groups usedgroup cohesion. strips of white tracing paper taped across the corridor at different heights at different sec- InSE2 INSEA NEWS April 1995 13 18 fantastic. Can you tell what I think is wonderful in her work?" Some children raise their hands at once. "She uses some beads and they move along the wire.""That's "A Funny Jungle Gym" right." "She twists the clay around the tube." In the Front Line of Japan's New Policy for Individualization "Oh, I didn't notice that point." Thus, the classroom changes into a tempo- Toshio Naoe rary gallery, and children begin to recognize University of Tsukuba, Japan the value of other pupils' works through discussions. Attractive presentation: This 3rd grade (8 to 9 years old) les- him that one letter of the title on the black- son in Art and Craft class in a unique one in board does not seem correct. At first, the In this lesson, we can see some good several aspects, the University of Tsukuba teacher does not care for it, but later he examples of teacher's presentation that Elementary School was founded in 1873, rewrites it, representing his attitude to re- causes excitement among children about one year after the first legislation of the spond to the children's mind. Mr.Hattori, learning. The teacher moves theblackboard and shows national education system by Japan's mod- an experienced art teacher, calmly tells pu- another one. The words "How to make the ern government. The school has been affili- pils to prepare for the lesson, to bring water, jungle gym more amusing?" appears. Chil- ated with the leading national institute for to put the tool boxes under the desks, and to educational research. In the history of the wait. He has created many new topics and dren say 'To color it?" 'To pour the colored water into the tube!" We see that a transpar- education system which has a strong feature materials that try to realize children's dreams ent tube is clipped on the blackboard. The of centralization by the government, this and wishes in art lessons. This is the 5th hour school has been recognized as an authority of his newest topic, "funny jungle gym", teacher has a transparent plastic bottle of on the elementary education in Japan. planned as a 6 hours unit. water, and he drops green ink into it. The The teacher's in this school work as A temporary gallery: scene of diffusion of the ink into the water is attractive in the sunshine. researchers / teachers. Most of them are At 9:10, the class begins with a bow engaged in developing the national Course Then he pours the colored water into the between the teacher and pupils. About 40 tube on the blackboard. The green water of Study, writing nationally authorized text- pupils sit in 6 groups of 4 to 8 members, each goes down and up along the winding shape books, and experimenting with new teach- group has one large desk. The teacher be- of the tube. Children burst into speaking, ing methods. gins to talk to the class."I am looking The students at the University of forward to see how your works will de- "Oh!" "It goes up!" "Of course, the water pushes from behind ..." "What fun!" See- Tsukuba Elementary School are pre selected. velop. By the way, you were too concen- ing the children's excitement, he begins to Many candidates apply to the school for its trated on your o wn works. Let's walk around high reputation. These students have al- and see others' works." take other bottles of colored water one after ready won in the hard competition for en- At this moment, about 30 visitors are ob- another from the space under his desk. Red, blue, yellow, violet .. trance. serving the class. Pupils seem to be used to . when a new color appears, children give shouts of joy and talk The school has special events to show such situation, for most of them do not look about which color they prefer. model lessons and hold the conferences twice tense and some are talking to each other At this stage, about 50 visitors are almost a year. The lesson was held on February 18, while the teacher talks. But the teacher is not filling the space in the classroom.Sur- 1995, the last day of "The Open Day and the overbearing, and draws the pupils' atten- rounded by the enthusiasm of the observers, Research Conference on Elementary Educa- tion to the lesson naturally. one of the biggest show in this lesson ha:, tion". More than 4,000 educators through- He points at the words on the black- out the nation visited this school of 960 board and shows 2 "hints" on how to see been done successfully. Children seem to be attracted and wish to do it soon. The teacher pupils during the 2 days conference. others' works. Pupils are told to try to find tells that each group can use the colored Therefore, you cannot expect to see a typical "amusing ideas" or "good usage of mate- water in turn, and others should paint on the school lesson in a typical regional school rial" in theirclassmates' "jungle gyms". Then works while waiting. here. On the other hand, to see the experi- children stand up and walk around flocking At 9:40, when the excitement is cool- mental lesson in the school that leads na- together, talking to each other, and visitors ing down and most of the pupils are begin- tional elementary education may give us follow them with cameras in their hands.' ning to paint on the clay, the teacher draws some clues to foresee the future of the edu- A few minutes later, the teacher tells chil- their attention again. He says he will give cation in Japan. dren to sit down and asks them. "Have you some "hints" on painting. Three kinds of Before the bell rings: found any good ones?" One pupil recom- drawing of a cloud and rain in blue color are 30 minutes before the lesson starts, pupils mends the work of a girl called Aiba. The hung on the blackboard. The first one is a come to the art room bringing their on going teacher tells her to come front with her work. downpour, the second drizzling, the third work and their own water color tools. Their Some pupils sa."It's the second time for sprinkling."Like rain has several kinds, work mainly consists of wires, clay in two her!" "She is str:. ig enough." The teacher you car, try different ways of using water colors of white and pink, transparent tubes. asks the reason o recommendation. The and brushes." Then he adds another draw- The organic and complex structures have pupil points out that she is making a mov- ing. The raindrops have many colors. "If the been built on the plywood. Some pupilsable part of wire like a swing. The teacher rain is so colorful, it may be wonderful. You apply small ornaments or pastas to the clay, agrees and adds that he is also interested in can also try different colors in your work". and others make small animals or figures of the shape on the top of her work. "It looks The teacher never imposes a particular tech- the clay. Now we can see the works are on like petals, a spaceship, or a bathtub..." But nique on children. Using a sort of allegory the theme of "funny jungle gym", the title is she answers shyly that it has no meanings.. suitable for their age, he suggests them to try written in a decorative form on the black- The teacher shows another girl's their own way. board. One boy goes to the teacher and tells work and asks, "1 think this one is also

14 INSEA NEWS April 1995 InSEE 19 Sympathy and antipathy among children: I We can sometimes see the cases that the development of relationship among the members in a group influences the quality of their activity in their art lesson.For example, one group of 3 girls and 1 boy seemed quiet at first. But when they get the bottle of colored water, they begin to aztivately engaged. One girl pours the water into the tube, but air comes into it and the water is divided into two parts in the tube. The boy helps, "You can pour from another edge." Of course the situation is the same. I IL. The water is almost spilling, and the boy fr,lo 411iitisA. shouts, "Stop it!" A little later, the teacher comes and drops color ink into the water in the tubes. Soon they t _come interested in the work and begin to talk, "Yours, only a part has a deep color." "Yes, it's beautiful." Talking about their "Mr. Hattori did it ..." Aiba, the girl whose classmates' works work was introduced at the beginning of this lesson is a member of this group. She seems to have gained confidence after the appreciation. Site tells what she found to the next girl while painting. "My yellow is so lovely." "Yeah, it's true." In this group, their relationship is matured and they can accept others' expression with sympathy. In another group of 4 girls and 4 boys, the situation is more strained. One boy begins to complain that the bowls of water on the desk for washing the brushes are closer to the girls, and the girls strongly objected to him. This quarrel between boys and girls on the territory is probably de- rived from the selfish attitude of some members and the undeveloped relationship among the members that cannot prevent it. Eventually, another boy mediated it by putting the bowls in the center of the desk and settling the border between boys and Pouring coloured water into girls.It seems to be still hard for them to a tube in her "jungle gyn" appreciate the value of others' works. Conclusion: The special 40 minutes lesson finished successfully. The teacher showed his very experienced teaching to the full, his well prepared presentation brought excitement to the pupils, and the children appre- ciated others' works guided by his sugges- tion and through group activities. At the same time, we could consider some questions on the relation between government's policy for "individualization" and the Art and Craft lessons in the new age. The theme of the conference held after the lesson was 'To Express intention in 3 Di- mensions", the phrase was taken from the government's new Course of Study. Mr. Hattori presented that Art and Craft in the new Course of Study emphasizes child centered learning and development of integrated sense of making. His unique lessons had names like "fantastic planets", "amus- Mr. Hattori, with the four ing cakes", "imaginary creatures", "won- allegories of rain drop InSEM INSEA NEWS April 1995 15 der islands" and "funny jungle gym" - these InSEA has its own e-mail network called InSEA-L. InSEA-L's lessons were planned to interest children, as well as to provide them broad experience of purpose is foster international communication, collaboration, and materials. He proposes new type of 3-Dresearch in arts education and related issues. The Canadian Society lessons other than "old fashioned" sculpture (modeling and curving) of figures and for Education ThroughArt and the University of New Brunswick animals. established InSEA-L for InSEA. One question for this proposal was a sort of Currently (April 1995) InSEA-1 has about 200 subscribers rep- contradiction between the lesson's aim at the individualization and the resemblance resenting ten countries. Subscription is free and open to all with an of the pupils' works made of the same kind interest in arts education. of material and the structure. We could If you can send e-mail to the Internet you can subscribe to clearly see the teacher used his creative im- InSEA-L. Send e-mail to InSEA -L- server @UNB.CA with the follow- agination to present a happy child's dream in the lesson. Probably he expected that the ing command as the one and only line in your message: SUBSCRIBE children's enthusiasm devoted to the work InSEA-L your name]. For example: SUBSCRIBE InSEA-L Marion would develop their unique imagination. In Richardson. that sense, the resemblance of the appear- ances of the work does not necessarily mean Once subscribed you will receive all e-mail anyone sends to the the lack of individuality, if each child uses list, and everyone else on the list will receive any e-mail you send to their own imagination within the provided it. If you have problems subscribing, contact Don Soucy at InSEA-L- material and structure. This also reminds us the well known phenomenon that the pu-reques tOUNB.0 A. pils' mutual reference of the works and the teacher's direct / indirect suggestions form a sort of "style" in a classroom, in spite of the lesson's aim to develop each pupil's unique- CHILDREN'S INTERNATIONAL 15 sets ness (Elfland). of 20 slides The other was the relation between ART EXHIBITION the child centered learning and the profes- ..1 re r14..,-; sional art areas.Educators who want to '4" emphasize child centered principle includ- so .a. I urope .11 laltn 4nzrtc.1 Au..1r1.1 Nronlina from

Lead (11111 ing this case sometimes tend to deny the , 1..rnian. (quad:: relation between their art lessons and the I 114/11,1 111013, "adults art. However, we could see that sO ut %env/tick t:itioln even his topics can be included in the mod- I .1:s1.1 i'tirtutt.11 st., 1 Ain g th em concept of art. For example, "amusing Brad cakes" reminds us that some Japanese tradi- so .34 I toopr ( 1 ovr1a, (.u.th.tnala tional sweets are recognized as "art" today. Ronunia sim.tkia 5, 1 11 001/1 ta,t (11.1 Other topics have many things in common utralla 1 %fiddle (.1.1Attn., I with the contemporary art scene in the con- lama: Aensa ety for- I In (II set gl; cept like "mixed media", "installation", or 'lel Ftnpl "environmental art".I suppose that some 4.1(1 ( Liman In(11,1 IIIthildi (.31 111.3.3 ed -..ators think that using the term "art" Japan t,r;,iettt =1r"1-. r ,Ionaku mc. -ns to impose adults' standard on chil- I dren. However, we could see the "art" in '41 '4Iran Tunto.1 C301 1.1!S:...rqC P111U our age also share the concept of individual- Nt ,6 ()1146.1( anada so II .oral AintIlt .3 ity and use of mixed media, which were t nift,d S33.00 intended to emphasize in this lesson. The anada appropriate relation between individuality and instruction, and between "asobi" (play) and art may be some of the basic questions in Art and Craft lessons under the Japan's new policy for the individualization in education. References: Efland, A. 'The School Art Style: A Func- SE\ D ORDER TO: tional Analysis" Studies in Art Education, ART INIA(II:.ITRI.1('ATIONS INC.. 1976 vol. 17, no. 2, pp. 37-43. (31 Main Street. P.O. lio \ 568. Champlain. NY 12Q1() Ministry of Education, Science and Culture, 1611 tree (Inlet.: 1-800-361-2598 Wilda> to Fritla. In to 4:3(1 pm (E; The Course of Study for Elementary School, Pay: (5ISt 298-5433 24 hour. a tlii 1989, Ministry of Finance. University of Tsukuba Elementary School, The Open Day and the Research Conference on Elementary Education, 1985.

16 INSEA NEWS April 1995 InSEM American Arts Education in Elementary Schools: Craft, Child Art and Fine Art Liora Bresler University of Illinois at Urbana Champaign

This paper explores the nature of arts whiskers are manufactured in that order. Bun- tivity, respect and caring, and attention to education in school settings.Historically nies multiply and proliferate as children cut, those children who needed more specific related to religion and spirituality, to na- glue, and paste.Passing from one student to help. As we were talking, Jones highlighted tionalism and patriotic values, art also ar- another, she checks that things have been done child independence and ownership of art- ticulates highly personal themes and is asso- correctly, compliments ( "1 see some real nice work."These are their own art projects. ciated, perhaps more than any other do- bunny ears here.") and staples the hat. They can make anything they want. What I main, with creativity and expression. Which The rote orientation permeated the told them at the beginning of the week is to of these various aspects make it into the curriculum across all grade and ability lev- bring any supplies they want to, anything classroom? What shape does art take in els. Activities were fully prescribed by the that they would like for art."In addition, terms of contents and forms, emphases, and teacher, aimed at imitating a "model." The Jones went out of her way to secure what- values? products often revolved around holiday ever materials were available in the school Obviously, arts instruction is about and season themes:a colored turkey, a district. art.It is also shaped by teachers' back- Christmas decoration, Valentine heart, The open-ended curriculum was fea- grounds and knowledge, by the larger Easter bunnies or roses for Mother's Day. tured in those classes which had less pres- school goals and their compatibility with Teaching typically consisted of a list of in- sure for achievement and accountability: arts programs, and by human and finan- structions to be followed step-by-step, leav- primary grades, ESI. , and special education. cial resources.This paper provides a ing little space for experimentation with Outcomes varied, r anging all the way from glimpse into art education in two Ameri- ideas or materials. Criteria for evaluation schematized holiday decorations to original can elementary schools. The selected sites involved dexterity and fine motor skills, ideas such as magnificent lamps, computer were ordinary schools,2 selected to touch a neatness, memorization of directions, and and junk sculpture skillfully executed. variety of demographics in a large city most important: good behavior. Allocated Though irregular, lessons were longer, rang- (Chicago) and a small "blue-collar" town time ranged from 25-40 minutes. ing between 60-90 minutes. This allowed for (Danville). The schools had no art special- My observations of the general cur- time for thinking, and working thoroughly ists and art was taught by classroom teach- riculum suggested that this art orientation on projects. ers. In each school, I observed art instruc- imitated the practice of academic subjects: tion in grades K-8 for one academic year, arithmetic, spelling, and social science, em- III. The Cognitive Orientation encompassing different levels of ability phasizing procedures, following directions, Helen Brahos, a first-grade teacher, car- from the gifted to the lowest tracks, includ- and memorization.Like these academic ries a thoughtfully-arranged bouquet of flow- ing special education classes. In order to disciplines, arts activities were procedure ersa variety of colors, textures, and forms. understand underlying assumptions (in oriented. Art products were rather uniform, Placing it in front of the blackboard, Brahos practice) about school art and the nature of differing only in marginal details: precision, inserts blue paper as a background, then squints teaching and learning in the arts, I exam- colors. her eyes and adds a pink tablecloth for contrast. ined structures, pedaogies, contents, and Standing at the side of the vase, Brahos prompts evaluation practices.5 IL The Open-Ended Orientation the children to look at the shapes and colors, to Within the heterogeneous contents Lily Jones, a second grade teacher, pours perceive, then to "recreate." and activities of the day-to-day curricu- glitter, yarn, cotton balls, and other materials "This morning we're going to try and lum, I identify three orientations in the into little plastic bowls and arranges them neatly capture these flowers on paper the way they look visual arts: (1) the rote, (2) the open-ended, on a back table between scissors and pine cones. today.Let's take one flower. Now we've been and (3) the cognitive. Laura makes green stems from yarns and cones. talking about flowers before, haven't we? (She Christopher glues cones on a newspaper. Allison motions toward a group of pictures near the black- I. The Rote Orientation glues glitter on cardboard. Mark folds paper for board, products of a previous project.) We want Mrs. Jones, a second-grade teacher, takes a magnificent lamp. Each folds separately, Sarah the flowers to become more important than the out crayons as students move chairs to form helps.Children visit with each other and are vase. So we are going to make the vase just a little horizontal lines facing her. She hold high her interested in what the others are doing. Jones smaller. Now, I've brought two old tulips from my model bunny hat. "Let me show you what we're summons Allison to help assemble more bowls garden. I know they are dying, but today we want going to do." She motions to Johnny to stand up on the table. Jacob accidentally hits a box and the to paint a spring picture. You can make the tulip and places on him her hat. (To class]: "Do you water colors spill out.Jones: "Just clean up, look more alive if you use a bright red. You're an want to do one of these? (Approving voices.] I please." Jones slides from one group to another, artist, so you can change your colors around. But already traced the pattern. First, you need to put compliments, and offers suggestions to the lost we also like to stick as much as we can to the color some eyes on it. I'm going to give you a choice. ones. and shapes of the little flowers here. Now remem- You can have pink eyes or blue eyes." This class featured open-ended as- ber, you can put in the flowers you want and leave With heavy demand for pink, Mrs. Jones signments, freedom to pursue and explore out the flowers you don't like. It's not important gets more pink paper from her desk and hands it individual projects, and a supportive feed- that you put in every flower. You can create your to Matt to distribute.Ears, eyes, nose, and back. The pedagogy reflected Jones' sensi- own arrangement of flowers."

1n522INSEA NEWS April 1995 17 22 InSEE Brahos' art instruction drew upon I follows a "proto art" or "child art" model. References specific knowledge (and often subject-mat- The cognitive orientation can be traced Bresler, L. (1994). Imitative, complemen- ter) to art discipline.Students were ex- to the cognitive revolution of the early 1960s. tary, and expansive:Three roles of pected to function as artists. The artist's role This revolutii..., turned attention to percep- visual arts curricula.Studies in Art was presented as central to the activity: ob- tion, conceptualization, and problem solv- Education, A Journal of Issues and Re- serve, plan, create, develop skills, reflect, ing.Art was identified as one of several search, 35(2), 90-104. and evaluate.Unlike the first two independent intelligences (Gardner, 1983). Gardner, H. (1983). Frames of mind: The orientations, making art was neither spon- Accordingly, art teachers provide students theory of multiple intelligences. New taneous nor prescribed. It required inten- with specific skills, symbols, and discipline- York: Basic Books, Inc. sive teaching, as well as concentration, ef- based knowledge to facilitate perception, Lowenfeld, V. (1947). Creative and mental fort, and experimentation on the part of the interpretation, and problem solving.Art growth. New York: Macmillan. student. Techniques were equally impor- follows the model of "fine art." This orien- Stake, R., Bresler, L., & Mabry, L. (1991). tant. The acquis.don of skills was a neces- tation was the rarest because teaching re- Customs and cherishing: Arts educa- sary tool for expression. Brahos used aes- quires sophisticated knowledge of art as a tion in the United States. Council of thetic concepts to provide guidelines with discipline, it is typically practiced by teach- Research for Music Education, Urbana, which to conceptualize and construct inter- ers with extensive artistic backgrounds. IL: University of Illinois. pretation. The attention to aesthetic quali- Each of these orientations reflects ties was manifested in the sensitivity to form, different concepts of what is art (craft, proto Thanks to Karen Andrews for her out- shape, and balance. Teaching consisted of art, fine art), and different pedagogical ap- standing secretarial/editorial help. evaluation and specific feedback, typically proaches (teacher prescribed, child centered, of technical, formal, and expressive quali- 1 This paper is based on a three-year ethno- scaffolding). All three fulfill important roles graphic study (Stake, Bresler and Mabry, ties. He7e, the art curriculum was sequen- within the schools. In the hands of inexpe- tial, drawing on previously taught skills and 1991; see also Bresler, 1993, 1994), funded by rienced teachers, the marginalization of the the National Endowment for the Arts. concepts. Lessons were long, taking some- "fine art" orientation perpetuates a void in times a whole morning. 2 Though as case-studies go, there is no artistic visions, skills, and sensitivities. claim of representativeness. 1 This paper is based on a three-year ethno- 3 Additional data sources included inter- graphic study (Stake, Bresler and Mabry, views with 39 teachers, as well as principals 4 These orientations reflect prolif- 1991; see a'.so Bresler, 1993,1994), funded by eration of values, differing with their view and r;tudents. the National Endowment for the Arts. 4 The discussion of any categorization war- of what is worthwhile art knowledge, the 2. Though as case-studies go, there isno organization of leaming opportun ies, and rants caution. The orientations are theoreti- claim of representativeness. cal constructs.Practice, however, rarely the suitable pedagogies for these teaming 3- Additional datasources included inter- opportunities. presents itself purely, rather it is eclectic and views with 39 teachers, as well as principals can combine two, or even three of these The most prevalent of these and students. orientations, the rote orientation, draws on orientations at various stages. However, 4. The discussion of any categorization war- these orientations are relatively independ- the view of the school as a preparatory for rants caution. The orientations are theoreti- academics and social control. Educational ent of each other. Teachers do not deliber- cal constructs.Practice, however, rarely ately develop all of them, indeed, they may goals highlight good working habits and presents itself purely, rather it is eclectic and discipline, shunning elitist ideals and high become habituated into one of them and :tot can combine two, or even three of these pay much attention to the others. culture. Art often serves as an instrument orientations at various stages.However, to Americanize children by inculcating these orientations are relatively independ- common symbols and a shared cultural ent of each other. Teachers do not deliber- base. Here, art was interpreted as crafta ately develop all of them, indeed, they may very diluted one, requiring few skills and become habituated into one of them and not little aesthetic sensitivities. pay much attention to the others. The open-ended orientation can be traced to the progressive orientation in art (e.g., Lowenfeld, 1947). Teachers' emphasis on self-expression, creativity, and spon- taneity reminiscences early childhood theories: Art is seen to provide a safeguard against the routine by promoting the healthy channeling of feelings. Here, art is

18 INSEA NEWS April 1995 UnSE2 A Day in the Life of an Elementary Art Specialist in Rural Midwestern America Leah H. Morgan, Orleans Elementary School, Orleans, Indiana, USA .dIMMINIV Before I can get my so-called typical About the middle of the morning a masks at Halloween time in the United States. day started, I must give you some informa- fourth class arrives and the fifth class leaves The students finish painting their masks, tion about our small community. In our my room. This class is completing an illus- clean their work areas, and are ready for the elementary building, where I teach, we have trated recipe book containing the best cook- classroom teacher when he arrives so that about 447 students in grades K-6. We areing secrets of their grandparents. When they can get ready to get on the school located in a rural section of beautiful south-completed these books will be sold locally to busses that will take them home.. central Indiana with mostly working class raise money for the school. The regular school day ends and the families of European background. This time This class is studying the same things students in the Art Club arrive. These seven of the year, some classes in the 5th are in-as the fifth grade, but each is working on a students are working on ceramic pottery. volved in studying art education in otherdifferent project. Sometimes I try to keep Some are glazing, while others are putting countries. them doing the same lessons so they are finishing touches on their products. I also A typical day in the art room beginsexposed to the same materials, but this is not have two students come to work on a draw- at least a year in advance. Like many otheralways possible. We have missed many ing program on the computer. All of these teachers, I am always thinking and planning Friday classes because of holidays and Per- students are lively and active. With such a mentally or jotting down ideas for next year. formance Based Accreditation (State man- small group, I can converse with them on a I arrive at school early in the morn- dated) meetings for staff and community more adult level and they learn more ad- ing to confer with a fourth grade teacher members. Also, because of the many differ- vanced and difficult concepts and terminol- who works with me on a project, and after aent classroom teaching techniques, some ogy than they can in their regular art classes. brief discussion I head to my classroom. classes have not been exposed to the same Before we know it, it's time to go home. This Today's First lesson is already laid materials. The teachers at our school believe time period is just not long enough. They out, including all necessary resource materi- one of our strongest assets is having the clean up their work areas, put chairs on the als and supplies. We are studying France freedom to teach as individuals and expose desks, and are ready to leave. and the Eiffel Tower today. Quickly I go into students to a more diverse curriculum while During this day I have had over 125 the storage room to check the kiln, whichthey (teachers) can share many areas more students and I am worn out. I now have was fired the day before soon, a 5th gradeindepthly. twenty minutes before I can leave for the class is ready and waiting for me. The Now its time for lunch, and do I need day. But i first I must double check lessons students are excited about studying France. a break. and materials for tomorrow. Most days I We have a discussion about the geographi- I finish lunch and rush back to my don't leave until 4:30 or 5:30PM. Grading cal location and some students use reference room so that fourth graders, who need extra has to done at school because I do not want books to find additional information. We time to come and complete assignments they to carry home masks, pieces of pottery, or a discuss d ifferences between the job of a struc- have not finished during art class, can return hundred portfolios. It is now 4:45 PM and tural engineer and an architect. One studentto my art room to complete their work. time to b. gin another work day as I leave reminds everyone about the Eiffel Tower at Next a fourth graders class arrives. school and stop at the grocery store, visit my a local amusement park and different vaca-The students have some trouble settling mother for a few minutes, pick up my son tion stories are told. Some of the studentsdown because they have just finished re- from baseball practice, fix dinner, do the mention siblings who have gone to France cess. Today, they have a lesson to finish for dishes, throw in a load of laundryBut, the with high school French Club. After this a logo contest for our local Dogwood Festi- next morning when I see the students in my discussion, I pass drawing paper and in-yal that the town celebrates every spring. I art room, I'm excited about teaching them struct students to draw their interpretation usually choose one or two contests per year art, and the process begins again. of the Eiffel Tower. They are to add colorand have had some wonderful results. An- and/or shading and may add surround- other class is finished, and it's for the last ings. Next, I p ass around a cardboard model class of the day. The class beings with a of the Eiffel lower to provide a hands-on critique of work in progress. Most students activity. Many of the students like the mod el base recommendations for improvement for and try to create a drawing that looks three - their peers. Then the students get to work dimensional When this class leaves another soon,. fifth grade class takes their place and works It's a third grade class and the stu- on a similar lesson. dents are finishing painting paper mache masks they made last week.I show the students reproductions of masksaround the world. A lively discussion ensues about why the masks look the way they do and how they are similar and different from each other, we also discuss how students wear

InSE2 INSEA NEWSApril 1995 19

BEST COPY AVAILABLE Invitation to Contribute to a Regional NewsWorld Directory of Collections and Archives of Chil drenis Art Nancy Retallack-Lambert & InEEMRita L. Irwin Successful 1994 This is an invitation to contribute to Asia Regional INSEA Congress a World Directory of Collections and Ar- From the RESEARCH BOARD chives of Childrenis Art being collected by in Taipei, Taiwan ...mb.dNancy Retallack-Lambert and Rita L. Irwin. 1. Call for PapersEvaluation of Our interest in child art has lead us to under- Community Center Art Programs. take a listing of all current collections of child art in the world. It is our hope that you The InSEA Research Board has undertaken can assist in updating this important Direc- to produce a special issue refereed journal tory for the benefit of interested individuals focussing upon the theme Evaluation of and groups worldwide. Community center Art Education Programs The first edition of the Directory came : International Views" This iussue will be out several years ago as a World Register of edited jointly by Kristen Congdon and Doug Child Art Collections. Since that time we 3.A Boughton. The Series Editor is Robert Stake. have rethought the format of the work with The editors are interested in receiving arti- the help of our publisher. the second edition V 111.L, I cles from authors in various countries that of the Directory will be bound in such a way present views about the nature of commu- as to allow for ease of updating. The cost of nity centers and evaluation issues arising the Directory will include provision for regu- from them. Deadline for submission is De- lar updates. cember 15, 1995. Papers should be sent to Our intention is to publish the Direc- both: Dr. Kristen Congdon, Art Department tory in order to make the extent and diversity of interest in the phenomenon of child VAB, University of Central Florida, Orlando, ft..', FL, 32816, USA and art apparent to others in the related fields of / A.' r ". .,:, Dr. Doug Boughton, University of South art and education. As well, the Directory Australia, Holbrookes Road, Underdale, SA enables art educators to identify those in the 5032, Australia field who share their specific interest while also permitting scholars ready access to a 2. InSEA Approved Research Projects. rich and useful resource. 1994 Asia Regional INSEA Congress InSEA Researach Board offers to approve The interpretation used here of the term "collection" is very general and referswas held in Taiwan between December 26 research projects that are consistent with and 28 last year. It was a great success. More InSEA aims. Such evidence of approval from to an available accumlation of child-art made objects. In other words, a collection belong-than two hundred art educators from Tai- InSEA may provide researchers with assist- wan, Japan, Korea, China, Malaysia, ance in securing funding from other sources. ing to a parent who has methodically dated his/her child's work over the years is no lessHongkong and USA were together at the While InSEA itself is unable to provide funds Taipei National Central Library Hall and for research it is committed to assisting re- important to the Directory than is a collection gathered by an art consultant and rep-theTaipei M u n icipal Teachers College. Main searchers in the field. Those interested in theme of the Congress was Prospects "Art submitting theirprojects for review and ap- resenting the work of an entire art centre or school.However, in order to assure theEducation in the 21st Century" and subtopics proval should send them to Dr. Doug were "Environment, Life and Art Educa- Boughton, Chair, Research Board, address usefulness of the Directory, it is important that each collection mentioned by to sometion" and "Social, Culture and Art Educa- above or e-mail doug .boughton tion". edu.au In the event that projects do not meet extent accessible to interested others. This means that the collection or caretaker of the The 25th Annual World School Chil- InSEA objectives or appropriate research dren's Art Exhibition in R.O.C. was held and standards advice will be provided to re- collection should be willing to allow view- ing of the collection. Art Education Resources was exhibited. searchers to assist further development of Thirty-five art educators made pres- their project. If you are interested in participating in this project please contact Rita Irwin forentation; and keen questions and answers more information. Also, if you know of anymade audience very excited. . collections in your country which may have This was the first Regional INSEA been over looked in the first edition, weCongress which was formally approved by INSEA. In this sense, it was remarkable and would appreciate any i nform atio n you might have on who we might contact. In closing,also memorable. we wish you good luck and pleasure in your Secretary General Long-Rong Wu or- projects. ganized the Congress very well and art educators in Taiwan enthusiastically supported Dr. Rita The University of British Co-him. Overseas participants were warmly welcomed and everyone of them was deeply lumbia,DepatimentofCurriculum Studies.2125 Main Mall,Vancouver, British Columbia, moved by seeing and feeling that international relationshipand exchanging programs Canada V6T 1Z4, (604) 822-9366 fax, (604) had been successfully proceeding. 822-5322 work 20 INSEA NEWS April 1995 InSEE INSEA ASIAN REGIONAL CONGRESS, 1995 Taiwan, R.O.C. November 10-15,1995

Welcome to Taiwan, R.O.C. and to the THE SECRETARIAT INSEA -ASIAN REGIONAL CONGRESS, INSEA ASIAN REGIONAL CONGRESS, 1995 TAIWAN, 1995 The 1995 Regional Congress of the National Changhtv University of Educa- International Society for Education through tion, Art department Art Asian Region will be held in Taichung, 1 Jinnder Road, Changhua, Taiwan, R.O.C. TAIWAN, R.O.C. on November 10 -15. 5005? This regional congress is organized Tel:(04)721-1101Fax:(04)721-1185 by theTaiwan Art Educators Association(TAEA) in cooperation with vari- Final date to return accomplished form and ous cultural organizations, educational and paperSept. 15, 1995 .1994 32:.$11110012'1111*.Asaria governmental agencies of the Republic of 1.91, l$J. ME.A leg,. China. We are very happy to have INSEA members from all over the world, as well as the delegates from the Asian region, here in Taiwan for this conference. It is sure to be stimulating gathering of art educators from CONGRESS LANGUAGE diverse cultures and with different educa- The official Congress languages are Chinese tional experiences. and English. Translation into Japanese will The city of Taichung where the con- be provided. gress will be held has the best climate in Taiwan and is located 130 kilometres south of Taipai with and altitude of 50 meters RETURN SLIP above sea level. The area is endowed with May I request the following information: beautiful scenery and a rich variety of native Registration cultures. Call for papers Regional and national exhibitions of young Exhibits people's art and crafts. Accomodations Tours to historical and cultural landmarks Post Congress Tours/Events and museums. 12:1 Others (specify) Cultural presentations and performances associated with the native Arts. Name Dinner and banquets Tours to local beauty spots. Home Address CAT L FOR PAPERS Theme of the congress: CultureSocietyArt Education This provides an opportunity for art educa- Title/Position tors to share and discuss theories, practices, Orgari.,ation problems and trends of art education in Busi; .e.ss Address their own countries based on each country's unique cultural background and tradition.

ARTEDUCATORS INTERESTED IN PRE- Telephone (Home) SENTING A PAPER OR WORKSHOP (Office) ARE ADVISED TO REQUEST A PRO- (Fa) POSAL FROM: RETURN TO 1NSEA-ASIAN REGIONAL CONGRESS, TAIWAN, 1995 National Changua University of Educa- tion, Art Department, 1 Jinnder Road, Changhua, Taiwan, R.O.C. 50058

InSEE1 INSEA NEWSApril 1995 21 ti The 29th World Congress for Education through Art has already the pattronage of Monsieur Federico Mayor, Directeur, General de l'UNESCO,Monsieur Daniel Tarschys, Secretaire General du Conseil de I... Europe,la Decennie Mondiale duDeveloppement Culture!, organisee de1988 a 1997 sous les auspices de l'ONU et de l'UNESCO.le Ministere de l'Education Nationale Call for papersINSEA World Congress Lille 1996 AN& You are invited to participate in the Vous 'tes invites a participer au World INSEA Conference 1996 at the Lille Congres Mondial de INSEA 1996 au Palais CHILD ART Conference centre from the 8th to the 14th des Congres de Lille du 8 au 14 Juillet 1996. July 199, and the Research Pre-conference 6- Le theme general du Congres souleve EXHIBIT 7 July 1996. la question due rapport entre trois concepts: Each country should submit a project The general theme of the conference plan as quickly as possible to illustrate the is the relationship between three concepts. "Art, Science et Environnement au 3eme dimension of artistic practice in the teaching Millenaire: Divorce et Reconcilliation" of plastic arts. "Art, Science and Environment in the 3rd Our venue, the Grand Palais in Lille, Millenium: Divorce and Reconciliation" A Tube du 3eme Millenaire, a une provides an exhibition area of 18000 m2, epoque de technologies avancees, d'nc con- larger than that available at the annual FIAC At the dawn of the 3rd millenium, in science de la planate en pleine mutations, event (International Fair of Contemporary an age of advanced technologies, of rapidly comment se pose lorientation de l'Education Art - 13000 m2) in Paris. changing planetary awareness, what direc- Artistique? tion should Education through Art be tak- PRACTICAL ORGANIZATION La communication propos& doit 1) ing? Each country will be provided demontrer une orientation claire dans un with an exhibition area of 100 m2 in the form The proposed paper should show a champs dela recherche, questionner certains of a 10 x 10 m square. Picture railing will be clear sense of direction and purpose, iden- points afin d'etablir une problematique, et provided at a height of 2.50 m for display tify possible problems and concerns, raise d'ouvrir un cadre de recherche relarif au purposes. wquestions and propose lines of research or suject essential: l'Education. 2) Artistic works sent in may be curriculum development relevant to the framed: in this case, the frames must be alike main subject: Please indicate clearly if your Education Artistique, Enjeux Sociau, bi.c may be of different size. paper is intended as a research paper fro the Politiques... For unframed artisitic works, we can make pre-conference or a general paper for the Art et Environnement Nature] available empty frames of the following sizes: main sessions. Art er Environnement Construit 0.90 x 0.90 m or 1.80 x 1.80 m, with black or which backgrounds, in which you have to Prise de Conscience de l'environnement Education through Art, the social stakes, display the works. Art et Design 3) Each country must provide their policies own picture title labels in French. Art and the Natural Environment DATE D'ECHEANCE POUR LA 4) Material for framing and mount- Art and the Artificial Environment RECEPTION DE VOTRE PROPOSITION: ing will be made available by the organizers. Awareness of the Environment 5) All proposals for display aids and Art and Design Marie-Noel Thirion-Wattin demonstrations will only be accepted within Congres Mondial INSEA 1996 the space reserved for each country. DEADLINE FOR SUBMISSIONS Maison de la Recherche 6) The displays, scenography, direc- Post marked no later than 30th October 1995. Universite Charles de Gaulle - Lille Ill tional and descriptive aids will be the re- Send your proposal to present a paper or B.P. 149 sponsibility of the exhibitionis organization workshop to: 59653 Villeneuve d'Ascq FRANCE manager. 7) The works selected and presemed Marie-Ndel Thirion-Wattin for the exhibition will constitute the first Les personnel dont les propositions seront National Foundation of Contemporary INSEA 1996 World Congress retenues devront obligatoirement s'inscrire School Art and will not be returned. How- Maison de la Recherche au Congres et assurer les fais d 'nscriptions. ever, their entire collection will be available UniversitE Charles de GaulleLille III to each country for the purpose of roganizing B.P. 149 Veuillez completer le formulaire exhibitions. 59653 Villeneuve d'Ascq - FRANCE EXHIBITOR DIARY Presenters must register to attend thi(in- COMPULSORY SUBMISSION IN LILLE of ference and assume all related expenses. framed works: from 1st to 30th June 1996 INSEA UniversitE de Lille 111 Maison de Recherche B.P. 149 ;9653 VILLENEUVE Di ASCQ CEDEX FRANCE

Tel: (33) 2(133 65 0,i Fax: (33) 20 33 64 60

22 INSEA NEWSApril 1995 InSEE CALL FOR PAPERS INSEA WORLD CONGRESS LILLE 1996 Conference July 8- 14, 1996Research Pre-Conference July 6 -7, 1996 This document can be filled in French, English, German or Spanish Family Name

First Name

Name of Institution or affiliation MAILING ADDRESS Street City

Postal Code Country PHONE Work Home

Fax Telex

TITLE OF PAPERPlease 10 words maximun Presentation 45' Workshop 1.30 hour

ABSTRACT Please 100 words maximumtyped only

The presentation is of special interest to registrants interested in Curriculum Methodology Contents of Teaching I Reflection /Theoryri

Experience of Practice Research Congress The presentation is of special interest to registrants interested in Primary Junior High;Secondary jUniversity Museum Educators Directors L Special Education LI Parents Artists Art Coordination Art Curriculum Specialists Politicians

Maximum number of participants 25 40 2(X) 300/5(X) 750 1500 Audio-visual material requested Overhead projector Slide projector 35mm Lecteur video VHS PAL VHS NYSC Video VHS SECAM U MATIC Video BVU Video BETA Video Others (specify) Insert your CV one page only

Signature Date

InSEM INSEA NEWSApril 1995 23 8 InSEEI INTERNATIONAL SOCIETY FOR EDUCATION THROUGH ART

President John Steers, United Kingdom

Vice-Presidents Ana Mae Barbosa, Brazil Kit Grauer, Canada SEE Maryl Fletcher de Jong, USA

Joint Secretaries & Treasurers Peter Hermans & Diederik Schiinau, membership The Netherlands MEMBERSHIP APPLICATION FORM DE MANDE DE CARTE DE MEMBRE Fees/Cotits in $ US Funds World Councillors new member/nouveau membre renewal/reconduite

Africa and Middle East Student/Etudiant $15.00 }Carnal El Masry, Egypt Ameur Makni, Tunisia Regular member/membre regulier $25.00 ( lyr./lan) Zineb Lehman, Morocco $45.00 ( 2yr./2 ans) $60.00 ( 3 yrs./3 ans) Asia Organizational/Institutional/Library subscription: Ann Cheng-Shiang Kuo, Taiwan Organisations/Instutions/BibliothNues et archive: 550.00 ( 1 yr./lan) Norihisa Naskase, Japan S90.00 ( 2yrs./ 2 ans) Kong Zhong Qi, People's Republic of $120.00 (3yrs./ 3 ans) China Make cheques or Ix, tal orders payable to CitolInSEA Europe Envoi d'un mandat postal ou d'un cheque international a Cito /InSEA Riitta Heikkinen, Finland Andrea Karpati, Hungary Peter Hermans & Diederik Schiinau, Britt-Marie Kuhlhorn, Sweden do Cito/InSEA, PO Box 1109, 6801 BC Arnhem, THE NETHERLANDS Meri-Helga Mantere, Finland tel./ FAX : (31) 85 521202 Elisabete d.a Silva Oliveira, Portugal Peter Wolters, Germany Name (Nom) Address (Addresse) Chair, European Region Ulla Arne 11, Sweden City (Ville) State, Province (Etat, Canton,Province,Departement) Latin America Jose Ramon Gonzales Perez, Venezuela Country (Pays) Ivone Mendes Richter, Brazil Postal Code, Zip (Code Postal) Norman Oscar Tornini, Argentina AMOUNT ENCLOSED ( somme incluse) $ North America Kristin Congdon, USA Judy Freedman, Canada Methods of payment: Duane Hagen, USA Enid Zimmerman, USA 1. Bank cheques in American dollars drawn on a North American Bank only. Please make those cheques payable to: InSEA. Chair, North America Region 2. Cash. in American dollars or Dutch guilders (registered mail) Mary Stockroki, USA 3. Traveler's cheque, preferably in American dollars or Dutch guilders 4. Eurocheque in Dutch guilders. Make Eurocheques payable to: Oto /InSEA South East Asia and Pacific 5. International Postal Money Order, in Dutch or US Currency (Via Post Office facilities). Doug Boughton, Australia Geoff Hammond, Australia Phil Perry, Australia Please send all cheques, applications or renewals to: Chair, South East Asia and Pacific, Cito/InSEA, P.O. Box 1109, 6801 BC Arnhem, The Netherlands. Alice Panares, Philippines

24 INSEA NEWS April 1995 InSE2 n9 ti