DOCUMENT RESUME

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AUTHOR McCoubrey, Sharon, Ed. TITLE Collaboration in Art Education. INSTITUTION British Columbia Art Teachers' Association, Vancouver. PUB DATE 2000-00-00 NOTE 42p.; Photographs may not reproduce well. AVAILABLE FROM British Columbia Art Teachers' Association, 100-550 West Sixth Avenue, Vancouver, B.C. V5Z 4P2, Canada. Tel: 250 -762- 5445; Fax: 250-470-6084. PUB TYPE Collected Works Serials (022) JOURNAL CIT BCATA Journal for Art Teachers; v40 n2 Win 2000 EDRS PRICE EDRS Price MF01/PCO2 Plus Postage. DESCRIPTORS *Art Activities; *Art Education; *Art Teachers; Elementary Secondary Education; *Teacher Collaboration

ABSTRACT Educators are familiar with working together to produce curriculum packages, to team teach a unit, to host a parent event, to put on a school-wide concert, or to plan a conference. Collaboration in art education as presented in this publication is a team effort that is slightly different and beyond ordinary collaboration. Collaborative art-making involves the inclusion of many contributions to the creation of the final image. This theme issue contains seven articles:(1) "Editor's View" (Sharon McCoubrey); (2) "The Collaborative Process of Art Making" (Taylor Gutermute a.k.a. Patty Taylor); (3) "Making Connections: The Integration of Art and Language Arts" (Virginia MacCarthy; Heather A. Pastro); (4) "The Spirit of Nature: The Grandview/?uuqinak'uuh Public Art Project" (Illene Pevec); (5) "Making Mosaic and Ceramic Murals: A Collaborative Challenge" (Lynda Faulks); (6) "A Teaching Jewel: Collaboration in Art" (Evelyn Vipond-Schmidt); and (7)"Resources Reviews" ("Beyond the School: Community and Institutional Partnerships in Art Education" and "Step Outside: Community-Based Art Education"). (BT)

Reproductions supplied by EDRS are the best that can be made from the original document. Collaboration in Art Education.

Sharon McCoubrey, Editor

British Columbia Art Teachers' Association, Vancouver.

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U.S. DEPARTMENT OF EDUCATION PERMISSION TO REPRODUCE AND Office of Educational Research and Improvement DISSEMINATE THIS MATERIAL HAS 33.011 COIFT AVAIIIIABLE EDUCATIONAL RESOURCES INFORMATION BEEN GRANTED BY CENTER (ERIC) le...This document has been reproduced as received from the person or organization originating it. Minor changes have been made to improve reproduction quality.

TO THE EDUCATIONAL RESOURCES 2 ° Points of view or opinions stated in this INFORMATION CENTER (ERIC) document do not necessarily represent official OERI position or policy. BRITISH

)1b .1\ li,lj0,y! Volume40 Number'? JOURNAL FOR ARTTEACHERS Winter 2000 EACHERS' ASSOCIATION .

411

41. I

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Collaboration in Artducation The cover illustration is a collaboration art project, NIMBY, coordinated by Taylor Gutermute.

All other visuals in the journal accompany specific articles and are identified or explained within.

The Making of NIMBY Page 4

Lynda Faulks and the Commonwealth Games mural Page 25

BCATA Journal for Art Teachers is the official Journal of the British Columbia Art Teachers' Association.

Editor:Sharon McCoubrey

This Journal is published three times each year. It is submitted to ERIC: ART and the articles appear in RIE - Resources in Education, and are available on microfiche and hard copy through EDRA ERIC Document Reproduction Service.

Manuscripts are welcome at all times and on any topic related to art education, Please send manuscripts prepared in APA style (American Psychological Association 1983). of Please send your submission as hard copy and on disk well protected for mail delivery. Preferred software is WordPerfect IBM.

Sharon McCoubrey, Journal Editor B.C. Art Teachers' Association 8090 Highway 97Lake Country, B.C. V4V 1 P9

Tel:250-766-4406 (home) 250-762-5445, local 7306 (work) Fax: 250-470-6084 EMail: [email protected] BRITISH British Columbia Art Teachers' Association MA Volume 40, No 2, Winter 2000 Journal Editor: Sharon McCoubrey

BCATA, Provincial Specialist Association of the BCTF 100-550 West Sixth Avenue, Vancouver, BC V5Z 4P2

EACHERS' ASSOCIATION

Collaboration in Art Education

Editor's View Sharon McCoubrey

The Collaborative Process of Art Making 4 Taylor Gutermute aka Patty Taylor

Making Connections: The Integration of Art and Language Arts..11 Virginia MacCarthy and Heather A. Pastro

The Spirit of Nature: The Grandview/?uuqinak'uuh Public Art Project.17 Illene Pevec

Making Mosaic and Ceramic Murals: A Collaborative Challenge....25 Lynda Faulks

A Teaching Jewel: Collaboration in Art 33 Evelyn Vipond-Schmidt

Resources Reviews: 38 Beyond the School: Community and Institutional Partnerships in Art Education Editors: Rita L. Irwin and Anna M. Kindler

Step Outside: Community-Based Art Education Peter London

The BCATA Journal for Art Teachers is an official publication of the British Columbia Art Teachers' Association. The opinions expressed in the journal are those of the authors and do not necessarily reflect the views of the editors or the association. Ed°Tfors )

Collaboration in Art Education with other subject areas has been dealt with in varying ways, the concern always being that art may be compromised in the integration. The We have within education collaborated for a potential for combining art and language long time and in many different ways. We are through quilts and of quilts being a good art all familiar with working together in order to form that can accommodate many collaborating produce curriculum packages, to team teach a artists, are made evident in this article. This unit, to host a parent event, to put on a school project also provides a good example of collab- wide concert, or to plan a conference. The col- oration between two instructors in a teacher laboration in art education as considered in education program. this Journal is a 'working together' that is slightly different and beyond that 'regular' col- The collaborations in Illene Pevec's garden and laboration. Art making has typically been a public art project took place on several differ- process conducted by the individual artist. ent levels: funding sources, coordinating a proj- Collaborative art making involves the inclusion ect at a public facility, and working with differ- of many contributions to the creation of the ent stakeholders such as artists, parents, stu- final image. The process of collectively creat- dents, administrators. As Pevec describes this ing art could involve considerations that would exciting project of bringing art and a garden to not exist in individual art making, factors a needy school, many significant themes are which would affect both the creating process discussedthe inequities within the same pub- and the appearance of the final image. lic school system, First Nations' needs and con- tributions, and the value of an inviting environ- The first profile of a collaboration is of just ment. The profile of this project serves as an that approach, a group of people working encouragement to those who might think that together to create a single artwork. Taylor such a project is beyond their realm of possibil- Gutermute shares with us her expertise in coor- ity. For example, when funding needs may dinating multiple contributions to create an art- seem to be excessive, it is in fact always possi- work. Following her interesting discussion ble to find a way to access available funds, about the notion of the artist creating art inde- especially when collaboration results in the pendently, as has been the most common funds being accessed from several different approach, Taylor prompts us to consider the sources. After hearing about Pevec's wonderful ways in which the contributions of many affect project, I thought about the tremendous oppor- the final image. Her many helpful suggestions, tunities there are to create such projects in guidelines, options and variations, learned schools all over the province. through her many experiences with coordinat- ing collaborative art making, will be beneficial A master of mural making, Lynda Faulks dis- to any art teacher venturing into this type of cusses the challenges involved in creating project. murals when a range of logistical issues must be dealt with and when the collaborating artists MacCarthy and Pastro offer us another look at are high school students. Once again, what projects that integrate several disciplines, in becomes obvious when reading about a major this case, Art and English. Integrating the arts project such as the Commonwealth Games mural that is profiled here, is that resourceful-

2 ness is essential for surpassing the logistical single artwork in which the image is continual- hurdles, whethet they be financial, or practical ly evolving as additions are presented and alter- problems related to transportation or installa- ations made.. Another level of collaboration tion. An important value shared by Faulks, a involves multiple components in the overall value that is essential to the success of her col- project, each component having specific needs, laborative art making projects, is her belief that regulations, or unique contributions. all students in her classes, not only those inter- ested in art, are able to successfully create art. It would seem obvious that collaborative art making is indeed an example of synergy, that A teacher education program is the setting for the whole is greater than the sum the parts. the collaborative projects shared by Evelyn Taylor described collaborate art making as Vipond-Schmidt and preservice teachers are the "artwork that could not be attained through the contributing artists. This exciting collaboration efforts of a single individual." In addition to brings together elementary students with pre- providing some practical solutions to logistical service teachers. In addition to the helpful problems when undertaking major projects; to description of how this project was realized, listing books and articles that will give valuable I Vipond-Schmidt's discussion reveals the learn- information about this topic; and to providing ing potential for the preservice teachers, espe- some examples of collaborative art making, cially the learning that relates to their personal we hope this Journal challenges and inspires involvement with art - pride in creating an orig- you to consider collaborations within your irial image and feelings of confidence in creat- art program. ing art.

In considering these examples, it becomes obvious that collaboration can take place at Journal Editor several different levels. One approach may Sharon McCoubrey involve many artists creating individual art works which are then combined at the final stage to create one larger artwork, such as the murals and quilts. Another approach may - involve many artists contribunrig\tO create a

oliab s.

J The Collaborative Process of Art Making

By Taylor Gutermute a.k.a. Patty Taylor

Background modified. Instead of making some- vival, we tend to make a game, Information thing special, combining the need commodity, or spectator activity out for an object and the urge to create, of it. High prices are attached' to it and Reflections: we buy art objects from an artist or in order to support both the artists artisan. This shift began during the or specialists who make it or the Collaborative art has existed since Renaissance when art began to take performer, and to support those the beginning of human history on a commodity base (i.e., portraits who promote the work and create when the arts took the form of com- and decorative works) in addition to the celebrity. munal expression. In small-scale a spiritual base. From then on art societies, the "arts" were evidenced objects became less useful and In recent years, however, more by the kinds of behavior or ways of more void of a commonly held artists have been exploring a collab- doing things that embellish and meaning. Art became more orative and socially responsible and enlarge life, offering all community autonomous and, for marketing pur- responsive working model. Some members frequent opportunities to poses, more permanent. work with other artists, and some be "artists," and to be a vehicle for collaborate with the environment or group meaning. Ananda K. The artist as rugged individual with the public. Suzi Gablik (artist, Coomeraswamy says that in India involved in self-expression gradual- writer, and teacher) suggests that it the view is that art is a living ly became the model. As the artist is imperative for artists to transform process. "The artist is not a special has become more of a celebrity, their personal vision into social kind of person, but every person is elitism has been built into the sys- responsibility. a special kind of artist." tem by increasing the price for the artwork or performances. When we In our society, the channels for don't really need something for sur- making art are few and more corn- a 4 Making art that connects directly ing practice that brings people people working on a piece, but not with the world has not been a cen- together to work collaboratively on in the same place at the same time. tral issue in recent history, but for projects that address social issues It evolves through action built on most of human history art has and build a sense of community. reaction. served as a connection among peo- Should we be involved in a social- ple within a community. As men- ly and environmentally engaged Lesson Objectives tioned earlier, in the evolution of artistic practice? Those artists who "fine art" artists became specialized are called to this practice discover When doing a collaborative artwork and divorced from their initial pur- the great potential to build commu- with any aged group, I incorporate pose of reflecting emotions and nity through social interaction. By the four components in the ideas that are associated with the participating in this methodology, California Department of Education chief institutions of social life. The one stands the chance of becoming Visual and Performing Arts separation of fine art from the life active and impassioned and con- Framework for California Public of the shared community has nected to the world. For me, direct- Schools, Kindergarten Through changed art and changed the way ing collaborative art making experi- Grade Twelve (1996) into the art is taught. ences has combined my career in process or lesson. While there are art education, my career as an artist, other approaches, some very similar John Dewey wrote in 1934, and my need to express a concern to this, I find the following compo- "Students are not taught the process for the preservation of the environ- nents are part of what most artists of making art as an experience to ment through each person playing consider their art making process: share as members of a community. their part. Art teachers are most likely to teach Historical and Cultural the technical skills and the technical Context: Compare and categorize qualities of art making and not Working Definitions collaborative or artworks from the communicate the original purpose history of the arts and contempo- of art--to reflect the shared experi- The work I do with students and rary art. ence of a community. Artists, community groups stems from the teachers, and students might do following working definitions. Artistic Perception: Survey a well to weave the arts back into our series of collaboration works by communities by actively linking Collaborative Art: artists noting similarities and differ- their own experiences, perspectives, An artistic product that results from ences in the process, product and and individual vision to the com- more than one person creating an how the artists addressed formal munity and the world around artwork/performance that could not design issues. them." be attained through the efforts of a single individual. Creative Expression: The news media and scientific stud- Participate in a discussion and deci- ies inform us that there is an envi- Art Actions: sion making session regarding con- ronmental crisis that is going to Art Actions, often political in inten- tent, form, materials and technique require radical changes in public tion and subversive in their means, then plan and create a collaborative policy and in individual behavior. are works in the arts that bring artwork. Many artists are addressing the artists into direct engagement with looming crisis of our times, brought audiences to deal with compelling Aesthetic Valuing: Debate the on by our desire for the material. issues and social questions of our issue of ownership in regards to Artists are inviting other artists, as time. collaborative works of art. Consider well as those who do not view questions such as "What is art for?" themselves as artists, and students Art Interactions: and "Should artists become more of all ages to engage in an art mak- Work involving several or many engaged in work that addresses.

s 9 social issues?" Develop a rubric for best to develop the work to accom- Elements of Format: scoring the merits of the collabora- plish the goal. The whole process tive work to be,completed and takes on an added dimension when Participants apply the rubric to the finished the piece reflects a social issue and Location work. becomes a group artistic action to Time make a relevant statement. Meaning/Theme/Content Form Collaborative Art The steps used to complete the Materials Making in an work include brainstorming, explor- Technique Educational Setting ing, focusing, planning, initiating, Style revising, presenting, critiquing, and Process reflecting. We create the agreed To prepare a group for working upon piece collaboratively, make These elements may be determined together on a project, we first adjustments to the plan as the piece by the initiator, decided on in explore the collaborative process of evolves, critique the work and per- advance by the group, or left to be art making through a slide presenta- haps make revisions, then reflect on determined as the piece progresses. tion and discussion. Slides range our individual responses to and Other considerations involve the from cave paintings, to Renaissance roles in the group process. These way the communication occurs works including a discussion of the reflections can be related to our among participants, the division of apprentice and workshop model, to individual inter- and intra-personal labor, and allowance for revision of contemporary artists such as those skill. the plan. listed at the end of this article and works I have done in various set- tings with different groups of peo- Components to Consider in Sample Process Models: ple. We reflect on the many ways Developing a Collaborative people collaborate and discuss the Artwork Planned by a large group, exe- creative process as one completes a cuted by a small group. work of art individually verses in a group activity. The following components are a EinArtistic director as the ultimate sample of the considerations I have decision maker. As we plan a collaborative artwork experienced in initiating collabora- we determine the concept for and tive artwork. The are leadership, 131 Each contributes individually content of the piece, the time frame elements of format, the process adding to the work of the previous and working process for its comple- model, and motivators for the work. contributors. tion, and the criteria for the work. Following are some reflections on The group may prepare an assess- each of these components. M Contribute at will over a period ment rubric or scoring guide to of time. apply to the finished work. Leadership: Mutual planning and execution In recent years, I have been using Focus on the experience vs. produc- reused plastic bags for the material The initiator of a collaborative art- ing a product. from which to create collaborative work may be the leader or the works. This material leads natural- director, or can set up the situation Parts contributed by individuals ly to content issues regarding eco- and let it unfold. This person can then worked into a whole by one or logical issues. However, whatever be self selected or elected by a more. material is used the group will dis- group. cuss what they want the piece to communicate to the viewer and how 10 '4 4:* 41i 6 Motivators that Can Since 1993 I have directed over Influence the Content: twenty collaborative art works. Universities or professional organi- Public art for advocacy or social zations have commissioned me to change. work with groups. Some works Space conversion or enhance- have resulted from grant proposal ment. in which I have worked with other Community service project. artists or with students. Others works have been self-generated, I Thematic installation Environ- get an idea, connect with others, mental improvement project. and we create a work. When work- Spontaneous or planned public ing in collaboration, I have learned paint-in or chalk-in activity. that I must be open to:

Celebration or memorial Working in a technique or media School project. that is new and unfamiliar. Personal Considerations Changing along the way to pro- for Participation in duce other possibilities and exten- sions. Collaborations Self-evaluating at both a person- The process for working with oth- al and social level. ers on a collaborative artwork is quite different than working on a Negotiating varied points of piece by yourself in the privacy of view. the studio. Following is a list that Considering and negotiating var- contrasts some of the aspects of art making as they arise for the indi- ious aesthetic sensibilities. vidual artist and as they arise in the E1 Cultivating an atmosphere of collaborative effort. trust and reflection. Individual Artist Making new connections that Outcome more predictable influence personal artwork. Rugged individual Thinking, processing, and work- Private process ing in new ways. Competitive Look to self El Letting others work "on" me as well as with me. Self-expression One aesthetic sensibility Changing; I may change as well as the project. Collaborative Group El Being flexible and taking risks. Outcome unknown Taking criticism from a con- Work together to solve a problem structive stance. Public process Noncompetitive Learning, listening, leading and Reach out to the group following. Group expression Putting away my ego. Combined aesthetic sensibilities a

1014. e"s"..b airimacin

The making of NIMBY NIMBY rises

Examples of Collaborative Location: California State The group unanimously agreed and Works University Fresno NIMBY emerged in a day and a Funded by: California State half, complete with a public per- I document each completed work University Summer Arts Program formance in which the audience using a reporting format, slides, Participants: Taylor and twenty was encouraged to consider the photographs and/or video. course members including college alternatives to recycling. The 15' x Following are examples of three students and public school teachers 23' puppet manipulated by six per- works. I hope these will inspire oth- Timeframe: Two days formers was later used as a prop in ers to engage in this most reward- an opera. ing process. Collaborations enrich The intent of this workshop was to my creative process in unanticipat- Reduce, Reuse, Recycle have participants experience creat- ed ways and informs my solo work Date: May 1999 ing a work of art collaboratively. that now includes sculpture, mixed The group was very disparate and Circumstance: "New Works" grant media drawings, collage, and pho- had already completed a week and project with elementary school stu- tography. What I have experienced a half of the residential Summer dents is that every journey has a secret Arts program including some Location: Williamson Elementary destination of which the traveler stressful psychodrama. The raw School: Rancho Cordova, CA may not be aware. The destination material for our work was plastic Funded by: The Sacramento may be revealed in the process or bags the participants had collected Metropolitan Arts Commission and may be the process itself. and brought to the workshop. After the Sacramento County Waste a brainstorming session that Management Recycling Division NIMBY (Not In My Backyard) required repeated reminders of the Participants: Taylor and twenty- "rules" for brainstorming, I built on seven third through fifth grade stu- Date: August 1999 the success the participants experi- dents Circumstance: Part of a three-week enced in an earlier session with a Timeframe: Four two-hour sessions institute for the Summer Arts puppeteer and suggested they con- and a field trip to the county land Program sider building a gigantic rod puppet. fill.

01 would, as we ty land fill to accompany the mural. did, realize that The work was exhibited at the reducing, Sacramento County Office of reusing, and Education, the California recycling can Department of Education Statewide become a behav- Administrator's Conference and is ior pattern for now on permanent display at each of us. This Williamson Elementary School, in was one piece in Rancho Cordova, CA my Waste Land Project, a series Art on a Note of two and Date: February-March 1996 three-dimen- Reduce, Reuse, Recycle Circumstance: Youth Art Month one of three panels sional works developed to raise Advocacy Piece The portable mural created in this awareness of the need to preserve the environment we live in and are Location: Sacramento, New York project uses repeated patterns City, and throughout CA arranged in a quilt effect. The stu- leaving to our children. The project dents and I hoped the viewers focuses on the waste our con- Commissioned by: The California sumerism produces. The portable Art Education Association Reduce, Reuse, Recycle mural is a com- Participants: Taylor, students posite of 25 throughout California, 15 New York reused plastic artists, 10 California artists 4' box picture frames each Timeframe: Three months containing a col- lage based on a The goal was to do an advocacy repeated pattern piece celebrating visual art students and created by and art education throughout the the students state of California. I put out a call from recyclable to Kindergarten through grade materials. The twelve art teachers to participate by individual pat- having their students create art on terned collages 3" x 3" post-it notes. Works were are displayed returned by 900 kindergarten together on through grade 12 students. These three 4' x 7' works were given to artists in welded wire California and New York City and panels. Reused to other art student to responded to plastic bags are by creating a corresponding work woven around on another note. I combined 120 the collages to pairs of notes into a 6' x 6' work create a quilt displayed at the Crocker Art effect. I did Museum in Sacramento. The three collages of remaining pairs were paired with photographs the another pair on pages in five Art On students and I A Note Books that spent a year took on a field traveling to each participating trip to the coun- school. The large piece is on 9 13 :151?4>z, Jason Scheier finds his Post -It Note! Art on a Note Panel permanent display at the California Dissanayake, Ellen. Homoaestheticus: John Malpede Performance artist, Department Education in Where Art Comes From and Why. NY: The Free Press, 1992. theDirect Experience of Being Homeless Sacramento, CA. Additional pairs Gablick, Suzi. The Reenchantment of (theatre with a group of street people) were attached to letters sent to all Art. NY: Thames and Hudson, 1991. the state legislators in support of Tim Rollins and K.O.S.Art, knowledge, Gablick, Suzi. Conversations Before the and partnerships with high school students funding for art education in our End of Time: Dialogues on Art, Life & Spiritual Renewal. NY: Thames and public schools. Susan LacyThe Crystal Quilt (about Hudson, 1995. the shared condition of being female) References and Hurwitz, Al. Collaborations in Art Related Readings: Education. Virginia: National Art Bradly McCullum Park Bench Shelter Education Association, 1993. Anderson, Richard L. Art in Small- Lacy, Suzanne, editor. Mapping the Joseph Beuys Scale Societies. New Jersey: Prentice Terrain: New Genre Public Art. Hall, 1989. Washington: Bay Press, 1995. Judy Chicago

Becker, Carol, editor. The Subversive London, Peter. Step Out-Side: Hans Haacke Imagination: Artists, Society, & Social Community-Based Art Education. Responsibility. NY: Rout ledge, 1994. NH: Heinemann, 1994. Allan Kaprow Blandy, Doug and Kristin G. Congdon, O'Brien, Mark and Craig Little, editors. Art in a Democracy. NY: editors. Reimaging America: The Arts Ann Halpin Teachers College, Columbia University, of Social Change. CA: New Society 1987. Publishers, 1990. Robert Rauschenberg Brett, Guy. Through Our Own Eyes: John Cage Popular Art and Modern History. PA: New Society Publishers, 1987. Guerrilla Girls CONTEMPORARY (and Not So California Department of Education. Visual and Performing Arts Framework Contemporary) ARTISTS TO CONSIDER: for California Public Schools, Mierle Laderman Ukeles Kindergarten Through Grade Twelve. The Social CA: CDE Press, 1996. Mirror (with NY Sanitation Department) Taylor Gutermute, a.k.a. Patty Taylor is the visual and performing arts Coomaraswamy, Ananda K. History of Barbara Kurger I Shop Therefor I am Indian and Indonesian Art. NY. Dover coordinator at the California Publications, 1985. Andy Goldsworthy Nature is Department of Education and a prac- Dewey, John. Art as Experience. NY: the subject ticing artist. She travels throughout Perigee Books, 1934. the United States directing collabora- Dissanayake, Ellen. What Is Art For? Krzysztof Wodiczko Homeless Vehicle tive artworks in the visual arts as Seattle: University of Washington Project well as those that combine the visual Press, 1988. 14 and performing arts.

10 Making Connections- The Integration of Art and Language Arts

By Virginia MacCarthy and Heater A. Pastro

The following project is an Just as there are various words in "The idea of linking art and lan- example of collaboration between our language which have different guage art is not anew one." two professors in a teacher purposes, such as nouns, verbs, (Grauer and Sages, 1999). The art education program, and between adjectives, and adverbs, there are process is strongly linked to the two disciplines, art and language. basic art elements. These include writing process with the following line, shape, colour, texture value, stages: "Students become aware that an space and form. These elements author uses words to create an are the visual building blocks image for the reader as an artist that the artist puts together to it uses paint, clay or other materials create a work of art. Words nee. adVIIMUrdid 1:20644161° to create an image for the viewer", are the parallel in Language (unknown) Arts. We express ideas clear- ly and precisely through These words set the stage for effec- unity, balance, and form of tive integration of the Visual Arts language. As we write and and Language Arts. a speak, we add action, descrip- C tion, and feeling to achieve Visual images are organized balance and create emphasis. according to rules. In language, This correlates to line, shape, these are the rules of grammar. In texture, and colour in art. Art it Visual Art the rules for organizing stimulates writing and serves 4:s the elements of art are called the as a source for developing principles of art and include vocabulary and literary tech- rhythm, balance, proportion, niques such as metaphor, syn- I WO 41,4136 IVA '74 Aj emphasis, variety, harmony and onyms, comparison, and ,RAG . unity. exaggeration. AGES IN THE:

ART PROCESS WRITING PROCESS

All of the stages in the process can be ongoing, overlapping and repeated

oMOTIVATING: oPRE-WRITING: Getting started what we do before we write

oDRAFTING: oDRAFTING drawing ideas on paper Writing the words on paper

oIN PROCESS CRITIQUE: oREVISING OR EDITING: Making it better Making It better

oREFINING: oPROOFREADING: Checking in Checking it

oEXHIBITING: oPRESENTING/PUBLISHING Sharing it Sharing it

`t n12 It is from this point that a true con- nection between language arts and the visual arts can be reflected in classroom practice. An example of how the motivating (art) and prewriting (language arts) stages in both processes can be introduced in the classroom is through the strate- gy of story quilting.

Using the book, The Quiltmaker's 1$1,' Gift, the students shared a common experience of listening to the story, understanding the elements of the story, and building vocabulary. To reflect their understanding of the story, students were then asked to retell the story using the poetry form Diamante. Creating the poem involved working in the drafting, editing, and proofreading stages of the writing process. By using this poetry form, a diamond shape emphasizing opposites, the students easily moved into the art form of quilting. It was here the connection was made between the rules of lan- guage (grammar) and the principles of art.

Corresponding to these stages in the; Stories can provide a point of writing process are the stages in the art process of drafting, in process departure for arts explorations critique, and refining. These are reinforced through story quilting as that allows multiple levels of outlined in the following lesson meaning to emerge. plan. Everyone finds meaning in a different part of a story.

School Arts Journal April 1997

13 Story Quilts a form of Narrative Art Lesson Plan by Heather A. Pastro

* I.R.P. Linkages: p/r perceiving and responding c/c creating and communicating

Context (Social, Historical, Personal) * p/r

view video "Faith Ringgold: The Last Story Quilt". read "Tar Beach", by Faith Ringgold, or any other picture booksee bibliography discuss purpose of quilts and their significance. discuss the artist and her contribution to the art world. have students talk about quilts and what they mean to them. List possible themes or topics for quilts. explain to students that they will be drawing a picture on a quilt square and writing a poem on a theme that is of interest to them.

Note: Each student could create their own theme or the whole class could decide upon one them for this quilt.

Elements and Principles of Design p/r

0 COLOUR, 0 SHAPE, 0 TEXTURE, 0 PATTERN, 0 REPETITION, 0 UNITY

have students look at quilts from the images in the books. Talk about the various patterns and ways that quilts are made. explain that this quilt will look like this: Poem Picture

Picture Poem

Image Development, and Design * c/c & p/r

students are given 2 squares of manila tag. The squares are turned "on-point" like a diamond. - on one square an image is drawn to represent a chosen theme. on the other square, a poem is written to relate to the theme. - students use crayons, felt, pens, or pencil crayons, etc. to colour their design and to write the poem. - use fancy-edge scissors to trim the sides of all squares. D arrange all quilt squares "on-point" on a large piece of coloured paper. Make sure the poem is next to the artwork. Once the pattern is in place, glue everything down. Squares can be touching or spaces can be left in between. decorate the borders and areas in between with cut up fabric pieces, wallpaper, fancy papers, etc. to create a textured appearance and areas of interest. The border design could be made up of squares to show a patchwork effect or more intricate detail, depending upon the abilities of the students. use a hole punch to place holes every 6 inches across the top of the quilt and weave coloured wool through the holes to create a hanger. display make sure every child's name is either on their quilt pieces or on a card to recognize their work.

Materials * c/c

1. manila tag (2 pieces per student)cut into 6", 8", 10" or 12" squares, depending upon size of finished quilt 2.glue 3. large sheet of coloured paper to display finished quilt squares 4. a variety of fabric shapes, wallpaper samples, shiny paper, foils, corrugated cardboard, felt, construction paper, etc. 5. wool to hang up quilt 6. scissors 7. quilt bookssee bibliography 8. video "Faith Ringgold: The Last Story Quilt" 9. sample of a quilt, if available

Assessment/Evaluation

working together cooperatively use of language, responding to theme of quilt use of elements of art and principles of design - problem-solving abilities designing intricate and elaborate patterns awareness of theme and how it tells a story

Responding to Art

Discussion questions using critical thinking.

DESCRIBE: What materials did you use in your quilt?

ANALYZE Why did you choose certain materials for certain areas? How did you combine your poem and illustration?

INTERPRET - What would you title your poem and artwork?

DECIDE Were you successful in creating an image to reflect your poem? If you could do this quilt over again, how would you change it?

n15 The final stages in both processes are exhibiting (art) and presenting/publishing (language arts). This was accomplished by having the students read their dia- mante poem and share how they incorporated their writing into their story quilt block. All the blocks "The quilt is a perfect metaphor for the classroombegin with small were then displayed together repre- pieces and through hard work and senting the collaborative quilt. The creative design, achieve a master- connections were completelan- piece of unity." guage arts and visual arts. A

retelling of the original story Sally Bender, Librarian through the literacy device of poet- ry was woven into the ancient art form of quiltmaking.

Bibliography of Children's Books About Quilts

With Needle and Thread (Bial, 1996) The Quilt (Jonas, 1984) The Quilt Story (Johnson, 1985) Dia's Story Cloth (Cha, 1998) The Quilt-Block History of Pioneer Days (Cobb, 1995) Catherine, Called Birdy (Cushman, 1994) Sam Johnson and the Blue Ribbon 0 Quilt (Ernest, 1983) The Patchwork Quilt (Flournoy, 1985) "I've always loved quilts. I have several from my grandmother that I Luka's Quilt (Guback, 1994) treasure, and I like sharing them Sweet Clara and the Freedom Quilt with my students. It's part of our (Hopkinson, 1995) cultural heritage. Every year I find The Rag Coat (Mills, 1991) a way to work them into the Eight Hands Round (Paul, 1996) language arts curriculum." The Keeping Quilt (Polacco, 1993) Tar Beach (Ringgold, 1994) The Whispering Cloth (Shea, 1995) Selina and the Bear Paw Quilt (Smucker, 1996) Bringing the Farmhouse Home (Whelan, 1992)

L_I 16 draw or write about themselves, i.e., one square about family, another about favourite book. Other squares could focus on hobbies, pets, important events, or dreams for the future.

4. Social Studies Quilts students can create information quilts about topics studied in Social Studies. Each square could include facts either written or illustrated that the chil- dren have learned.

5. Science Quilts like the Social Studies Quilts these quilts could be made using themes learned in Science classes. For example if the theme is insects, children could The Quiltmaker's Gift colourful tissue paper to create a draw pictures of their favourite (Brumbeau, 2000) stained glass effect to create a insects and write facts they've Quilts from the Quiltmaker's Gift medieval mood then quilts can be learned around the outside of the (Line and Tubesing, 2000) hung on large windows. quilt square. If the theme is weath- er, students could create a border of Appendix 1 2. Postcard Quilts zig-zags that look like lightening. students are given a 6" x 6" square If the theme is the Human Body, Story Quilts piece of manila tag. They tell a With Children students could put their foot, or story through the art on their square handprints around the borders. by Heather A. Pastro about themselves. This finished quilt hangs proudly in the class- 6. Valentine Quilt The following is a list of ideas for room and welcomes students to a every square is red and all materials making quilts with children in Art new year. used are red. Every square is a dif- classes. Be creative and add to this ferent heart. This is a dazzler for list. 3. All About Me Quilt the eyes! use 1 large square of poster board 1. Stained Glass Quilts per student. Cut it into 4 square 7. More Ideas use black construction paper and pieces. In each square children References

Louisa Brown. (1999). Tell Me A Story. School Arts. December, 1999. p. 20-22. ,...31y1 14GT Kit Grauer and Maise Sages. (1999). Art and Writing Revisited. BCATA Journal for Art Teachers, Volume 39, Number 2, Spring 1999. p. 28-31.

Art Connections Level 5. SRA/McGraw-Hill, 1998.

Virginia MacCarthy is a college professor in the Faculty of Education at Malaspina University College. Heather A. Pastro is a college professor in the Faculty of Education at Malaspina University College. The Spirit of Nature: The Grandview/?uuqinak'unh Public Art Project By Illene Pevec, MA

This is the story of a public art within 20 kilometers of each other inequity of opportunity and my process involving children and in the same Canadian B.C. provin- job didn't give me the possibility. adults that grew out of a major cial public school system the chil- I applied for graduate school. school grounds revitalization proj- dren of wealthy parents were Just before graduate school began ect in East Vancouver. offered a far more enriched educa- I attended a conference of the tion than children on the poorer Society for Values in Higher In March of 1998 as part of my job side of town. Education. A presentation on I happened to visit two schools in I wanted to do something about this "Farm in the City", a project in the same week, one in West The poles arrive at Grandview Elementary School Vancouver, one of Canada's wealth- iest communities, and one in East Vancouver, a high population densi- ty area with many families on wel- fare. The West Vancouver school looked like a country club and had every amenity one could imagine: an in-house television production facility, a computer animation lab, two hundred computers, a school orchestra and science labs. The East Vancouver school I visited two days later stood in stark contrast with .111111..- three second hand computers and many social problems stemming from poverty. I was shocked that

--El19 St. Paul, MN that brings together have introduced the fine arts and horticulture in a (Caduto & Bruchac, garden program for inner city chil- 1994, 1996, 1998; dren inspired me. The Fine Arts Denee, 1995). The department of Concordia College process of creating all and Master Gardeners collaborate elements of the garden to create a wonderful recreation and site embodied integra- educational environment for chil- tion and interconnect- dren to explore nature and make art edness. We created too. I realized that was what I want- both an ecological ed to do for my Masters thesis proj- restoration and a cul- ect. I called Grandview/?uuqinak'u- tural restoration project uh Elementary, the East Vancouver (Matilsky, 1992). The school I had visited, and proposed First Nations cultural helping the school to develop a gar- elements of this project den for integrated, active learning. had clear importance They loved the idea. from its inception, but as the project grew it I began my research into how other became apparent to me schools had developed gardens. I that they lay at the learned community collaboration heart of what was was the key to success, and that I important within the needed a master plan created by the school community. The Raven gets a pat from pre-school student. community's wishes. I sent out an email to the Agriculture faculty at The school's First Nation's parents Ramona is a carver and has several UBC requesting help. Tracy Penner and grandparents told me that the masks and other ritual objects she replied that she wanted to design a elder at the school, Ramona Gus, has done on display in the central sustainable urban schoolyard to was the person I needed to consult display case at the school. Our vol- complete her degree in Landscape about any cultural issue. Ramona unteer architect, Bruce Carscadden Architecture. We formed a very shared with me her memories of of Roger Hughes and Partners, fruitful partnership. In January going food gathering, especially designed a Longhouse outdoor 1999, we began design workshops camas bulb gathering and berry classroom with carved flat cedar with all the children, teachers and picking with her grandmother when boards mounted to steel poles. interested parents and community she was a little girl before she was When I learned of the Public Arts members using Stanley King's Co- sent to a residential school. Ramona grant through Vancouver's Office of Design methods (King 1979). has been very supportive of starting Cultural Affairs, I spoke with the gardens at school for growing Ramona about doing the carving of The children wanted running water food and flowers and the native these poles as a public art project. and places to play where they could plants. She said that native people Ramona and I discussed what a get up high. They wanted natural have always traded plant knowledge public arts grant would require of elements and places to hide. The with other aboriginal people and her. Not all artists can or want to First Nation's staff and parents adopted things they liked such as share the art process with people made clear their desire to see their potatoes which came from the Inca who are not artists. But Ramona culture embodied in the garden of Peru. She also said it would be had worked at the school and vol- project. The landscape and architec- very good if children could learn unteered at the school for years tural design have honoured those "old medicine". teaching First Nations art, so she wishes as have the curriculum I was very keen to do the poles as

20 a public project.I suggested she get an assistant so that all the work didn't fall on her since she is in her seventies, and she agreed that would be a good idea.

She gave me the price per foot for totem poles ($1000 per foot) and I applied for a grant for the welcom- ing poles of the Longhouse, When we learned six weeks later that we got $20,000 for the poles we were ecstatic. The next week we learned that Tracy's grant to the B.C. Real Estate Board Foundation had netted $52,910 to build the Longhouse. These grants were an incredible affirmation of First Nations' culture in the school community by the broader community.

When I asked Daphne Wale, the First Nations Resource teacher, what the significance was for the students to have the chance to help with totem poles for the school and have a Longhouse on site she replied. "How will a Greek child Doran Lewis, carver and assistant. feel who goes to Greece and sees ed, the questionnaires, how every- Greek culture? Put that light on for one from child to grandmother has ing, I found BC Recycled Woods. a child who lives in an inner city. been involved. All the stakeholders They receive the old cedar phone They grow up here in the city, but are involved: school, community, and hydro poles and then mill them then imagine how it will feel to see parents, people in walking distance. for picnic tables and chairs or other their own culture honored at All the ideas generated: boxes, suitable uses. Ramona, Tracy and I school." maps, field trips, discussions, dem- went one snowy January day to see ocratic process. Everyone is con- what they had. Ramona preferred When I asked her about her own sulted. That's why the brainstorming to do a whole pole, not a large feelings as an adult concerning the and the list and everyone choosing board, but nothing in stock had a establishment of a physical site for 10 ideas help us understand what big enough diameter so we left the First Nations education she can be done, what is obtainable. minimum dimensions needed with answered, How you documented it with pic- the manager. February 7, 2000 a "I'm just pumped. The feeling that tures, with videotape...so its accu- truck brought the poles, and a front- comes from everything that's hap- rate." (From a taped interview at end loader lifted them out and onto pening, it feels good for everybody, the school, December, 1999). the waiting saw horses in the school for kids, for the teachers. I like the parking lot. community inclusion, everyone After many phone calls in search of Ramona's assistant, Doran Lewis, was making the decisions, how it start- cedar poleswe could use for carv- 4.1 y..4. there with his chain saw to begin

21 roughing out the shapes needed on Ramona spoke about the poles at potlatch. Every day women and the two poles, one eight feet long the school multicultural night so sometimes children sat and made and the other six feet. (Inspired by that all the parents would know quilts, book bags, pencil holders, the Musqueam tradition the what was happening and invited knitted hats and many other items Longhouse has a sloped roof with everyone to participate. Almost filling the entry hall with enterprise one side shorter than the other mak- every day children, the entire and creative activity. Ramona told ing necessary the two different school staff and parents and visitors me she was working way more now lengths of the poles.) The smaller 6- could see the poles take shape, one that she was retired than when she foot pole would become a raven, at a time, since they were outside was a paid resource person at the the trickster, a principle character of being carved in a roofed area by school.I was glad the grant had a many stories. Ramona had designed where the children played. The good fee in it for her. a traditional Nuu-chah-nulth image February to May carving from of a thunderbird lifting a killer chain saw to fine cut lines was a By late April the first pole was whale for the 8-foot pole. This public process. ready to paint. I established days comes from a time when her village with Ramona and Doran for the was prevented from going fishing I learned by watching school life go children to paint and arranged the because their ocean cove was filled on around Doran as he carved that sign up times with the teachers for with whales. They called on the we had in a way recreated village five or six children at a time to Creator for help and a giant thun- life where an artisan practiced his paint for about ten minutes each. I derbird came, lifted the whales up skill not in isolation, but in the mid- was fascinated to see the total focus and took them to the top of a moun- dle of children playing. Pre-school- of the children. Not one child mis- tain where the Thunderbird ate ers and grade school students all behaved. No one ever fooled around them. Once again the people could wandered by in the course of their with the paint or brushes. Ramona fish. day to stand and watch the pole handed them a brush, told them take shape. This was art education what color they could paint where. Doran discovered the poles were of a traditional nature, very suitable Each child did it with complete water logged, probably from being to the context. concentration and focus. We all did stored in the ocean. When we In the meantime, Ramona organ- it. It felt like a meditative practice moved them inside so they wouldn't ized many First Nations parents and to paint Raven a bold black. be stolen, the dry indoor heat began grandparents and other volunteers to crack them. We found a room to make gifts for the pole raising Ramona oversees Grade 3 students in where they could be stored by an painting the Thunderbird-Killerwhale pole. external wall in the gym that didn't have heat, and that kept the crack- ing from being too extreme. Doran filled the cracks with glue.

Doran worked on the carving and sanding of the poles under the cov- ered area of the playground black- top. The cedar dust can be very irri- tating so the carving and sanding had to happen outside, and he wore a mask. Ramona didn't feel the children or any of the parents could be involved in the carving, only in the painting because of the hazards of dust and sharp tools. n22 dents gave us all the chance to experience a collective tradition that brought dignity and beauty to the community.

The First Nation's parents and grandparents worked with Ramona to organize the pole raising potlatch with some help from the First Nations staff at the school. It was not done by school administration. This marked a significant shift in power dynamics in the school. The First Nations took charge. I realized that the poles were a catalyst for a very important renaissance of First Nations' culture in the school. The First Nations people had become the creators and doers in the school rather than the receivers of services. The potlatch opened on May 11, 2000 with prayers and songs from the Burrard, Musqueam and Squamish nations that claim the school territory. Each singer and dancer received a gift after their performances. Ramona and Doran, Jock, Tracy and I and funders for Ramona directs painting of Raven tradition, that there is something the garden all received beautiful grounding in the practice of a tradi- I had seen some of these children hand made gifts. The Intermediate tion. The children were very calm not very able to focus on a task. I children drummed on their African painting the totem poles. That calm wondered how they would be paint- drums. This potlatch embodied allowed them to complete the task ing with permanent paint on an multiculturalism by honoring all at hand and feel good about a job object destined to outlast their life- cultures present. I was thrilled to well done. Since I do not come times. I realized quickly that I see the coming together of the com- from a culture where anything is couldn't ask them questions when munity. My husband was videotap- done just so and no other way, this they were painting. They didn't ing the event. He told me he over- was a first and very enlightening talk to each other. Talking broke the heard one woman say to another, thing for me to witness. The indi- concentration necessary for the job. "This used to be the saddest place vidualism of European culture that Painting the totem poles brought to come, but look at it now It's has shaped much of my thinking each child into a wonderful state of wonderful." and personal approach to art educa- quiet concentration. tion has also routinely disregarded At the groundbreaking ceremony the traditions of indigenous cultures I learned from watching this for the Longhouse and gardens one to the extent of wiping them out. process which did not give the chil- of the school grandmothers, Lorelei The carving of the totem poles at dren any choice about color or Hawkins, did a ceremony to bless school and their painting by the stu- form, but was all done according to and cleanse the land. Ramona stood

'O. _r-23 References:

Caduto, M. & Bruchac, J. (1996). Native American gardening: Stories, projects and recipes for families. Golden, CO: Fulcrum Publishing.

Caduto, M. & Bruchac, J. (1997). a Keepers of the earth: Native American stories and environmental activities for children. Golden, CO: Fulcrum Publishing.

Caduto, M. & Bruchac, J. (1998). Keepers of life: Discovering plants through Native American stories and earth activities for children. Golden, CO: Fulcrum Publishing.

Cajete, G. (1994). Look to the r irRorrt rrik mountain: An ecology of indigenous ". education. Durango, Colorado: Kivaki Press.

King, S. (1989). Co-design. New York: Van Nostrand Reinhold.

Matilsky, Barbara C. (1992). Fragile ecologies-contemporary artists interpretations and solutions. New York: Rizzoli International Publications & The Queens Museum of Art.

Ramona Gus at Longhouse dedication. as her witness, and Lorelei's grand- and planted the gardens that are daughter helped so that she could transforming inner- city grey to a begin to learn how to do this cere- vibrant, living environment where mony. At the end of the smudge cultural traditions, fine art, native with sacred smoke of everyone plants, vegetables and sunflowers there and the smudge of the land all can bloom together. The chil- Lorelei prayed, "We ask the Creator dren have used hammers, paint Illene Pevec completed her Master to bless us that we work together to brushes and shovels to create the of Education Degree at UBC. She heal the land and heal ourselves." environment they have named "The teaches in Vancouver, BC. Spirit of Nature". The totems stand In collaboration, children ages 3 to guard over it all. 13, teachers, parents, elders, and neighbours have created the totems

1-124 Making Mosaic and Ceramic Murals: A Collaborative Challenge By Lynda Faulks

Over the years at Cowichan because the artistically Secondary School in Duncan, my strong students help the art teaching partner, Craig weaker students, the faster Campbell, and myself have collabo- ones help slower ones. As rated on many murals. During the well, these mural projects past ten years, Cowichan students tap the energy and potential have produced more than 160 of teenagers because they murals for schools, hospitals, uni- see they are not just making versities, the Commonwealth yet another classroom proj- Games, and our sister school in ect, but they are creating Japan. These artistic challenges something really special have extracted the best from our that will last a long time students and have underlined the and will add to the commu- single philosophy that great results nity at large. As teachers, are possible if students are given our philosophy has been 'highly demanding and interesting that 'young people are capa- projects to be executed in a short ble of whatever we, as the period of time followed by a pres- teachers, believe they can entation to the public. These col- do'. In these collaborative laborative mural projects tap the mural projects, we employ 'power of the group' not only for the Gestalt philosophy that 'the Whole is more than the idea generation, but also for ensur- 06 ing the completion of each mural, sum of its parts' and by combining students' separate mural proposals panels that relate to a common to the City theme, one is able to shift these Fathers, panels within the context of the Rotary mural shape to create the strongest Clubs, arrangement possible. Hospital 0:- -111/4_ Boards, Projects such as these have given Museum Craig and I an opportunity to work Co-ordina- closely with each other. As an art tors and teacher, one usually works alone, the like. but in mural making, if one is To enlist involving more than one class, one the support must work in a collaborative way of these groups one must produce with just the right person involved with one's colleague, to discuss exceedingly professional proposals in planning the Victoria based possible themes, venues, format and which will encourage these groups Games. Eventually, I was directed to Martin Seggar, head of the timing, to say nothing of possible to see young people in a whole new Maltwood Art Gallery at the sources for project monies. All in way. Working with these commu- University of Victoria. He came up all, Craig and I have found this nity members, it has been necessary to the school, saw the caliber of the process of working together to for them to believe, not only in the murals we had already produced make murals energizing. At the abilities of the students to produce and decided on the spot that we, discussion stage we have also col- the projects outlined in proposals, indeed, could do the job! I present- laborated with our maintenance but also to believe in the teacher or ed to him renderings of my idea, a large leaf shape about 5' x 5' that, department. When we have tried to teachers involved. from distance, would look like a do everything ourselves in our earli- coloured maple leaf, but which, up er projects, (except for the final To clarify the collaborative close, would have 50 triangulated framing which they did) we discov- pieces, separated by a 1/2" grout approach used to produce our many ered they should have been line, each piece developing in community based murals, I will involved from the outset to cut ceramic or mosaic one of the sports outline the process used to develop accurately the basic pieces of ply- taking place in the game. In the the mural made by Cowichan wood on top of which the students centre of the leaf would be the Secondary art students for the 1994 Commonwealth Games symbol. worked their ceramic or mosaic Commonwealth Games, permanent- The grout lines would suggest, sections. By involving ly on display at the University of from a distance, the veins in the Maintenance at an early stage we leaf.I projected the cost for mate- Victoria stadium. have virtually eliminated fitting rials to be about $2,000 and Martin problems. As well, we have found saw this to be such an inexpensive the maintenance workers have Prior to the Commonwealth Games, amount to acquire some public art, enjoyed the challenge of creating I saw an opportunity for our stu- that he made the funds available from his own Maltwood Gallery something different and have dents to do some public art based budget. Martin also acted as liaison seemed pleased to help us on an on our precious track record of pro- ducing mosaic and ceramic murals between Cowichan's maintenance ongoing basis with such projects. for the Queen Alexandra Children's department and the University of Hospital in Victoria, for the Victoria maintenance department in In the general collaborative process Cowichan District Hospital, and of order to avoid any Union difficul- of producing special mural projects course, for Cowichan Secondary ties. He also organized the unveil- for the community, one has to make School. I knew I had to connect ing reception and a display in the

n 26 0 images in you will know exactly what I am mosaic talking about! You make this mis- tile. We take only once!). would then Now, in this process we also collab- alternate orated with Dennis Zenatta of mosaic Cowichan Terrazo and Marble and Company, an expert in the use of ceramic tiles for exterior purposes. He panels in made sure that we had water- this leaf proofed our plywood, had used format. In only tile made for the exterior pur- a previous poses and that we had used mortar Maltwood Art Gallery of students mural created for the 60th to adhere the tile to the plywood, preliminary drawings and photos of Anniversary of the Cowichan not glue. As well, he recommended the project in process. District Hospital we had already grout with an acrylic additive to worked out how we would equalize used to join the 50 panels together During the preliminary process, the height differential between the and by so doing make the mural Craig Campbell and I collaborated clay panels and the mosaic ones. impervious to the weather. on the technical aspect of develop- Her ceramic panels would have to ing the Maple Leaf vision. We be at least 1/2" think and as a decided his class would make bas result, his clay work would have to As far as the classes were con- relief panels in clay depicting sport be mounted on 1/4" triangulated cerned, the students did not work in images relevant to the Game and plywood. Mine, however, would isolation. Each day, Craig and I my students would develop their have to be mounted on 1/2" ply- would use every student's work to wood because the tile inspire everyone else. "Look at depth would only be about what George is doing here, look 1/4". By so doing, the how Stacy has arranged the tiles mural surface became there!" Even though we had somewhat even. At this Special Needs students in, the class, point, the maintenance as well as students with varying degrees of talent, everyone pulled ti department built the basic framed maple leaf ply- together and helped one another to wood backdrop and cut make the mural happen. In 30 the 50 plywood triangles years of teaching I have never had a which would act as bases student fail to deliver the necessary for the triangulated high quality work for these unique designs. Each of these tri- projects! Students are totally excit- angles had to be num- ed to be part of something special. bered and marked 'right', 'left', 'front', 'back' to Finally, to complete the mural, avoid using these tem- Craig and I, along with the plates in the wrong direc- maintenance departments of UVic tion. (If you have ever cut and Cowichan worked together at two pieces of material for the university stadium to grout the same side of a dress, the finished panels inside the

27 31 I

t

Maple Leaf backdrop. It was thrilling to see a vision, made visible through collaboration.

It would be erroneous to suggest that these types of projects have no difficulties. Panels sometimes warp in the kiln, or blow up because of air pockets, or because they have been fired before completely dry. At the 12th hour, we have had to have students make panels again! Sometimes slower students have to be given 'pep talks' to get them to finish.their work and the 'power of the group' has to be harnessed to Craig Campbell and Lynda Faulks beside the completed Commonwealth Games mural. make it all happen. Sometimes I have had three or four students dents and for the teachers involved. working on a panel, at the last These special projects serve to minute, in order to meet a deadline. underline the importance of art in the community and, more particu- In spite of all the extra work and larly, reveal the incredible potential Lynda Faulks teaches art at problems. however, collaborative Cowichan Secondary School in of our young people who, if chal- mural projects such as these are Duncan, BC. lenged and encouraged, are capable incredible energizers for the stu- of amazing things! 22 1128 A Teaching Jewel: Collaboration in Art

By Evelyn Vipond- Schmidt

Why do I want to write this article? aspects of learning. It is learning these individuals to be excellent Because this jewel ("a thing of rare efficiency as the students experi- and caring art educators. We meet excellence or value") of working in ence multiple forms of expression once a week for three hours in one partnership on art projects is a in a short time and all in one proj- semester,a very short time for a powerful teaching tool and is not ect. The process not only leads to a full slate of learning in an area that often considered by teachers. Its product, the process is the product for many has been long locked power is due to integrating so many as the whole becomes greater than away. What a pleasure it is to see the sum of its parts. Partnership what was perceived as an impedi- involves relationship which is fun- ment simply dissolve as the term damental to art making and to unfolds and the students immerse understanding art. Relationship is themselves in the discovery of key to the art process as the artist themselves, art, and the art of plays with the relationship of shape teaching. to color to feelings and to mark making itself. As art educators we In our course .I include two collabo- try to open our students to the rela- rative endeavors, one two dimen- tionships that surround us continu- sional and one three dimensional. ally. At this time I will discuss only the two dimensional mural project. I have the privilege of teaching Shortage of time was the brainchild art methodology to pre-service for this project. I wanted to give the elementary teachers at University students experience in integrating College of the Cariboo UCC in drawing Kamloops. It is my job to prepare, encourage, demonstrate and nurture -I29 33 and painting as two different ways One member of the group now of working, plus practice drawing approaches a "hat" or "box" and on a large scale with the empathetic draws out a piece of paper indicat- searching "touch" quality of line. ing what color scheme they get to Previous drawings were sketchbook paint their mural. A variety of size only. color renderings had been previous- ly prepared such as: Four models from each group were one color/tints and shades selected to pose. On 22x32 Bristol al shades board, students put pen to paper as all tints 41/111101° they slowly "touched" the edge of cool colors/tints and shades the models "feeling" all the sub- warm colors/tints and shades tleties of the form to complete a analogous colors/tints and shades wonderful large silhouette drawing. This is a great exercise in focus. The age and number of students One of the students used this unit in would determine the color selec- his grade 4/5 practicum and tions you make. I recommend the declared his students loved both the widest range possible as these color posing and the drawing. Once com- subtleties and possibilities become painting utensils lay waiting. After plete, students carefully cut out the your teaching tool when murals are showing proper procedures of paint silhouette including the negative finished. Inevitably you get the set up and clean-up, I demonstrate spaces. Later these shapes would be groans of: What! One color only? the techniques of: scumbling, fin- glued onto black construction paper In the end they are amazed and ger-painting, dry brush, sponge, to make a powerful and dramatic excited by the variety of hues they painterly, washes, spatter, short exhibit. Students were hesitant at create and explore. I often hear, choppy brush strokes, palette knife, first but soon found that it was fas- "Why didn't anyone tell me about fine line work, etc. In our case at cinating "to see how the same this before?" U.C.C. this is all the introduction model looked so different from dif- they get and off they go to their ferent perspectives" and that it "did At this time I bring their attention mural paper with their limited color not matter if you were good at to a communal table of supplies scheme, lots of fears, confusion, drawing or not. Because of all the where a wide variety of paints and and excitement. And begin! strange angles, all arrived at inter- Often if time permits, I include a esting shapes". 10111NAIII Small groups of four per group now t^an'..40 formed and with their cut out sil- houette "plate" in hand and a 3.5 'x7' foot piece of cartridge paper in front of them, students began to explore. They were encouraged to move all around the mural tracing their "plate" by: tilt- ing, clustering, overlapping, shift- ing, using parts of the "plate", repeating, placing upside down, etc. until they were satisfied with a final design. In our classes this section moved fairly quickly due to time restraints.

A 30 34 said she had been feeling confident about the idea of shades and tints. But it was only after she had sunk her brushes into the paint that she really knew them. A light had turned on for her which she valued as an experience she could give to her future students.

During this process, a visible trans- _ formation was taking place. From the initial tentative marks, feelings of being overwhelmed, confusion, and chaos, a flow and fluidity began to emerge. Students them- selves remarked on what was an Regardless, color wheels are in evi- initial guarding of their personal dence on the classroom walls for space, to relaxing into a recognition reference. As the students become of the bigger spacethe whole. involved in their murals, I again They began to feel that their art had encourage them: a life of its own. A synergy devel- oped, "We were all one huge cre- to move around the mural as ative mind." The process was like a they work dance and to recognize that the back at the same time a symphony of ground negative shapes are just relationships. as important as the positive shapes of figures As a collaboration, students began to mix as many subtle hues as to let their stress go as they recog- possible nized they were all "in the boat to try out as many of the art together". There was no pressure to techniques as they can produce anything thus, students could relax in the process itself. to look at their work from a They felt that all had the opportuni- distance periodically ty for input. There was no right or to begin to push areas back and wrong even though there were spe- bring other areas forward cific criteria to be followed: " I to learn to trust their intuitive liked being given criteria that I felt choices free to move around inStudents painting mark making exploration to be aware of the power of learned and were inspired by what exercise on 18x24 cartridge that contrast, emphasis, movement, their fellow students were doing. precedes the "diving-in" to the balance, etc. They supported each other, gave mural. Also if time is no problem, I feedback and developed a depth of have students mix and create a What a great way to incorporate the trust in their relationship with their color wheel with primary colors. vocabulary and concepts of the ele- partners that they had not known ments and principles of designas previously. the work is in process! One student Upon completion of the mural, typed tree. This students hung them in the halls and unit could also be stairwells of U.C.C. for themselves successfully inte- and all to see. The students' final grated with other task was to read and ask questions subjects across from Edmund Feldman's four the curricula. stages of art criticism: description, The possibilities analysis, interpretation, and judge- are endless. ment, and Broudy's aesthetic scan- ning techniques of sensory, formal, Such is the power expressive, and technical properties. of collaboration The students looked at the murals in art. A quantum with new eyes and "cellular levels" leap of under- of understanding. Said one, "Each standing on so mural has a personality that reflect- many levels ed the collective creativity of the occurs in this group". So many shared a feeling process. Inherent of pride. "After and during the in the work itself mural work, I felt a sense of com- are the goals for munal pride and contribution that I the aesthetic and had only felt in music before". A artistic develop- local grade 2/3 teacher spoke of the ment of the indi- immense pride her students felt at vidual with the their spectacular mural result. They Fine Art I.R.P. knew that they could not have done curriculum organ- it alone. They were impressed by izers of content the fact that they had done it and process well together with every student con- covered. Thus it tributing. The U.C.C. students can become a commented that the murals, as they valuable tool in hung on the walls, continued to the repertoire of teach and make new relationships art educators, yet one, likethe visible throughout the winter jewel, not to be overused. semester.

This particular collaboration unit has been successful with grade lev- els of 2/3, 4/5, 7, senior students and adults. Teachers can be cre- ative with what they select for the drawing component. The grade 2/3 Evelyn Vipond-Schmidt teaches teacher had her students go outside, art in the Bachelor of Education observe the trees and trace these Program at the University College trees with their finger as an empa- of the Cariboo in Kamloops, BC thetic line emerged on their paper. and at Kamloops Secondary What a great method to shift the School. youngsters away from the stereo- 36 32 Resource ReVew

Beyond the School: Community and Institutional

Partnerships in Art Education Community and Institutional/- Partnerships in Art Education Editors: Rita L. Irwin and Anna M. Kindler )

© 1999 National Art Education Association, Reston, Virginia

ISBN 1-890160-09-1

This anthology profiles many art education projects, events and programs that are made possible and made richer because of collaborations of various kinds. In addition to the editors' discussions about collaborations, partnership r. and community, this book offers eleven articles by various \\ art educators who profile and discuss events and projects , ---Rita L Irwin mut that were made possible through such partnerships. Some of the inspiring examples include school-community col- laborations, projects within diverse communities, recreation centre art programs, art gallery projects, partnerships with business, special events such as the Commonwealth Games, and links between uni- versities and museums. The settings for these projects range from Scotland, Hawaii, Australia, and parts of Canada and the United States.

Each article offers the reader a description of the project or program, and the author's helpful discus- sion of many related factors - those valuable recommendations made possible only through experience. Multiculturalism, gender, authority, inclusion, drawing on local experience, problems of leadership, and advocacy are some of the issues which are dealt with in the authors' discussions.

The diversity of projects and the valuable descriptions make this book a helpful resource for all art edu- cators, both those who might already be involved in partnerships of various kinds, and those who might be at the beginning stage of considering a new venture into a collaboration.

Reviewed by Sharon McCoubrey

33 37 asou?ca R6Vew

Step Outside: Community-Based Art Education

By Peter London

© 1994 Heinemann: Portsmouth, NH

ISBN 0-435-08794-0

This book, written by well know art educator Peter London, prompts us to take our art pro- grams out of the classroom and into the corn- munity. Community-Based Art Education is thoroughly discussed through the author's presentation of challenges to ideas about school based art programs for young children, which "often substitute secondhand experience for raw reality" (p. 11). In addition to specific recommendations about how to move art programs out to the communities, the examples take us to small towns, to New York City, a vacant lot, fences, doorways and docks. Contexts considered include classroom, school, family, home, neighbourhood, and community.

The text of this book is a continual interplay of the author's discussions of ideas and theories about children and art with specific examples of projects and activities that provide the essential experiences that are the foundation of all art expression. Enhancing the text are many illustrations, both colour and black and while, which are in themselves artistic expressions.

An enjoyable read as well as helpful guide to community-based art education, this book would be a useful resource for all levels of art education. Taking the art program beyond the classroom and into the community could be the impetus for new collaborations.

Reviewed by Sharon McCoubrey 38

34 A Dril

EY The Chan Vision Art Education 0 BCATA Annual Conference

Art Odyssey 2001 The Changing Vision of Art Education February 15-17, 2001 Kelowna, BC Some of the reasons you will not want to miss this art conference...

Inspiring and humorous keynote speakers/artists. (see reverse side)

Accommodation in beautiful, lakeside resorts.

An photography art show presenting the identity of the Okanagan Valley.

A chance to meet and dine with 30 artists.

Participation in several collaborative art projects

The Electronic Gallery

A wonderful teaching resource.

Students' art show - Artists' art show.

Valuable, current, relevant Workshops.

The Art Marketplace.

Register Now! Only weeks away!! Visit our Web Site: http ://www.bctf. bc.ca/psas/BCATA/odyssey/i ndex. htm I

35 3 9 CHARLES PACHTER QUICK FACTS

O Prominent Canadian artist, born Toronto 1942

O Painter, printmaker, sculptor, designer, historian, lecturer

O Graduate of University of Toronto, Sorbonne Paris, Cranbrook Academy of ArtMichigan, USA.

O Retrospective exhibitions toured France & Germany in '91 &'92. Simcoe's Illusion, 1993

O Retrospective opens at Canadian Embassy in Tokyo, April 2001.

O Latest works on permanent display at Keynote Pachter's Moose Factory Gallery in downtown Toronto, a block from Art Gallery of Ontario. Speakers

KEN DANBY E The Changing QUICK FACTS Vision 01 Art Education 0

O Born in Sault Ste. Marie, Ontario in 1940 February 15-17, Kelowna, B.C.

O As his artistic skills became evident in elementary school, the decision at age ten to become an artist lead to his enrollment in the Ontario College of Art.

O Ken Danby is recognized internationally as one of the world's foremost realist painters.

O The scenic surroundings of his 12 acre property, which includes a magnificent 1856 stone mill anchored beside the river, often find their way into his paintings.

O Ken Danby is the recipient of many awards and honours. He continues to respond to his personal experiences with unique and creative dedication. At the Crease

36 40 British Columbia Art Teachers Association Membership Application All members of PSA shall be BCTF members; active, association, affiliate or honorary. BCTF membership: Active Associate Affiliate Print your name, address, etc., below.

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