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Xerox University Microfilms 300 North Zmb Road Ann Aitor, Michigan 481 OS TABLE Page Table 1 INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or “target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure* and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large dieet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North ZMb Road Ann Aitor, Michigan 481 OS TABLE Page Table 1 ............................................................................................. 276 Three-Fold. Emphasis fo r Human Growth and Development in Balanced Educational Programs v i i i teacher and the music teacher could be counted on to pass judgement on the always changing display of pictures. I was concerned that this might have an inhibiting influence but it came to be a sport for the students to discredit or argue for or against what these teachers said. I became curious as to why the lessons provided by the art teacher did not seem to have any apparent carry-over to the paintings. Some of the paintings displayed feelings of anger, humor, fear, etc. My delighted acceptance of a graveyard scene with ny gravestone alongside the science teacher's gravestone spurred a bevy of all kinds of notes, letters, bulletins, cartoons, etc. pointed at my frailties but with an undercurrent of appre­ ciation for such a "wierd" teacher. Remarks overheard from other faculty about our "kindergarten" began to be taken less seriously and the sophisticated creations reflected at the easle were representative of student contributions in other domains of the curriculum. A painting created by carefully layered handprints of several colors appeared to be a peak experience for a scholarly prim and proper g irl who was meticulously neat and traditional in all her academic work as well as her personal appearance. Two boys, in extremely different places in their ability to achieve in traditional school subjects, created an abstractly designed painting together, simultaneously, working in full cooperation with each other for two complete periods. They •S' presented me with the painting at the end of the school year because it did not seem fair for either of them to claim ownership. I was charmed with what had emerged that year through only providing materials (for which I had to continually manipulate rules and resort to $1 briberyt etc.) and acceptance. X was convinced this activity as well as many other similar ones had facilitated configurative growth for the persons involved, but I remained closed to considering what had been meaningful and freeing to adolescents, as well as my own daughters, as potentially meaningful and freeing for me. Two years later, my first quarter at Ohio State, a professor exposed me to research she had been doing in Israel. She was teaching disadvan­ taged pre-school children to draw, using several techniques and then measuring their cognitive growth. "With her prodding and my past exper­ ience a whole host of questions came to mind. She even required us to engage in drawing "as if" we were the students. My first reaction was that I couldn't. Tilth heavy dependence on my pencil eraser I completed the assignments, though sterile, I was pleased that the objects were recognizable. A year later I decided if drawing was good for the development of kids i t was good for me. This decision stemmed from an earlier reali­ zation that teachers must be learners if they are to be effective teachers. After a little groundwork I found a man who was willing to include me in an art class for -undergraduates preparing to be elementary teachers. He provided a variety of experiences, but it was his approach that made the class so successful. He was of the belief that if the students found the experiencing of art activities enjoyable, they would be more likely to provide them for children when they became classroom teachers. He also -took into consideration the diversity of experience, confidence and "talent." In working with me on my particular problem he suggested 92 I purchase a drawing book and make an entry daily. I purchased the book and found I was avoiding making any entries. My first desire to record something was of a hypnogogic image. I drew it on a separate piece of paper. X borrowed a ruler from a friend and worked hours trying to do an outstanding drawing. Prior to engaging in the drawing activity I wrote: "February 16, 1972" At seven p.m. I decided to lie down for a half hour. My eyes were tired. I was trying to honor my feelings and not fight them. Instead of being annoyed at being tired I tried to just move with it. Awhile later after a sort of slumber I decided to call the library for the books I wanted and have them send them over. In stirring I made an effort to bring to consciousness something of the images that I had experienced. I hadn't dreamed; it was more of a state similar to falling to sleep. A stairway had been of particular interest to me. I thought I had it clearly in mind, but now there is an unreasonableness in its structure. The stairway was complete, plain and unique; the colors fascinated me* Failings and the stepping part of the step were lavendar. The r e s t was a lig h t so rt of turquoise. The s ta ir ­ way was clean. I f i t was attached to anything on the other side it was not brought to my attention. It did not seem to be in any context. Looking at the clock I discovered an hour and fifteen minutes had passed. S till somewhat sleepy I worked with th e stairw ay. I t seemed th a t th ere was something recent in my thinking about a stairway. I searched. It was something I had read. I placed the reading. It has been a paper on Gestalt therapy. Fritz Pearls believes that all parts of a dream are parts of ourself. A patient was telling about a stairway that had no railing and was not easily climbed. He continued to quiz her about the stairway. She said it was incomplete. She finally moved to admitting that it was she that was incomplete. My stair­ way did not seem to be useful or teacherous or in any context. It was just pleasing to look at. I reject the implications of th a t tra n s fe r to me. "After Drawing" I got quite frustrated aB 1 drew. I couldn’t make the stairw ay look q u ite rig h t. I couldn't q u ite remember th e d e ta ils . It was taking a lot of time. .1 was concerned over the much reading I wanted to and felt I had to do. I became appreciative of the time devoted to a picture. I wondered why I could have a feeling of time invested well when I was reading (and had little to show for it afterwards) and a feeling of time wasted when drawing. 93 "What had I experienced th a t made me fe e l th is way? At th e same time I was enjoying my effort. The colors helped. I remembered that I had never been a good 'colorer. * I really knew very little about using a ruler. The stairw ay made more and more sense to me. The c r is s ­ cross up and down of the same stairway made me think of playing with an inchworm. He works himself up all the time. 'When he crosses the span of one hand you offer him the other. At the same time both hands are dropped down in space. The inchworm climbs a long time and a long way, but he remains almost stationary. We climb all the time when we live, so to speak. Over that time we haul our being. It has a set of essentials. It is constant. They remain much the same as we climb through time.
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