4 xWfJffiiifc::: minds in moti The Educator

Vol. 2, No. 2j The Quarterly Journal for Dedicated Winter 1992i

Interdisciplinary Approaches

Using your collection to examine only one subject area in isolation from others

can diminish its significance and narrow routes toward stimulating interest.

In this issue, we survey several ways that educators have broadened their programming by taking an interdisciplinary approach to teaching.

Inside: Reaching Kids Through Literature A Garden as Classroom A Learning Through Art A A Cultural Legacy A Making New Connections A -- minds in motion = Revealing the Spectrum

Publisher/Editor Alan Gartenhaus

AV egardless of suitability or Such manufactured barriers are Associate Editor circumstance, the traditional modes of artificial and somewhat arbitrary. They Jackie Littleton teaching forged within schools tend to bear little resemblance to the powerful

Editorial Assistant dominate in museums, zoos, confluence of ideas, activities, and forces

Molly Dempsey iind other auxiliary educational institutions. that combine to shape and affect

For instance, many docents and staff everything in our world. Grapiiic Design educators instruct by lecturing. This Museums tend to reinforce these Shelly Baldwin form of teaching transferred to museums academic divisions when they classify

in spite of the profound differences (and themselves as art, or , or science. minds in motion considerable advantages) that teaching While this form of labeling is considered The Docent Educator © with original works of art, living useful and perhaps even necessary, it East 2011 Eleventh Avenue creatures, architectural treasures, historic need not limit the boundless potential

Seattle, WA 98102-4109 USA artifacts, and scientific specimens offer inlierent in tlieir collections.

when compared to teaching with Museum collections are most textbooks and blackboards. interesting, and have their greatest

Consider, also, the commonly impact, when the full spectnim of their The Docent Educator welcomes accepted practice of teaching "academic implications is revealed. One way to unsolicited articles, announcements, letters to disciplines" in isolation from one communicate a broader r;mge of the editor, general correspondence, and another. This approach dictates that import;ince and value to the visiting advertising inquiries. The views expressed or science is taught during science class, public is to provide them with an imphed in this pubhcation do not necessarily and not during art; art is taught during art interdisciplinary view. represent the official position of the pubUsher, class, and not during science; and so forth. and efforts are made to present a variety of

viewpoints for readers' consideration.

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produce. It requires a thriving subscriber base to succeed and continue

Cover: There are numerous ways to explore working to professionalize docent teaching.

things found in museums, zoos, and gardens.

What route might these second graders be It is hoped that institutional subscribers will recognize and support this taking as they discuss this painting housed in urging all to subscribe, collect, and reference the Dallas Museum ofArt? publication's efforts by docents their own, personal copies of Tfie Docent Educator, so that this journal might photo: Nancy Walkup Reynolds remain healthy, strong, and reasonably priced.

THE DOCENT EDUCATOR There are several methods of Any endangered species lesson The last part of the lesson might developing an interdisciplinary lesson. should begin with a definition of what involve hypothesizing, or making

One is to consider your collection from the term "endangered" means. informed guesses. Learners would make

an alternate academic vantage point. In Following this, learners would be shown conjectures about the sources of threats

an art museum, for example, a lesson several different animals and/or plants to such diverse life forms living in so

could be constructed that looks at the that are endangered. many different climates and terrains. evolution of art from a The lesson might continue with the Here, the conversation would flow perspective. Such a tour might examine: docent telling learners, "All of these through every discipline, and reveal the

the availability and properties of dyes different life forms share the complexity and depth of the problem. and pigments; the qualities and uses of 'endangered' status in common. Using Some responses, like natural selection,

adhesive media like egg albumen, oils, your powers of observation and your predator/prey relationships, or the health

and acrylics; or differences in the ability to make comparisons, develop a of ecosystems would be fairly "science- characteristics of the metals used to list of everything that's different about oriented." Others, such as the economics create photographic prints. these creatures." of pollution, population and urban

In an historic home, this method A wide variety of answers could growth, social customs, and agricultural might result in a tour that explores the follow, depending upon the endangered patterns are the domain of the social form of a building's design from the species presented. They might include: sciences. Still others, like fashion or iVl view of and engineering. Or, in some are large, others are small; some approach the subject of aesthetics. a botanical garden, such a lesson might are mammals, others are reptiles or An interdisciplinary approach when shift the focus from to art by amphibians; some fly, others walk; some teaching can reveal the full spectrum of examining the visual effects of particular live in warm climates, others in cold; your institution's collection. At the same juxtapositions and arrangements in some live on land, others

Another method of developing an learners to interpret, or extract meaning and stimulating way to reinvigorate your interdisciplinary approach is to from, the wide range of differences they own enthusiasm for your institution's incorporate a theme that is broad enough found. Interpretations might range from permanent collection. to enfranchise other disciplines as well as "there are endangered species in all parts the one of primary concern to your of the animal kingdom" to "there are institution. Consider, for example, the threats to life forms in just about all theme of "endangered species" in a zoo environments and geographic areas of Alan Gartenhaus or natural history institution. the world." Publishing Editor

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THE DOCENT EDUCATOR I

I Reaching Kids Through Literature

A..sk most first graders what competition and wins with an exquisite docents from museums of every they'll find in a museum and they'll say — and, obviously, very small — discipline see the museum through the

with assurance, "Dinosaurs!" I used to sculpture which astonishes the panel of eyes of their fourth through sixth grade wonder why "nuiseum" equalled "dinosaur" human judges. visitors. Children who have read the

for our youngest visitors until I chanced Reading either of these picture story will enjoy finding works by the upon a small, very bright, and infinitely books to a group of 5- to 8- year-olds artists mentioned in the book and will mischievous monkey named George. as they visit the fire engine exhibit in a enthusiastically speculate on the

"Curious George" is the principal history museum or the sculpture gallery possibilities of living in the museum they

character in a series of books for of an art museum brings these adult are visiting. (Docents might want to

primaries. This simiiin alter ego allows exhibits into the children's world. alert Security!)

first graders to go places and do things, Reading a story can create a mood, In addition to stories that tiike place

and it is with George that many of them introduce an exhibit, or merely provide in museums, docents can enrich their

first visit a museum. The monkey's a place to rest for tired little bodies. tours through the use of topical fiction.

curiosity demolishes a dinosaur exhibit "Story time," which is already a familiar Excerpts read from any of the Little and gets George kicked out on his and valuable part of their school day, House books by Laura Ingalls Wilder, helps demystify the museum experience for example, will put people into historic

for first-time visitors. exhibits. Although principally about the ^^Docents can I Museum fiction for older children settling of the American Midwest, these Ciumot, of course, be read in its entirety, books mention artifacts found in most enrich their tours but can be referred to or recommended. history museums and provide excellent through the use Often, someone in the audience will descriptions of the uses of home and have read the book and will be excited to farm implements from our pioneer era. of topicalfiction.'' share his or her knowledge with the The Little House books were reissued in ^^1 group. Asking a volunteer to read a 1973 by Harper.

selected passage is another way to The Quih Story (Putnam. 1985).

involve students. C;ue should be taken, written by Tony Johnston and illustrated

prehensile tail. However, the monkey of course, to select material within tlie by Toinie de Paola, is a delightful picture

cum 6-year-old is later enlisted by the reading level of students and "non- storybook to shiire with young visitors to a

museum director to go into space i\nd, volunteers" should never be embarrassed quilt exhibition. The book tells the history

as the book title says. Curious George by being asked to read. of a stiu-covered quilt that travels on a Gets a Medal. Probably the -best of the museum- covered wagon, becomes a home for

Knowing something of the literature centered children's fiction is From the ajiimals in an attic, and is finally rescued

that children ;ire reading will not only Mixed-lip Files ofMrs. Basil E. and repaired to once more comfort a child, help docents understand their school- Frankweiler by E.L. Konigsburg a descendant of the original owner. This

aged audiences, but can add another (Atheneum, 1987). In this Newbery book is an effective vehicle for helping

dimension to museum tours. Taking Award winning book for upper elementary children see the stories behind a

such an interdisciplinary approach is an children, Claudia decides to run away to museum's artifacts.

effective way of preparing for tours, as return only when her family has learned High school visitors, too, can have

well as another method of presentation. a lesson in "Claudia appreciation." Not tours enriched through the use of quality

Several books such as Curious one to give up her creature comforts, fiction. An exhibit of period clothing

George Gets a Medal (H.A. Rey, however, Claudia chooses to live for a gains new meaning when students have

Houghton Miffim. 1957) place the while in the Metropolitan Museum of Art read Chiirles Dickens's classic Great protagonist squarely within the museum in New York City. As she and her Expectations. As Pip's status changes, so

milieu. Hercules, by Hardie Gramatky younger brother Jamie (who is included does his clothing. Adolescents in T-shirts

(Putnam, 1960), tells the story of a in the adventure only because he has and sneakers can better understand the

gallant horse-drawn fire engine who, money!) solve a mystery, Claudia learns social role of clothing in past generations when mechanized equipment replaces some important lessons about herself when exhibitions and hterature work

him, receives a place of honor in the and about secrets. Her new-found together in such an interdisciplinary manner.

local history museum. In Norman the knowledge makes it possible for her to Children in upper elementary and

Doorman (Don Freeman, Penguin, go home in style. middle school years are especially

1981 ), a talented mouse who works at A natural for any art museum, interested in biography. Biographies are

the Museum of Art enters an art From the Mixed-Up Files ... will help an excellent springboards for discussion

THE DOCENT EDUCATOR .

in museums with "real people" Water Striders connections. For example, one such by Paul Fleischman book is /, Juan de Pareja (Farrar, Strauss, Giroux, 1987), by Elizabeth de WllCIlCVCI WC IC ac>K.CU WllCllCVCl WC IC doKCU Trevino. This fictionalized account of if we walk upon water if we walk upon water the life of Diego Velazquez is told by his wc dnswer ii7<^we answerOMCii;^** servant, Juan de Pareja. Although only Of course. the Metropolitan Museum of Art owns 1 0 be sure. the painting of Juan, any art museum with paintings from the Baroque period It s quite true. will find this book useful. Another is Whenever we re asked Whenever we're asked

Carry on Mr. Bowditch (Jean Lee 11 we walk on it oiten 11 we walk on it oiten Latham, Houghton Mifflin, 1955), which we answer we answer should be part of the repertoire of any Quite often docent in a nautical museum as well as iiacn aay. museums with exhibits the from All day through. Revolutionary War era. Youngsters will Should we be questioned Should we be questioned enjoy matching museum artifacts with on whether it's easy on whether it's easy details from the realistic drawings of the we answer we answer ship chandlery where young Nathanial Quite easy. Bowditch began his scientific study of snap. the sea. Both of these books are winners A of the Newbery Award for outstanding It s a cinch. children's literature. onouia we oe loia onouiQ we oe loia

Another Newbery Award winner uidi 11 s jjureiy d iiiiidcic mdi 11 s sureiy d mirdcie rpnl'v/ can enliven tours at museums and nature wpw t- 1 c ui y centers with insect collections. In Joyful Noise (Harper and Row, 1988) Paul

Fleischman has created poems meant to IvUUUljII be read by two readers, one taking the iNonsensei left-hand part and the other the right- Whenever we're asked Whenever we re asked hand part. Words for both readers on the for instructions for instructions same line are to be read as a chorus. The we diways say we always say result is a great read-aloud favorite with upper elementary and middle school Lome to the pond s edge students. The following example is and do as we do. entitled "Water Striders." Put down one foot

Books in Print, available in any ana men put aown anoiner, library or bookstore, is a good place to resting upon the thin iilm begin a list of children's literature related on the surface. to specific museum topics. School £>eiieve me, mere s no can librarians and children's division dl all lU UC llClVUUS personnel in public libraries can help ds long ds you re redsoiiduiy docents identify the literature popular mindful that you — with particular ages of children. Making

But by that time your student But by that time your student - a place for literature in a museum's no matter how prudent education program isn't difficult, and the has usually usually dividends are worth the effort. (Plus, you has have an excuse to read some great stories!) don't ask me why sunk from view. sunk from view.

Reprinted with the permission of Harper and Row. Inc.

Jacl

THE DOCENT EDUCATOR Interdisciplinary Teaching

Branches, Ties, and

iiseum Objects as Curriculum development is an versions of the same tools by carrying Springboards for arena where museums can become prop bags into the gallery with them. Interdisciplinary Studies national leaders. Our collections and The focus on Mists' tools and work exhibitions are excellent curricular spaces helped docents introduce the

The concept of interdisciplinary resources if we develop approaches to concepts of scientific and artistic

studies is actually quite simple, based on teaching with these objects. In schools, anatomy, the artist's use of perspective the premise that children do not learn subject matter content and teaching studies based on mathematical

concepts and facts in isolation from one strategies become the basis for principles. These related to the material

another. Parents know this. Teachers ciu'riculum development and lesson in the exhibition and held the interest of

know this. Yet, ironically, schools tend planning. This can happen in museun\s students who enjoy exploring science

to divide the day into forty-three minute too, if we re-tliink the way we design our and math.

blocks of study, focusing on the teaching tours. At the Pennsylvania Academy of In anotlier exhibition of narrative

of one discipline at a time. At the end of a Fine Arts, we call these "lessons." paintings, docents explored the visual,

given unit of instruction, student learning is oral, and written tradition of storytelling usually assessed by a written exiuii Curriculum Development using a nineteenth-century "gift book." Thankfully, many teachers and and Lesson Planning They told a story from the gift book to a

progressive schools have abandoned tJiis in Museums group of students in the gallery before approach in favor of the "integrated helping them create their own gift books

curriculum." This means that math is not A lesson plan is not a rigid step- to take home. They asked questions to just taught during math time, but by-step rule for teaching. The best create interdisciplinary links to the integrated throughout the course of other lesson phuis provide guidance and school curricula.

units of study; e.g. when learning about suggest choices for the docent educator. Examples of math questions ancient Egypt, children keep journals in Below are a few examples of activities included: On what month, day, and year

hieroglyphics, count with abacuses, described in museum- based lesson does the story begin? When the story

create their own myths to explain plans developed by the education staff begins, Thomas is 14 and Margaret is

scientific phenomenon in everyday life, and taught by docents at the one year younger. How old is she? Mr.

and study city planning and build Pennsylvania Academy of the Fine Arts Williams's rent was $100 a year. He

replicas of dwellings, and design their in Philadelphia. paid one quiu-ter's rent in advance. How own clothing based on Egyptian motifs. A recent exhibition of the work and much did he pay?

life of 19th century painter Thomas Social studies questions included a

Eakins included a re-creation of the comparison of the cost of living in 1835

artist's studio. Docents told students that with prices today. The groups also Lessons From the Academy, the studio space could be considered compared what a 14-year-old did then a lOO-page book museum-based of Eakins's "office." Then they asked, and now. At what age do most people lesson plans from the Pennsylvania "What are some of the places or offices marry today? How could we find this

your parents, or other people out? Docents also asked students to Academy of the Fine Arts is where you know, work?" name three forms of transportation available for $25 (including postage The docents informed children that mentioned in the story. They queried, and handling) by sending a check the objects seen in this space could be "How long would it take Mr. Williams to

payable to the Pennsylvania considered the "tools" that the artist reach New York?"

Academy of the Fine Arts to the needed to do his work. Students pointed In the area of language arts, docents out the "tools" they saw in the studio. introduced the notion that a fable is a museum's education department, Then the docents distributed "tool" cards story that teaches a moral lesson. 118 North Broad Street, (picture cards with illustrations of 19th-c. Students brainstormed other fables they

Philadelphia, PA 19102. tools on them). Students were directed to knew and the lessons implicit in them.

discuss their tool cards with the student Docents also helped students create

sitting next to them. Wherever possible, their own stories based on works of art in docents also showed students 20th-c. the exhibition.

THE DOCENT EDUCATOR New Connections by Inez S. Wolins

Museums can play a major role to from journals, to creative writing, to Indeed, museums can be models of foster interdisciplinary studies by portfolios of drawings and other art institutions where visitors — young developing pre- visit materials and lesson work, to reports, analyses of children, students, families, and adults —

plans that distinguish problems to be experiments, interviews, or game design. encounter a variety of social and solved and culminate in a variety of These are all viable tools teachers can educational opportunities. Visitors can

student projects that help teachers form use to judge students' acquisition of try activities on their ovm or in small skills and facts and their groups, watch a demonstration, apply a integration with what the concept through guided experimentation,

Iciimer already knows. perceive and question, see a short film, With fewer resources and participate in debated discussions allocated to individual offering multiple points-of-view. When

schools, classroom teachers visitor-directed activities ive combined are frequently asked to with docent-directed experiences, justify school field trips. museum galleries will have been While docents, interpreters, transformed into rich and varied learning explainers, and museum environments for members of our educators know the value of community. quality museum

experiences, we need to do a better job of helping

teachers respond to these concerns. The difference between thinking of the

museum visit as a frill — a break in the school day — and thinking of the museum

as a partner in education,

lies in the way we communicate what we teach with original objects and the Inez S. Wolins is the director the kind of teaching that takes of Wichita Art Museum in Wichita. KS. place in the galleries. Prior to this she held education positions in Museums that deliver a number of art museums including the pre-visit products and Pennsylvania Academy of the Fine Arts in services, followed by Philadelphia where she ser\'ed as curator of engaging museum visits and education. During that time. Ms. Wolins held

post-visit suggestions to a Joint appointment in the graduate program

extend the museum's in museum education at Bank Street

resources in the classroom, in Manhattan. Ms. Wolins earned her Ph.D.

are institutions that want to in educational and

align themselves with their technology from New York University, has Props, such as those described in this article, and writing published over tMV dozen articles about projects based on paintings in the museum's collection can local educational teaching and learning in museums, and has help students make new connections. community. This kind of delivered lectures and conducted workshops photo: Pennsylvania Academy of the Fine Arts community cooperation with docents for museums nationwide. advances the agendas of an emerging picture of the individual both schools and museums. While

learner and the materials to be covered. museum educators often lead this

These "assessment" projects might range initiative, docents insure that it happens.

THE DOCENT EDUCATOR Learning Through Art

I n 1991, the Museum of Fine create a clay pot by writing sequential

Arts, Houston, began a four-year directions and creating illustrations. curriculum development project called A In social studies, the students "Learning Through Art." The purpose of compare and contrast the cultures that this project was to establish the produced the pots and explore the museum's permanent collection as a differences between rru\king and major resource for elementary teachers. consuming things. The project was funded initially by an The science lesson uses NEA challenge grant. classifying, ordering, sequencing, and

A group of 18 elementary teachers predicting skills to describe changes in from the Clear Creek school district, 25 the clay during the process of making miles south of Houston, are working pottery. Pupils also study the properties

with museum staff, school of clay iuid the effects of heat on administrators, and consultants from the different materials.

University of Houston to develop an art The math lesson develops skills

curriculum for grades 1 through 6 that is in measurement, estimaUon, probability

based on the museum's permanent and statistics. The children estimate the

collection and correlated to existing size of clay, weigh the clay, and compare

curriculum and state mandates for social the weight to their estimate. They also

studies, science, language arts, and math. wet one piece of clay, let a second piece

The project places art at the center air dry, and fire a third piece, then chart

of the interdisciplinary curriculum. The the differences in color, length, weight,

teachers bring to this project extensive and so forth.

classroom experience in The team of third-grade teachers

the other four subject developed a unit based on three French

areas, but little formal paintings in the collection: Edouard

knowledge of art. The Vuillard's The Promenade; Gustave

Clear Creek school district Caillebotte's The Artist's Brother in

has no elementary art His Garden; and The Turning Road specialists. by Andre Derain.

The project The art lesson focuses on

curriculum is a series of comparing and contrasting these views

classroom units at each of people outdoors with special attention

grade level in all five paid to the styles of the paintings — use subjects that focus on of color, brushstrokes, depiction of

works of art in the figures. The students then create

museum's collection. For paintings of people engaged in leisure

example, the second grade activities out-of-doors.

teachers have developed a In language arts, students work

unit focusing on three in cooperative groups to write plays Western Dog Colima. Mexico (after 250 A.D.) ceramic vessels: Dog, 4th about the people and setting in one of the The Museum of Fine Arts. Houston - 5th centuries, Colima, museum's paintings. The groups then photo; A. Mewboum Mexico; Macaw Bowl c. 1300, Casas present their plays to the rest of the class.

Grandes; and Bowl, c. 1 100, Mimbres. The social studies lesson

The art lesson comes first. examines the value of parks imd

Students discuss the vessels' shapes, recreational cU"eas to people and to a city.

decoration, and function; produce a clay Students research how parks are planned

pot in the coil method; decorate the pot; and by whom, and how parks are

and learn about firing the clay. financed. Students then create their

The language arts activity ideal park.

focuses on writing skills. The students Contrasting man-made and

produce a book that explains how to natural objects is the theme of the

THE DOCENT EDUCATOR by Beth B. Schneider

In order to help teachers use the with art-making activities. The studio

reproductions most effectively, the sessions were taught by museum staff, project was designed so that teachers but the lectures iuid gallery sessions were spent extensive time working with the taught by experienced docents. Because

collection in the museum. From June tliey work with diverse audiences every through early August, teachers served day, the docents were the best role

as museum docents, leading tours models for teachers facing a new

through all areas of our permanent leiuning (iind teaching) environment.

collection. Their audiences included The project gave our docents a new level summer school classes from elementary, of confidence and strengthened the middle, and high school; day camps; pre- relationship between the museum's school/day care groups; adult groups; volunteer teachers and the professional and drop-in visitors. teachers who rely on their services. There were several reasons for The classroom teachers were

having the teachers become docents. unanimous in their praise of the docents'

Only by teaching with the original works teaching skills. Comments include: of iU't could teachers bring the slides and '[The docents] helped me realize that posters to life and convey their power there are different approaches;" "they

and unique qualities to students. Also, [the docents] personalized their tours

we wanted the teachers' enthusiasm for for us, modeling how we could

the original works to inspire their .;" personalize our tours . . "they taught

students to visit the museum. In me what kinds of questions to ask;"

addition, the museum setting challenged and "they helped me ... be prepared

teachers to experiment with new teaching with extra works of art in case my tour

methods that, we hoped, would carry had to change." over into the classroom. The teachers were greatly impressed In training the teachers as docents, by the wealth of the docents' knowledge

The Promenade we combined our usual docent education of the collection in ptirticular and the

Edouard Vuillard (1868-1940) format of lectures, tours of the permanent history of art in general. One teacher

The Museum of Fine Arts, Houston collection, and tour technique workshops wrote "I must emphasize that the

science lesson. Students discuss ways in which people help preserve nature and

the ways they harm it. In math, students study the paintings to understand depth, space, and distance. They imagine themselves in the paintings and estimate the distances portrayed, related these space

measurements to the park plan developed

in the social studies unit, redraw their park plan in a designated scale, and estimate the cost of buying land for parks

at current real estate prices.

In the classroom, teachers use slides and posters of works from the MFA Houston's collection. These reproductions give teachers great

flexibility in comparing and contrasting

works of art, and teachers especially like the fact that the posters can remain up in Teachers participating in the Learning Through Art project train to become summer docents in order to lead tours and gain new perspectives in teaching. the room all the time.

THE DOCENT EDUCATOR docents' degree of knowledge guess about what the children took with Finally, these teachers now use the concerning specific pieces was extremely them from the museum." museum library on a regular basis.

useful. The [discussion of] African art, But the teachers still found great Having teachers work as summer

stories of diviners and spirits, provided rewards even from their limited time docents is an enormously successful and

me with great miUerial for grabbing the with audiences. "I was impressed by the rewarding project, one we at the MFA

interest of 'challenging' groups." responsiveness of the teenagers I toured Houston encourage other museums to

The teachers were inspired by the — they volunteered to answer almost as try. These teachers have a new kind of

docents' enthusiasm for teaching in the much as the little ones." One noted that relationship with the museum that goes

galleries. Commenis include "they at the end of a tour a group of teenaged beyond attending programs or bringing transmitted their enthusiasm and love girls objected vehemently when their Llieir classes for tours. These teacher-

[for the iirt]" and "they told personal group leader said it was time to go docents lU'e now an important part of the

stories [about tours] that made me shopping at the Galleria. They wanted to museum, they are making a significant

enthusiastic about being a docent." stay at the museum! contribution, and they thus feel a sense When asked to compare the How has being a docent impacted of ownership in the institution. This

museum to the classroom as teaching classroom instruction? Almost all sense of belonging has been a feature of environments, the teachers commented teachers emphasized that working in the docent programs for years, and we are

on the museum's diverse audience, and galleries reinforced the idea that art pleased that we were able to make a

the anxiety iind challenge that come with could be used effectively to teach a place for teachers as well. Finally, the teaching different age groups. Teachers variety of subject areas. One teacher teacher-docents are helping bring new were concerned that they didn't know noted that "I find myself not only audiences to the museum. The parents in

their audience in the museum as they do enjoying art works because of their one first grade class booked a museum

in school. aesthetic value, but also I seem to tour led by their children's teacher

"You do not know their names or automatically think of those art works in because they wanted to experience the

the learning styles of the children you are terms of how they relate to different museum with her.

touring. Touring requires that you curricula." Docent education is an on-going

constantly "size-up' and adapt to different Teachers commented that the process where much of the learning takes

age groups and different interest groups." teaching techniques they used in the place by doing. We in the education

Several teachers noted that adjusting galleries have improved their classroom department of the MFA Houston have

to a learning environment in which instruction. "I have become a better developed new respect for the dedication

people were constantly moving from one questioner, always aware that active and skills our docents bring to their job

place to another was difficult. But participation results in thinking, when we see how long it takes for

perhaps the most telling remark came questioning, 'wanting to know more' experienced classroom teachers to from a second grade teacher. students." Teaching in the museum become effective gallery teachers.

"The classroom teacher can evaluate "upgraded the quality of literature and Through this project, we are all learning

and delight in watching the kids put their books I use in the classroom" and "[I about teaching and learning about

art knowledge to use after they return am] more in tune with seeing nature ;md learning, and developing new respect for

from the museum. The docent can only details of the earth just as an artist does." our volunteer and teaching colleagues. For more information on "Learning

Through Art" please call the Museum of Fine Arts, Houston, Education

Department at (713) 639-7590. A Publish Your Teaching Ideas and Techniques curriculum kit will be available in January, 1994. Submit an article. The Docent Educator welcomes your articles, questions, techniques, comments, and announcements for possible publication. Interested?

Please consider addressing the themes of our upcoming issues. All manuscripts should be typed or printed, double-spaced, and average between 1,000 and 1,500 words. Manuscripts are edited for publication. Beth B. Schneider is education director at the Museum of Fine Arts, Houston. She holds degrees in art history from RadcUffe Special Audiences: Visitors who Little On^: Understanding and College and the University of Pennsylvania. Require Special Considerations or Teaching our Youngest Visitors Ms. Schneider worked in the education Programming - Summsr 1993 Winter 1993 department at the National Gallery of Art submission deadline: March 1, 1993 submission deadline: Sept. 1, 1993 before moving to Houston in 1984.

hi 1991, she was honored as Out.standing Thematic Teaching: Great Recruitment, Themes Docent Progranis: Museum Educator by the Te.xas Art that Provide Cohesiveness and Pizazz Committnent, Training, and Evaluation Education Association. Autumn 1993 Spring 1994

submission deadline: June 1, 1993 Submission deadline: Dec. 1, 1993

THE DOCENT EDUCATOR For Your Consideration

We know that young children learn by exploring, observing, manipulating objects, and imitating what they perceive of the world around them. When properly used, museums can be fun and exciting places providing experiences that encourage young

children to learn.

At the Kingman Museum we have made several slight changes in our operations that greatly enhance learning by pre-schoolers.

Shorter, multiple visits where students build upon their previous experiences have proven the most useful. We've also learned

to find out what subject area the pre-school class is concentrating on at school. A short conversation with the teacher allows for a

better adjustment of programming to fit their needs. Museum visits that are isolated from classroom instruction are not nearly as

effective as cooperative learning experiences between the classroom curriculum and the museum. At Kingman, we allow for exploratory learning. Pre-schoolers are naturally curious, eager, and socially and physically active.

We design our programs to take advantage of these attributes.

Should your institution be working to improve its educational impact with younger audiences, you might be interested in a

guide we developed titled 'Tips on Visiting Kingman Museum with Young Children." Though it is specific to our museum, it

provides easily adaptable suggestions that will work in any museum setting. A free copy is available by sending a self-addressed,

stamped envelope to: Kingman Museum of Natural History, W. Michigan at 20th Street, Battle Creek, MI 49017. Please mark

your request to the attention of the Education Department.

Paul H. Rheaume & Lisa Murphy Education Department, Kingman Museum of Natural History

^P^rks fbrMe .. • Docents share techniques they find successful.

Being thorough works for me. I them, confirming the date and time of an effort to recall what we saw and find that the better acquainted I am with their tour, and reminding them of where accomplished together, and to review

a school, the teachers, and the students, we are to meet. They also receive a some of the salient facts we learned. the better my teaching and their "group registration form" to present The letters I've received over the experiences will be. upon their arrival on the tour day. This years provide valuable feedback about

At the Los Angeles Arboretum form informs the Arboretum of the my teaching. They let me know which

Foundation, docents (which we call field number of adults and students attending techniques I've used are most successful. leaders) take turns being "Leader of the and lists information and rules about For instance, recent letters reinforced my

Day" for school visitors. When it is my visiting our facility that teachers should belief that it is best to encourage children

turn, I phone the school to learn the review with their classes prior to arriving. to explore and learn using all their senses

teachers' names and titles (for instance, Before leaving my home on the day and that, by including a few Spanish

Mrs. Petta and Ms. Dunham). Then, I of the tour, I type a brief note to give to words when conducting Spanish-

look at the listing of the California the teachers at the end of their visit. speaking students on a tour, I can help

Assessment Program (CAP) test scores Enclosed with this note are follow-up reinforce the students' self-esteem. published annually in the Los Angeles materials for classroom activities, several I hope these comments are useful.

Times. These tests, which are postcards that relate to the areas or plants I am really enjoying my subscription to

administered to third, sixth, and eighth they and their classes will see, and the The Docent Educator. graders, give me some information about names of the field leaders providing

the visiting school's performance in both their tours. reading and math. Teachers and their students often

Prior to their visit, I send the write following their visits. When they Maris A. Grannell. Field Leader

teachers a personal letter welcoming do, I answer them. In my letter, I make Los Angeles Arboretum Foundation

THE DOCENT EDUCATOR A Garden Classroom The Tree of Education

\^^NTED: Docents. Must The Branches able to point, herd, in be communicate Aside from the staff, this program one syllable words, iind clean dirt from involves the cooperation of three under fingernails (Ex- mud pie makers branches: the Louisiana Cooperative are perfect!). Extension Service, which provides This seemingly whimsical wording teachers and class miiterials; the New is the product of hours of careful Orleans Public School System, which planning and coordination that also provides the students and chaperones; signals the beginning of the final stages and the much appreciated docents, who for Longue Vue House and Garden's are the binding force throughout the

educational programs. entire process through their preparation and patience. A The Seed An "in-service" class or training Our tree of education began with ..our program has session is held for docents, cooperative "a seed" - a vision to educate students, extension personnel, and teachers.

evolved into a circle allowing them to experience a garden During this two-hour class, general

environment that many inner city kids introductions iire made, the subject sciences, hi this living of never see. laboratory, the material is reviewed through handouts, starting with their children are put into a three-dimensional and most importantly — refreshments setting full of new sights, sounds, are served. classroom materials and smells. Then, the school teachers and docents are taken on tours of the gardens. and quickly moving to Roots The There are several stops along the way to The program began very simply, encompass Botany, by discuss various plants and terms that the reviewing the subject of basic plant children will be using during their visit. , Ecology, and propagation in conjunction with 4th These bastions of the classroom now science classes. focusing grade By on become piu-t of a mock class and are Nutrition... the school's curriculum, and how classes encouraged to "see everything through were structured, the roots of our the eyes of a nine year-old" by imitating

"education tree" were properly their students. Not only does this established. Over the years, our program experience provide valuable insights, but

has evolved into a circle of sciences, coffee break talk for at least a week. starting with their classroom materials At Longue Vue, we prefer foresight and quickly moving to encompass to hindsight. Teaching 30 children, on a

Botany, Biology, Ecology, and Nutrition hot day, in a garden filled with distractions

using the garden as a tactile blackboiU"d. can have the rrakings of a disaster that could drive even the most experienced

The Trunk teachers and docents to insanity. It is Beyond the subject matter, the only through communication and

strength of this program is a dedicated extensive preparation that this becomes a staff. staff The does all of the win- win situation for all parties involved.

groundwork, nurtures docents, procures After the "in-service" class ends,

donations, and generally puts up with training for the cooperative extension

those aggravations that volunteers personnel tmd the students and their

shouldn't have to. teachers is complete. Meanwhile, the docent training continues.

THE DOCENT EDUCATOR by John Marshall Harris

The Leaves exotic plants," which we The docents arrive are assured by the kids early to prepare for their "have probably never been students, carefully setting touched by human hands." out soil, plants, seeds, pots, It's amazing watching the and goodie bags for their students" interest unfold charges. They know that with awe. Could their the children come to learn eyes open any wider! what most of us seem to The children are led have forgotten — that to the final stop where tomatoes grow on vines they will sit within a not in cans, the apples for cathedral of live oak trees grandma's pie came from a and enjoy oatmeal cookies tree, and that there are and lemonade. The choice untold wonders under the of refreshments is leaves in the woods. Longue Vue docent Maggie Levy assists garden program participants. reinforced with another As the children arrive, short discussion of they are greeted and taken nutrition. to the class area. The class begins The children use their name tags to mark Perhaps the children don't know without delay as it is very important to the bags containing their new plants, that they're Iciuriing because it's too keep things moving with words, actions, handouts, iuid materials. much fun. Perhaps they don't realize and examples. Now, the tour begins. With very they're receiving a lesson because they The lesson, though "of the few deviations from the practice tour, the are outside their four classroom walls. sciences," is interdisciplinary. Students children are skillfully guided through a Perhaps they didn't know that it's okay begin with basic plant botany by maze of gardens. Our 8 small acres to dig in the dirt, to have a baby plant dissecting a flower. This allows them to represent a vast wonderiand of "Giant that's all your own, or that oatmeal review material from their class and is a Redwood trees (oaks) ... prehistoric cookies ive healthy, and why they are. foundation for other topics as well. rocks (gravel) ... pine needles ... But we know — everything was

Next, displays of seeds are passed around butterflies . . . frogs . . . and strange and ciirefully planned that way. and identified. This moves the All the phmning and training comes discussion to propagation with hands-on together as the children are successfully examples of bulbs, cuttings, and grafts. taught our circle of sciences under the

Nutrition is then introduced. watchful eyes of our docents.

Calories, vitamins, and fiber are Our tree has grown and strengthened, discussed. Special attention is given and every year we get new leaves. to the "tire" garden. The tire garden consists of flowers and vegetables grown inside discarded tires. The tire garden shows students an inventive John Marshall Harris is the method of inner city gardening and a Head Gardener with Longue Vue House hand-picked collection of Hawaii's in Louisiana. productive way of recycling. A and Gardens New Orleans, hiadengems. All islands. He came to Longue Vue with 13 years Then the children talk about soil in degree "Hmti's Best Bed & Breakfasts is just tdiat the mme says. experience his field and a B.S. and the environment as they pot their Wiereoer you stay, you can count on thm to please." in horticulture from Louisiana State own bulbs. Following that, they peruse m & Cheryl Jamison - BEST PLACES TO STAY IN HAWAII University. Mr. Harris currently directs their goodie bags, which are filled with the widely acclaimed "Learners at Longue Reservations & information - call toll free colorful handouts and packets of seeds. 1-800-262-9912 Vue" public school program. P.O. Box 563, Depl. CI. Kamuela, HI 96743 y

13 THE DOCENT EDUCATOR From Haiti to Louisiana A Cultural Legacy

at do shotgun houses, shared cultural and historical traditions white, and blue. The white middle band

Creole-speaking Cajuns, and vodun and to provide a meaningful inter- was torn out to symbolize the end of

rituals in Louisiana have in common with disciplinary experience, the exhibition white French domination over the

Haiti? Everything!" Students, teachers, was arriuiged by themes: The Land and country that became the first black

museum visitors, and docents all made Its History; Haitian Life; Cultural Heritage; republic luid the first to achieve

this discovery through an innovative ; and Diverse Visions. independence as the result of a

cross-cultural, interdisciplinary These themes also formed the basis successful slave revolt. For student

exhibition, Haitian Cultural Legacy: for discussion as eighteen docents led tours, Rae made a flag with a white

From the Caribbean to Louisiana. 2,370 students on tours during the three- insert attached with velcro. Students

Developed and presented by the month exhibition. Inquiry teaching was were actually able to "rip" out the

Meadows Museum of Art at Centenary used to further an examination of such white, emphasizing the symbolic action

College in Shreveport, Louisiana, the issues as: the "discovery" of Haiti by represented by the colors of the flag.

exhibition was made possible through Columbus; the institution of slavery as Docents indicated cleiirly what they

the generosity of one man. Dr. Jean C. practiced by the Spanish and the French; wiinted students to focus on in a work of

Bierre, and a grant from the Louisiana and the development of the synthesis of art. While a group stood in front of a Endowment for the Humanities. Africiui and Catholicism known predominately blue, monochromatic

Dr. Bierre, a native Haitiim and as vodun. painting, Barbara Gramling asked a quiet

Shreveport doctor, began collecting the child in her group, "Does this make you

art of his homeland in 1944, building a • Questioning Strategies feel warm or cool?" The shades of blue

personal relationship with many of tlie Docents asked questions of visitors in this surrealistic work prompted

artists over the years through trips back to encourage the development of responses from even the shyest student.

to Haiti. The majority of his collection aesthetic response, critical thinking, and Barbara followed up with the question, of 160 paintings and 50 sculptures active involvement with works. Because "What emotion or idea do you think the

formed the nucleus of the exhibit. many of the art works in the exhibition artist was trying to convey?," which

Through research on both the works depicted emotionally-charged themes elicited various comments ranging from

in the collection and Haiti's artistic and issues such as slavery and vodun, it "lonely" and "sciired" to "dreamlike."

traditions, it soon became apparent that was also important for docents to be The discussion continued for some

Haiti and Louisiana shared a number of accepting of varied responses and to be time from just these two specific

diverse historical and cultural influences. able to deal dispassionately and opening questions. Native Indian, Spanish, African, French. objectively with difficult or controversial questions and statements. • Compare and Contrast Questions Aesthetic discussions focused on The variety of work in this

Haiti's rich and active art traditions, exhibition offered many opportunities for primarily characterized by vibrant color compare and contrast questions. For

and mystical imagery. The approach to instance, paintings showing women with questioning on docent tours was often baskets on their heads were the suggested by the characteristics of a overwhelming choice of students asked,

work itself. "Which art work do you think best

"What do you think is happening in represents or describes Haiti?"

the painting?" was a question Rae Ogier Following this, Barbara Gramling

The so-called "shotgun house" is an asked to gel students involved in a engaged students in discussions architectural style imported to the Southern discussion about a work depicting the comparing differences in Haitian and U.S. from Africa through Haiti. creation of the Haitian flag. This simple AmericiUi life-styles: shopping photo: Judy Godfrey question led the students into a complex traditions; leisure time; clothing; investigation of the symbolic meaning government; religion; and freedom —

and American values and traditions have of a flag. virtually every aspect of the heritage,

been synthesized in similar ways in both The red and blue Haitian flag was cultural values, and traditions depicted

Haiti and Louisiana. To emphasize these created from the French tricolor of red. by the art.

14^ THE DOCENT EDUCATOR "

by Judy Godfrey and Nancy Reynolds

A more emotional reply was given of the tour, this same student motioned costume, embellishing them with to this same question, "Which art work for the docent to follow him. He pointed intricate sequin and feather designs best represents Haiti?," when asked by to a forested landscape and said, "That's similar to costumes appearing in Haitian docent Mary Koch of a student who my favorite 'cause I know now what paintings and festivals. selected a monochromatic sepia wash of can happen to our trees if we cut them • Otlier Activities a harbor. His reason was that, for him, it all down." Two hands-on activities, festival depicted what life for Haitians masks (elementary level) and must really be like, as it had cut paper designs based on such a somber look and the metal cutouts (secondary water and boats symbolized level), were provided in the the best means of escape. teacher packets as a

culminating art production

• Descriptive Exercises activity. Other information in

Descriptive exercises this interdisciplinary packet were sometimes used as an for teachers included an entry into questioning exhibition brochure, historical strategies. Standing in front information, a map of Haiti, of a painting showing a vocabulary, information laborer carrying a huge stalk about shotgun houses, of bananas on his head, Haitian heroes, and a docent Barbara Dupree asked historical timeline. her group of sixth graders to

"Describe what you see in this • Conclusion work as completely as The use of appropriate possible." This question led questioning strategies and to a discussion of banana A sixth grade student examines and writes about this painting of a interdisciplinary connection Haitian laborer carrying bananas. photo: Judy Godfrey trees, the fact that bananas are by docents contributed greatly picked green, and the way in to the quality of the museum which the fruit grows. experience and encouraged critical

Barbara then asked if anyone was • Interdisciplinary Connections thinking and thoughtful response among familiar with Harry Belafonte's song To provide a specific example of the its visitors and students.

"Day-0," a song about harvesting contributions black Haitians made to the Questioning allowed for discovery bananas. Those students who knew the culture of Louisiana, the development of learning, open investigation, and song usually did not know what it meant. the "shotgun" house was traced through thoughtful response by students. The

Through further discussion, students its roots in Africa, adaptation in Haiti, traditional constraints of subject area learned its meaning, as well as a new and expansion from New Orleans were disregarded in favor of a word, "tally." They sang the lyrics: throughout the Southern United States. meaningful program that celebrated the

"Hey, Mr. Tally-man, Docent Barbara Chitnian took pride full range of creativity inherent in the

Tally me bananas, in telling her 8th grade tour group that human spirit.

Daylight comes and she grew up in a shotgun house. Using

I wanna go home. the paintings as a catalyst, she led

Thus a painting, which held little initial students into a discussion of the interest for the class, became one of significance of the architectural style. their favorites. Shotgun houses were the most common Judy Godfrey is the director of the Another descriptive exercise led to type of dwelling among free blacks. Meadows Museum ofArt at Centenary some serious thoughts about ecology. Connections were also emphasized College in Shreveport, Louisiana. While a group discussed deforestation between Haitian and Louisianian in Haiti, one third grade boy said, "I carnival (Mardi Gras) traditions. There Nancy Walkup Reynolds is project didn't could cut all the know you down is a similar adoption of a Plains Indian coordinator of the North Texas Institute for trees in a country. Is that what they're costume by blacks in both places. Educators on the Visual Arts in Denton, talking about when they talk about "Black Indians," as they are called in Texas, and educational consultant to the destroying tlie rain forest?" At the end New Orleans, have adapted native Indian Meadows Museum ofArt in Shreveport.

15 THE DOCENT EDUCATOR In an effort to strengthen the educational bridge between the schools and museums, Phi Delta Kappa has developed a one-day workshop for museum educators and classroom teachers.

The workshop provides: • a history and explanation of discipline-based art education.

• a sample of a discipline-based art curriculum.

• a demonstration of aesthetic scanning.

• gallery activities.

The workshop presenter is Gayle M. Southworth. Ms. Southworth is an experienced classroom teacher, a trainer for the SWRL Elementary Art Program, and has worked in museum education and docent training for the Honolulu Academy of Arts, the Witte Memorial Museum, the McNay Art Institute, and the Smithsonian Institution.

The cost of the one-day workshop is $1,500. This includes presenter's fees, all expenses, and workshop materials. If you have questions or would like to schedule a workshop, please contact Shari Bradley:

Phi Delta Kappa • (800) 766-1 156 • FAX (812) 339-0018

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