Teaching of Islamic Religious Art as an Aid to the Understanding of Islamic Culture

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Authors Raina, Seemin

Publisher The University of Arizona.

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TEACHING ISLAMIC RELIGIOUS ART AS AN AID TO THE UNDERSTANDING OF ISLAMIC CULTURE

by

Seemin Raina

______

Copyright © Seemin Raina 2005

A Thesis Submitted to the Faculty of

SCHOOL OF ART

In Partial Fulfillment of the Requirements

For the Degree of

MASTER OF ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

2005 2

STATEMENT BY AUTHOR

This thesis has been submitted in partial fulfillment of requirement for an advanced degree at The University of Arizona and is deposited in the University library to be made available to borrowers under rules of the library.

Brief quotations from this thesis are allowed without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotations from or reproductions of this manuscript in whole or in part may be granted by the copyright holder

Seemin Raina.

APPROVAL BY THESIS DIRECTOR

This thesis has been approved on the date shown below:

Dr. Elizabeth Garber Date: May 11, 2005

Professor of Art 3

ACKNOWLEDGMENTS

First of all I would like to acknowledge all my children, specifically my sons,

Hadi and Hammad, whose continuous help, encouragement, and support is making it possible for me to undertake and complete my education and this research. I am grateful to them for always believing in me.

I would also like to acknowledge my advisor Dr. Elizabeth Garber for her constant help and encouragement, Dr. Lynn Beudert along with Dr. Darts for their consistent support and assistance. I thank all of my committee members for their patient direction and belief that this research is valuable in the field of Art Education, and for their guidance throughout my years in the Division of Art Education at the University of

Arizona. 4

DEDICATION

I would like to dedicate this thesis to my father, Aziz Ahmad, whose principles in life have influenced me in all aspects of my own life and personality, and he thus remains a part of me, never apart from me. 5

TABLE OF CONTENTS

PAGE

ABSTRACT……………………………………………………………………………. 9

CHAPTER I INTRODUCTION………………………………………………………..10

Background of the Study………………………………………………………..10

Personal Background……………………………………………………………16

Research Question………………………………………………………………16

Research Rationale………………………………………………………………17

The Goals………………………………………………………………………..20

Historical Backdrop………………………………………………………….…..20

Significance of the Study………………………………………………………...23

Strengths and Limitations of the Study……………………………………….…24

Chapters’ Outline ………………………………………………………………. 25

CHAPTER II LITERATURE REVIEW………………………………………………...27

Background to , Muslim Culture, and History……………………... 27

The World Views of ………………………………………………………30

The Sources of Knowledge in Islam…………………………………………….31

Value of Education in Islamic Faith……………………………………………..32

Islamic Thought on Art and Aesthetics….………………………………………33

Historical Background of Islamic Art in the Academics of the United States…. 36

Key Components of Multicultural Education and Art Education …………….…43 6

TABLE OF CONTENTS – Continued

PAGE

a. Approaches to curriculum…………………………………………….....43

b. Concepts and directions of the literature review……………………...... 50

c. Solutions provided by scholars…………………………………………..51

CHAPTER III METHODOLOGY………………………………………………………59

Data Collection ………………………………………………………………….60

The Participants………………………………………………………………….63

Teaching Procedure……………………………………………………………...63

a. Introducing Islamic art………………………………………………….....63

b. Instruction………………………………………………………………....65

c. Curriculum lesson plans………………………………………………...... 68

Lesson Plan I-The Concept of Symmetry and Perfection in a Place of Worship..69

Lesson Plan II- Islamic Design Elements and the Shaping of Ideas………….….72

Lesson Plan III- ……………………………………………………..75

Lesson Plans Created by the Participants…………………………………...…...76

Concluding Note………………………………………………………………....83

CHAPTER IV……………………………………………………………………………84

Participants’ Reactions…………………………………………………………..86

Participant-A…………………………………………………………………...... 88

Participant-B…………………………………………………………………..…89

Participant-C……………………………………………………………………..90 7

TABLE OF CONTENTS – Continued

PAGE

Participant-D…………………………………………………………………....92

Participant-E…………………………………………………………………....93

Participant-F…………………………………………………………………….94

Participant-G……………………………………………………………………96

Participant-H……………………………………………………………………97

Participant-I…………………………………………………………………….98

Participant-J…………………………………………………………………….99

Participant-K…………………………………………………………………....101

Participant-L……………………………………………………………………102

Participant-M…………………………………………………………………...103

Participant-N…………………………………………………………………....104

Participant-O…………………………………………………………………....105

Participant-P…………………………………………………………………….106

Participant-Q…………………………………………………………………....107

Participant-R……………………………………………………………………108

Chapter Summary……………………………………………………………....110

CHAPTER V…………………………………………………………………………...111

Recommendations for Future Art Specialists…………………………………..111

Suggestions for Future Research…………………………………………….....112

Observations, Reflections, and Conclusions……………………………………113 8

TABLE OF CONTENTS – Continued

PAGE

APPENDIX A- The Curriculum Lesson Plans………………………………………....121

The Concept of Symmetry and Perfection in a Place of Worship…………….. 122

Alternate lesson plan of a Place of Worship……………………………………131

Islamic Design Elements and the Shaping of Ideas……………………………145

Alternate lesson plan on Shapes: Drops of Shape……………………………...151

Calligraphy……………………………………………………………………..159

APPENDIX B-Participants’ Lesson Plans …………………………………………….168

Tessellations……………………………………………...…………………….169

Geometric/Symmetric Tile Designs …………………………………………...175

Mayan vs. Islamic Architecture…...……………………………………………180

Multicultural Body Art...... …………………………………………………..186

REFERENCES…………………………………………………………………………190 9

ABSTRACT

This study involved pre-service elementary educators’ attitudes towards curriculum

on Islamic religious art. The research question, Will the attitudes of pre-service teachers change towards Islam and Muslims after being exposed to the key components of Islamic religious art: Masjid (mosque) architecture, nonrepresentational designs, and calligraphy, when taught in relation to Islamic culture? Most of the students knew very little about Islamic culture and some were distrustful of anything Muslims produced. The students easily assimilated the material and were able to create their own lesson plans on Islamic religious art and

write research papers on varying aspects of the art form. This curriculum utilized the

belief that the language of art connects with most people. During the course of this

study the reactions of participants went from distrustful to appreciative of Islamic art

and culture. Understanding of Islam and its culture could be considered essential in

this day and age, specifically in the United States and education is the field which can

be pivotal in creating this comprehension. Simultaneous education of students,

teachers and parents is necessary to explain this segment of society in an accurate

manner. Further research is essential to determine if art specialists, in-service

teachers, parents, and administrators of educational institutions would support a

curriculum on Islamic religious art for use by mainstream teachers as well as art

educators. 10

CHAPTER I

INTRODUCTION

BACKGROUND OF THE STUDY

The events of September 11th 2001 have altered everyday life in the United States and have contributed to feelings of empathy, patriotism and a certain drawing together of the people residing in the United States of America, as well as creating a sense of insecurity and fear. It is this sense of fear which contributes to misunderstanding between diverse sub-societies that exist here. The minority group which has suffered directly is the

Muslims and, in turn, their of Islam. A series of hate crimes, many unexplained arrests, the formation of Homeland Security, and the continuous terror alert warnings in the aftermath of September 11th are evidence enough for dubbing this minority group as an outcast and each member as a potential terrorist.

This thesis addresses the above mentioned concern by creating a curriculum which takes the constant and consistent aspects of Islamic religious art and architecture as represented in the Masjid or Mosque architecture, nonrepresentational designs, and

calligraphy, to explain the culture of Muslims, in a broader and more positive light. It is

an effort to bridge the gap between cultures and alleviate ignorance, replacing it with

understanding. This curriculum was taught to pre-service teachers at the University of

Arizona. The reactions of these participants, their research papers and the lesson plans

that they, in turn, created; form the data documenting a process of coming to Muslim

culture, as well as, a change in attitudes about Muslims and their culture.

The twenty-first century will be the century of Islam. Consider the facts: a population of 1.3 billion and growing; fifty-five states and one of them nuclear; 11

about 25 million living permanently in the West and many of them now making an impact on social, political, and economic life; and a religion that comes with commitment and passion. Understanding Islam is therefore imperative to anyone wanting to make sense of living in the twenty-first century. Islam’s ideas of justice, compassion and tolerance can contribute to a world desperately in need of these. However, for this vision to be fulfilled, Muslims and non-Muslims must work together in a spirit of mutual understanding. And for that, the first step is to begin to understand Islam (Ahmed, 2002, p.1).

In higher education, we come across and read innumerable articles showing interest in encompassing hither-to-fore ignored topics in the field of art education such as feminism and issues dealing with peace and environment. Above all, a trend towards cross-cultural and multicultural issues is noticed. This trend makes people belonging to diverse ethnic groups feel warmly welcomed here and they hope and even start to expect to find a rich multicultural academic environment in the public schools. This depiction, however, changes as soon as one spends time in public and private schools. During a research project on grades K-12, I found to my distress that there were very few instances when multicultural studio art projects were taught to students and even when they were, it was without touching on either their historical relevance or their cultural backdrop, which makes exposure of the younger generations to multicultural issues in art confusing and superficial. The educators were disregarding the importance of anything but studio projects, and seemed to have no real wish to teach cultural connections. The educators used innumerable reasons and used them as excuses not to deal with this problem of not including background information in the teaching of art, including the negative reaction of parents, having no time, and lack of time allocated for art courses. This situation becomes even more confusing when one observes that students in classrooms have a very marked, observable mixture of ethnicities and cultural backgrounds. This raises critical 12 questions about what is happening everyday in the lived experiences of the children. The vision of multicultural education carried within the mind, that of a melting pot here in

America shatters, but out of its shattered pieces emerges a better and more cohesive picture, in which we as educators and decision makers who are struggling to create acceptance of multicultural and cross-cultural issues can succeed slowly but surely.

Replacing that image with individually represented cultures that stand proud separately while learning from each other and in doing so becoming more accepting of each other to be equally appreciated. The study of multicultural and cross-cultural issues further brings cultures into the lime light of arts education.

With the desired presence of multicultural, cross-cultural , or “intercultural aspects” (Davenport, 2000, p.11) being integrated into the art education curricula, is commonly not found in classrooms, one begins to question if there could be any hope of finding Islamic art in any form in the practices of art education in the school system here.

It is tedious work to find any curriculums on Islamic religious art that does justice to the subject matter. The few extant lesson plans build on stereotypes and most have misrepresented information. For example, design and not culture is the focus of “The

Middle East: Patterns and Designs” (Carrell,1949; and Rodriguez, 1999) Magic Carpets are sometimes presented (Rodriguez, 1988) as representative of Islam and Muslim society and the Taj- Mahal, a mausoleum, is depicted as a Masjid(Rodriguez, 1999).

The Muslim population of the world is around one billion. Most Muslims live east of Karachi. 30% of Muslims live in the Indian subcontinent, 20% in Sub-Saharan Africa, 17% in , 18% in the Arab world, 10% in the Soviet Union and . Turkey, Iran, and Afghanistan comprise 10% of the non-Arab Middle East. Although there are Muslim minorities in almost every area, including Latin America and Australia, they are most numerous in the Soviet Union, India, and 13

central Africa. There are five million Muslims in the United States (The Embassy of Saudi Arabia, Washington D.C, 1989)

According to a recent census, the strength of Muslims in the United States is now between five to six million, quite an impressive number, and their presence can be

frequently observed, more negatively than positively, in images of mass media as sword

brandishing, bearded characters, pinned with the slogan of “terrorist,” which just takes

the already established image prevalent in the past century of Muslims to a new length

(Garber, 2002). The recent images reinforce the past ones. The concern now is how to

confront this issue that is bombarding the contemporary visual world. How can this

present situation be alleviated?

The March 2004 issue of The Journal of Art Education had on its cover an image depicting Muhammad Atta, one of the bombers of the World Trade Centers and an

alleged terrorist, created by contemporary artist, Elsi Vassdal, who named this work

“Dear Muhammad Atta.” She indicated that by writing letters to the person, who

allegedly dealt a massive blow to the leading country of the free world, people could vent

their anger in a positive manner, in her words, “dealing constructively with anger

emotions” (Vassdal, 2004, p.10) and she utilized the avenue of art to do this. The above

mentioned was part of an article, “Reading Violent Images,” by Gaye Green (2004), which begins with a quote that speaks volumes: “great events, including terrible ones, produce great images” (p.6). After reading and observing the images accompanying the text of this article one tends to questions why ostensibly a Muslim villainous character was chosen to be depicted in a scholarly journal and what impact it must have had on the innocent and impressionable minds of whoever was exposed to it. It probably makes 14 many wonder if images of villainous people like Timothy McVeigh or of Snipers creating havoc in parts of the U.S. are the subject of art education curricula. Furthermore, have positive images of Islam and its art graced the front cover of any scholarly art education magazines to date?

These circumstances and situations of misrepresentation have implications beyond what is outwardly observable in the new generation of young adults. The deep and slow absorption of negative, stereotypical imagery of Islamic culture contributes to feelings of anger and confusion, which in turn sometimes result in reactionary actions on both sides. The flipside of anti-Muslim mind set in non-Muslim students is creating a defensive reaction from the Muslim minority, simultaneously; who tend to question what they did wrong to deserve such medals of dishonor. This raises a question about what we as adults are teaching our children to assimilate and become.

Out of all this negativity comes a desire to present to the world a better picture of the Islamic culture, religion and its people because their existence is real in the U.S. It is up to us as educators to address this situation and bring the theoretical knowledge about multicultural art education, including Islamic art, into the practical practice of teaching art. The struggle is towards narrowing the distance between cultures and drawing the borders of our worlds closer so that we reach the goal of a multicultural U.S American existence as a peaceful march together, side-by-side, and shoulder-to-shoulder, with the visions bright and focused on harmonious co-existence.

As anything attached to the word “Islam” tends to create a certain Islam-o- phobia in the present day, how to deal with this dilemma, is the question that this study and 15

recommended curriculum suggestions, addresses. Islamic art, in my opinion, is a peaceful

vehicle that can create that paradigm shift in U.S. - Muslim understanding by initiating a fertile ground for dialogue and/or discussion. The art form created by Muslims all over the world has the intricacy and beauty which might be able to wash away the harsh image of Muslims. The other question that mostly goes unanswered is about the actual content of Islamic art. What is it that constitutes Islamic religious art? The answers are usually vague and confusing for even the very enlightened of people like Blair and Bloom

(2003), who, although they have the esteemed positions as art historians at a renowned

university in this country, portray Islamic art as a “mirage” and “an unwieldy field” (p.1).

This thesis and its related study is an endeavor to present key components of Islamic

religious art that can contribute to understanding of Islamic culture and clarify some

stereotypes. This thesis takes those elements that have remained constant in Islamic

religious art, (mentioned before) across all boundaries, created by geographic overlay of

land and demarcation of countries to make it acceptable and comprehensible for educators as well as students in the United States.

The term Masjid will be used to refer to Muslim place of prayer in this thesis, because:

The name Muslims use when referring to a mosque is Masjid. This translates as the place of bowing down. The English term mosque is derived from the Spanish word for mosquito and came into use during the Christian invasion of Muslim Spain in the fifteenth century. The forces of King Ferdinand and Queen Isabella boasted they would swat out Muslim prayer houses like mosquitoes (Emerick, 2002, p. 14). 16

PERSONAL BACKGROUND

Self is the byproduct and reflection of the beliefs and environment, with contributions made by society, family, friends and above all circumstances and events of life itself. I am a recent immigrant to the United States of America; who moved here in

1997, to be close to family who had settled in this country 25 years ago and regard this as their home. I am a practicing Muslim and I have had my fingers on the pulse of this nation, due to my profession as an educator and a student, since the events of September

11th. Needless to say, every changed attitude, expression and act has touched me, in more ways than one. The early stages of my life in East Pakistan (present day Bangladesh) and later in Pakistan itself, involved the experiences of two wars and a civil revolution. These events are mirrored in who I am and what I stand for today. The 1971 revolution in

Eastern Pakistan, presently known as Bangladesh, destroyed my home and life as I knew it, and forced us to move to the west part of Pakistan. Academically, I hold a Masters degree in Fine Arts, with Eastern and Islamic art as my major focus, near completion of a second Masters in Art Education, and am also striving towards a doctoral degree in the

College of Education, presently. I have taught art for over twenty years, here and in

Pakistan. All of the above mentioned has a direct impact and influence on the research that I have undertaken for this study. I am writing from an “insider’s” perspective; which is uncommon in this country in relation to the subject matter of Islamic art.

RESEARCH QUESTION

The main purpose of this thesis and its accompanying study is to address the research question: 17

 Will the attitudes of pre-service teachers change towards Islam and Muslims after

being exposed to the curriculum of teaching Islamic art in relationship to Muslim

culture?

This study will introduce key components of Islamic religious art, mentioned before, to

participants of the Creative Art Methods class. The participants will then use the

information provided to investigate it further in the form of a research paper and then

create their own lesson plans which they will then present in class. The participants will

also keep a journal to record their personal reactions. Their reactions in the class will be

observed and recorded in a journal that I, as the researcher, will keep. The data collected

through the study of the journals, research papers, and lesson plans of participants will

then be investigated to find the answer for the research question.

RESEARCH RATIONALE

The rationale behind this study is the belief that through art we can further

understanding across cultures and that Islamic art is a much needed component of

multicultural art education, especially during the present times (Chalmers, 2002; Garber,

2002; Hickman, 1999). This study takes into consideration the need to think outside of the western canon and embrace other canons due to the ever growing pluralistic society in the United States and to this ever shrinking world (Chalmers, 1987; Mason, 1999; Oweis,

2002).The field of Islamic art is being mostly ignored in its entirety, even in the multicultural and cross cultural content that is now prevalent in K-12 levels. Art can be used as the basis for opening dialogue that leads to understanding the culture itself; the need to do this is predominant, specifically, because of the current global events targeting 18

Islam and Muslims. It can be used to iron out the stereotypical and misrepresented way

Islam is being exposed to the world at large and to create acceptance of a beautiful art form and culture.

First and foremost, after the catastrophic events of September 11th, it seems logical to explain and increase the awareness and comprehension of U.S. Americans

about the Islamic faith and Muslims in general by presenting a better and more positive picture of them through art. Schultz and Hull (2002) and Maddox and Solórzano (2002) eloquently portray research taking place in Islamic countries to prove varying points of

view in subjects like literacy, language, education and philosophy, but not much work

seems to be carried out in the field of art and its education. Islamic art is an important

means of doing this due to its visual powerfulness , utilizing a myriad of patterns and brilliant colors as its basis.

Secondly, the field of art education is incomplete without the mention of multicultural issues in its curriculum. The United States is a nation of diverse people and cultures that have their own distinct presence and expressions in art. Islamic Art, though oft ignored, must have a presence in the vast field of multicultural art pedagogy. Despite the tremendous research done over the past fifteen years in multicultural art education, there is a paucity of understanding of the arts of other continents, especially those that have their roots in religion, for example, Buddhist, Jain, Hindu and Islamic. Art education, without the integration of these very important arts, remains incomplete. The world is now a smaller place, thanks to the mass media: a place hundreds of miles distant is just a click away, exposing the people inhabiting this planet to a myriad of thought 19

provoking topics. With wars brewing in different parts of the world, integrating cross-

cultural and multicultural issues in the educational policies and practices of western

developed countries becomes even more pressing. If this is not done, the world remains

an incomprehensible “blob” for all those who try to fathom and unravel its complexities

(Chalmers, 1987; Mason, 1999; and Oweis, 2002).

Islamic art can be integrated into different subjects: for example, in mathematics; with its use of geometric and precise patterns; in history, with its impact and influence on the art world; in geography, with the study of the materials used to create the art and how this art form spread geographically; in social studies as the study of the people that create it and their way of life; and in science; with the study of the symbology found in the designs and patterns that reflect the planetary movements as well as the contributions made by Muslims to the sciences. Finally, the language of art can become a peaceful vehicle that draws the world closer in a non-aggressive manner and creates understanding and acceptance. Islamic art, if taught properly, is that specific vehicle that can expose the world to the beauty and the peaceful nature of the people that created it.

Finally, why would teaching American students about a foreign category of art be of central importance in the curriculum? As students are educated about the art produced by people of an unknown society, they discover that it tells them many things about what these people did, knew, and believed in. Examining the geometric patterns that characterize so much of Islamic art can supply students with vital insights into the technology, scientific knowledge, and religious beliefs of Muslims. At first, an American student may question the value of studying art to understand a distant culture, but 20

connections soon become evident. Appreciation for a basic relationship between the art

and the religion of Islam increases with familiarity. Careful observation of the illustration

(the teaching) described in this thesis will grant an introduction to Islamic religious

beliefs through its art. Students should be knowledgeable about different forms of art,

domestic and foreign. To be able to understand and appreciate the beauty of another culture’s attractiveness makes an individual more of a well-rounded person who is a

global citizen.

THE GOALS

The goal of this thesis is to design an effective Islamic art curriculum that

includes cultural context and content that can act as a conduit in creating understanding

Islam and its art for U.S. Americans. The attitudes of the pre-service teachers that

participated in the study are also ascertained in the process of opening dialogue to counter

reservations in addressing Islamic religion by examining of Islamic religious art in

relation to Islamic society.

HISTORICAL BACKDROP

The fields of comparative-international education and global education developed in the United States during the period after the World War II, the former for

reasons of poverty eradication by increasing education for the general population, and the

latter for promotion of peaceful coexistence. Then came the multicultural approaches in

education, instigated by the Civil Rights Movement in the 1950’s and ’60’s, in an attempt

to create parallel equality in the institutional and personal lives of students. All this took

place in the fields of general education and art education. 21

Globally we must consider two groups of historical events that influenced multicultural art education curriculum in the Western and the Eastern part of the world.

The first is the spread of British, French, and Dutch nations and their colonies. These

conquests created a change and acceptance in the comprehension for Islamic countries or

areas dominated by Muslim population by alerting the world of the presence of other lands and their arts. Somehow in this entire negative situation, the world was drawn together closely, artistically and culturally. Before leaving, these ruling occupant nations took every opportunity to sweep the conquered occupied land clean of art pieces they

could physically remove. This is how major works of art from those “primitive lands”

ended up adorning the public and private collections in, say, England, such as The

Victoria and Albert Museum and The Crown Jewels. This theft of a cultural heritage did

do one good thing, which was to expose the rest of the world to the artistic expertise of,

among others the Muslim people. Art education historian Stankiewicz (2001) says,

When Smith prepared his catalogue of objects from the 1876 Centennial Exposition, Western nations were in the midst of imperialism, exploring “primitive” lands and claiming those territories for themselves. Cultural imperialism accompanied the political variety as objects were taken to Europe and North America by collectors. World’s fairs provided means to display this booty and often preceded the establishment of museums where objects from around the world were displayed as curiosities, anthropological artifacts, or works of art. Design principles provided a conceptual frame for these objects. Westerners who lacked knowledge of the home cultures and intended functions of these artifacts used design theories as lenses, emphasizing universal aesthetic qualities while transcending particulars. (p.92)

The second group of historical events derives from the immigration policies of

the U.S. which made this land a fertile ground for creating the concept of the celebrated

metaphors of the “melting pot” as well as that of a “.” U.S. immigration policies 22

were responsible for, in more ways than one, the fabric of multicultural issues inside and

outside the academic world, here. These policies have been selective and racist, to say the

least, (Chalmers, 2002).

Contributions of Muslims to the arts, sciences and society until the beginning of the 19th century were, needless to say, quite extensive. Arabian people were living in

cities better laid out and planned than most countries in the world, with beautiful palaces

and Masjids. On one side of the world, architectural structures like the Taj-Mahal could

be observed in India while in the heart of Europe, Alhambra in Spain is an outstanding

example of Islamic architecture from the fourteenth century. The geometric designs and

the patterns created by the Muslims made their mark on architectural

buildings, book illustrations, and illuminations. The intricacy of floral designs gracing the

above mentioned subjects spoke of the enlightened and learned people who had created

them. The 16th century saw the grandeur of the Mughal dynasty in the East the conquering, artistically sensitive warriors from Persia who settled in India, drew from the rich artistic culture of their new land and combined it masterfully with the intricate

patterns from their homeland, which gave birth to what is known as the Mughal art.

Beginning around 1904, ten years before World War I, the urgent need to address

multicultural issues, especially in art, came to the fore with the large influx of immigrants

to the shores of United States, when people from other lands came in millions. They

brought with them their cultures, and heritage of arts and crafts. America until

this time, having been created by immigrants from Europe, had later policies that

welcomed people from many parts of the world. This created the need for what Brown 23

and Korzenik (1993) have identified in art education history as the fourth tradition in art,

which is “Art making for understanding ourselves and others” in which teaching art is

focused on cultural pluralism. These educational changes were inspired by Rousseau’s

belief that an ordinary person, even a child, can create art; that objects other than the

accepted canonical Western arts were also art; that the diversity in the population was

growing; and that people who were encountering this diversity were willing to assimilate

and accept it.

All the above mentioned historical and philosophical ideologies were in one way

or another important enough to impact the ever growing and spreading fields of

multicultural art education. Multicultural art education practice, which will be given

further review in the second chapter of this thesis, is an umbrella under which Islamic art

can be taught today. Islamic Art can serve as a catalyst for the explanation of a society

and culture that is present in today’s U.S. culture. Education about Islamic art can grow

and blossom into a shady tree that will be visible for all to see. Hopefully it will be

appreciated for its grace and beauty, which is, typically, devoid of the depiction of human form, but more than makes up for it in its excellent design quality, its forte for the last fourteen hundred years.

SIGNIFICANCE OF THE STUDY

Even with such extensive and in-depth study and research in the field of art education, it is alarming to observe an almost non-existent multicultural art education curriculum being employed in educational institutions today (Bennett, 1999; Mason,

1988). This problem is observed not only in the present but in the past century. The 24

United States, which is the current centre of development in many fields and a nucleus where many nations, cultures and religions converge, still has not been able to give justice to or provide the rightful place for multicultural issues in art education at the

elementary, middle and secondary school levels. Recently the State of Arizona has made it a requirement to introduce five most prominent religions of the world as a part of its social studies curriculum. These religions are: , Judaism, Islam, , and . The required education about these religions creates the niche for introduction of Islam through its art.

STRENGTHS AND LIMITATIONS OF THE STUDY

This study was created and practiced by a person who is well versed in the arts, has experience as an educator, and is a Muslim. One of the strengths of this study is the unique personal background that I, as the author, teacher/researcher, bring to this study.

For the participants of the study, the elementary art methods course in which they were enrolled was their first encounter with teaching with art as an interdisciplinary study. They were thus open to suggestions about how to teach children. After the creation of first few lesson plans by students, on non-related projects the participants seemed to be enjoying them and looking forward to teaching art.

The limitations of this study and that of the formation of the curriculum are:

 The inclusion in K-12 schools of multicultural issues and world art appears

minimal in most schools. This situation hinders the introduction of Islamic art,

because there is not a multi or cross-cultural context in which to introduce it. 25

 Secondly, there is no way as yet to practically introduce and observe the use

of this curriculum in schools. This means that the curriculum has been tested

only in a college classroom, not in K-12 grade levels; the audience which it

actually addresses.

 Third, this curriculum was taught by me, a person knowledgeable in Islamic

art and culture.

 Teaching Islamic religious art needs not only the involvement of students but

the prior education of the educators as well. These educators are already

overwhelmed and over worked, more so now than ever, with the exigencies of

standardized testing demanded by The No Child Left Behind Act that impacts

the art curriculum by siphoning off class time, financial resources, and

scheduling of courses.

 Funding is another major factor. With budget cuts, the inclusion of art seems

to have taken a back seat to subjects that are tested. With the U.S. economy

doing a back slide, it is becoming a problem to procure the resources for art

and also for creating extra classes for educating art educators.

CHAPTERS’ OUTLINE

Chapter two contains the literature review that reinforces this study. This chapter also provides a brief overview for the Muslim beliefs about art and education and gives a short history of Islam and its art. It gives a detailed overview of the varying historical influences on arts education in the United States and the various scholars of arts and 26

multicultural education, which have left their mark in their respective fields. It also addresses the demand of integrating Islamic art in the art education curriculum.

In chapter three, the method for collecting data is explained; it also has the consistent and constant elements of Islamic art through the lesson plans created by me.

Further, lesson plans for and by the students are explained in detail. Addressed are the themes that were recurring in the data of this study.

The fourth chapter is a narrative of the experience of teaching about Islamic art to a class of education majors at the University of Arizona and documents their attitude changes based on a detailed study of their journals and research papers as well as the group lesson plans which the participants create.

The fifth chapter contains the conclusion of this study with suggestions for future research and tips for educators, art specialists, and administrators for integrating Islamic religious art into art rooms and other academic subjects.

The appendices contain the actual lesson plans taught by me, the ones created and presented by the pre-service education majors, and visual images of their presentations. Also contained therein are some of the photographs of art works the participants created. 27

CHAPTER II

LITERATURE REVIEW

In this chapter I explore the literature that has informed this thesis and discuss the subject of Islamic Art. It has the following topics as its prime focus: historical background of Islam and its religious art, art and aesthetics in Islam, background to

Islamic history, culture, and thought. It will also provide the background of multicultural art education and curriculum development in the United States, as well as an elaboration and explanation of the different stereotypes that exist about Islam.

BACKGROUND TO ISLAMIC ART, MUSLIM CULTURE, AND HISTORY

The word ‘Islam’ means ‘Submission’ and is also derived from the word meaning

‘Peace’ in Arabic. Muslims are monotheists like Jews and Christians. The advent of

Islam was in the year 610 C.E. when Prophet Muhammad (pbuh), who was born in

570A.D. in Saudi Arabia, was given the message from Allah through the Angel Jibraiel,

of this religion which, by popular Muslim thought, is the continuation and completion of

the other two religions. Muslims also believe in the Prophets: Adam, Abraham, Moses

and as well as the Holy Books that were sent down to some of these Prophets, by

the Creator. Islam, according to Muslims, thus becomes the last rung in the ladder of the

same religion that started with Adam (Armstrong, 2002).

The people of Arabia were simple and the initial upheavals faced by the Muslims

left no time for art and its production, which seemed the last of their worries. Islam

spread rapidly, encompassing much of Africa, Europe and Asia. As Art has been an

expression of any rising civilization, in the later years, acceptance and conquests 28

produced time to create and brought influences from the conquered lands. I nevitably the

Muslims turned towards literature and the arts.

The first and purest form of Islamic art was and is calligraphy, as the h oly

message of Allah (God) had to be written down and the fervor to render it in the most

exquisite manner became the foremost thought in the calligraphers’ minds. The second

artistic manifestation became architecture. The need for the congregational prayer places

was felt urgently, because of their utilitarian purpose and also due to the fact that places

of worship made strong visual statements, just as any church or synagogue did. Thus,

Masjids came into being. One can trace the changes in Islamic architecture, from the

simple square of the Khanna Kaaba in Arabia to the majestic and exquisite Al- Hambra in

Spain and the Blue Mosque in Turkey.

The art of Mughal or Islamic India in the 16th to 18th centuries was created with the fusion of the indigenous art and craft forms prevalent in India and that of the conquering Muslim monarchs who came from Persia and brought with them their own artistic influences. Under the rule of these monarchs, the most visible form of Islamic art blossomed: that of architecture, exquisite pattern work, and calligraphy. These manifestations of the culture still stand and having withstood the test of time are recognized the world over. The regions to which these buildings belong are present day

India and Pakistan (previously known as the Indian Subcontinent). Under the rule of

Emperors Akbar and Shah Jahan, the Mughal art was epitomized.

Islamic art is one of the most successful, ancient examples of art being used mostly for industrial purposes. It provided the artisans a very lucrative livelihood. The 29

geometric and Arabesque design were used profusely in book bindings, manuscript

illuminations, pottery and for decorative architectural purposes in the majestic Masjids and Mausoleums (tombs). The geometric designs were also used in the formation of

architectural sites and the floor plans had a powerful geometric balance. The artisans used

marble, sandstone and wood for the carvings. Muslims created styles of domes and

arches which were later used all over the world. Calligraphy was not used to illuminate only manuscripts and books, but also as architectural decoration. The flora and fauna patterns were utilized in carpets, tiles and textile designs.

In Mughal India, art was specifically designed and produced by team effort of the

local artisans being guided by Persian teachers (ustaad) who oversaw the production

processes of all art forms. The classes were well known and open to everyone who was talented and productive. Here a few artists also reached individual recognition; for example, the famous court artist Bihzad.

Islam had many seats of learning in all fields of knowledge. For examples

Fatehpur-Sikri in India under Emperor Akbar, Baghdad in Iraq, and the present day Al-

Azhar University in Egypt. Muslims are known for inventions in many fields including astronomy, algebra, geometry and chemistry itself. Muslims invented steel even before the world knew of it.

Islamic religious art in all its manifestations, like the religion itself, has not changed much. Specifically, the “anionic” or non-iconic ornament, Quranic calligraphy and Masjid architecture are enduring hallmarks of Islamic Art. 30

THE WORLD VIEWS OF ISLAM

The basic difference between East and West rests in the psyche of its inhabitants

which invisibly demarcates them. The East has firm and deep rooted beliefs in traditions

and religions. This can be observed in the Hindus and Buddhists who have significant

influences on many areas of the Far East. Some portions of Asia and Africa have many

other religions that are predominant. In some areas of Asia and mostly in the Middle East

Islam is the dominant belief. These religions serve as a guide to the lives that exist in

those areas, as well as any place they come to inhabit.

Muslims have religion always uppermost in their minds, and make no division between secular and sacred. They believe that the Devine Law, the Shari’a, should be taken very seriously, which is why issues related to religion are still so important, (The Embassy of Saudi Arabia, Washington D.C, 1989). . The West, on the other hand, has separated the state as well as many other aspects

of life from religion. This secular thought is safe guarded by rules and regulations as well as the constitution itself. Like all religions, Islam also has no land marked boundaries.

Muslims exist in almost all parts of the world, as the ruling majority in some areas and as minority in others. For Muslims, wherever they may be, education is connected to the religion. The and the Sunah (actions of the Prophet Muhammad, pbuh) are the keys which open the door of education to the followers of Islam. Art education also adheres to the directives of the faith. Even though the East and West as well as the three monotheist religions have many similarities, the life style is different for each of their followers. Islamic life and Islamic thought are very closely connected. The connection has remained unbroken throughout the fourteen centuries, since the inception of Islam.

Khouj (1987) explains: 31

Many people ask whether the Quran, which was revealed approximately 1400 years ago and the traditions of the Prophet Muhammad (pbuh) are still applicable to modern life. To answer this question, we have to examine how the basic foundation of Islam influences its whole idea and educational system. (p.3)

THE SOURCES OF KNOWLEDGE IN ISLAM

 Quran; is the book that Muslims believe to be Gods revelation to man kind. It

is not only considered a book but a guide to the proper way of living an

Islamic life. It is also considered to be the final revelation. It was revealed to

the Prophet Muhammad (pbuh) over a period of 23 years. The first revelation

consisted of only five verses, but later revelations often contained many

verses. The language of the Quran is Arabic and if it is translated into any

other language it is merely considered an explanation and cannot be

considered an actual rendition.

 Sunnah; is what the Prophet Mohammad (pbuh) did. Muslims try to follow

his example in everything. They consider him as the most perfect human

being and his life as the Quran in action. Hadeeth; is the recorded sayings of

Prophet Muhammad (pbuh) as narrated by any of his close companions.

 Shariah; canon or law based on the principles of the Quran, regulates a

Muslims life in the religious, political, and social sense. Ijtehad; a council of

learned Islamic scholars who research, observe and discuss new problems that

arise in the present day and which do not have a direct order in the Quran and

Sunnah and find a solution after consulting with all sources of knowledge.

Their inevitable decision then becomes a law, the example of forbidding

cigarette smoking is an appropriate one. This base of knowledge is Islamic 32

contribution to education in a global and pluralistic society as it integrates

change while staying within the boundaries of the teachings of Islam.

VALUE OF EDUCATION IN THE ISLAMIC FAITH

Armstrong (2002) traces the history of Islam and notes that, Muslims developed great knowledge in all fields of education and the sciences between the sixth to the thirteenth century A.D. Ibn-Khuldun is considered to be the founder of sociology and

Avicenna (Ibn-Sina) took the field of medicine to new levels. This time of flowering took place at the same time when Europe was undergoing the so called dark ages. Juxtaposing this era in Europe and the Middle East makes it clear that stereotypical imagery of

Muslims as primitive heathens was not true at any point. With the downfall of the

Abbasid Empire after the Umayyad Dynasty, education and academics suffered hard, due to the destruction of the library in Baghdad by the Mongols, namely Chengiz(or Genghis)

Khan, in the thirteenth century. These levels were never recovered even with the rise of the Ottoman Empire. Any nation suffers due to global and political chaos that play a devastating role in subverting, specifically, the academia, this can be visualized today in countries like Iraq and Afghanistan, where education has taken a back seat when the nation is confronted by bigger issues of day to day survival and preservation of life itself.

Education has always been important in Islamic thought. The first words of

Allah’s communication with the Prophet Muhammad (pbuh) were “Iqra” meaning to read or recite. An interpretation by al-Sabouni (1981) of these verses is as follows:

Start “learning” by the name of your God the creator. The one who created the human being from sperm that is insignificant. Learn and God is the most generous. The one who taught by the pen. He taught the human being what he did not know. (Quran 96: 1-5) 33

Sabouni here interprets “Iqra” which usually translates as read and recite, as to

“learn.” Islam, therefore, propagates learning. The emphasis in this verse is on education, educators, and their connection to the written word.

The Prophet Muhammad (pbuh) reiterated the importance of education by firm directives (Hadeeth), including the one in which he told his followers to gain knowledge even if they had to go to China to attain it, and again when he said that if you educate one female child you educate a whole nation. Here I want to reinforce that art education is a part of fine arts but more so a branch of education itself.

ISLAMIC THOUGHT ON ART AND AESTHETICS

Islamic art, as mentioned above, is basically a non-figural religious art that was and is created by Muslims all over the world. It, commonly, does not have the depiction of the human form that dominates the Western art scene. Its predominant features are the intricate design, vivid color, and delicate ornament. There are three basic elements of this art that are recognized almost universally as that created by Muslims even if they are not

existing in the regions ruled by Muslims today, that of “Arabic Calligraphy, the use of

geometrical patterns, and Arabesque (floral and vegetal motifs)” (Oweis, 2002, p.19)

Islamic art is the expression of a whole culture, intimately intertwined with religious, theological, and legal commitments. It is a way of expressing and celebrating the defining ideology of a community. It is always social and traditional, never idiosyncratic or wholly self expressive. The search for new artistic patterns is never great; the repetition-or, better, improvement, and refinement- of classic forms is always prized, and skill in it constitutes the essence of art, whether it be literary, architectural, or decorative. The thought that he was expressing himself would seem idiosyncratic to a Muslim artist. Since Muslim artistry is communal and traditional rather than self expressive, it is never dated or faddish the way contemporary western art is. Novelty for its own sake 34

rather than a new way of expressing old truth is totally foreign to any traditional religious community (Madden, 1975, p. 423).

Blair and Bloom (2003) define Islamic art as, “the art made by artists or artisans whose religion was Islam, for patrons who lived in predominantly Muslim lands, or for purposes that are restricted or peculiar to a Muslim population or a Muslim setting, it therefore encompasses most of the fourteen centuries in lands occupied by

Muslims (p.152).

The concept of art in Islam is connected beauty. Beauty might be of words as in prose and poetry, and has been appreciated over all the lands occupied by Muslims, from the shores of India to the Arabian Peninsula. The Quran itself is written in a poetic manner which is rhythmic. This makes it easy to memorize as well as making it appealing to listeners. Aesthetically pleasing descriptions of nature abound in the

Quran. It includes elaborate descriptions of nature as well as descriptive historical parables which represent realistic surroundings, thus increasing humans’ comprehension of the world that surrounds them. Islamic artists have used this artistic value to their advantage, to create art, architecture, and ornamental works as well as to ignite imagination, which in turn engulfs the whole Islamic culture with beauty.

It is a general understanding, in Islamic and non-Islamic countries, that Islam somehow forbids art. “According to Islamic teaching it was forbidden to represent human beings and animals” (Stierlin, p.142). Hickman (1999) states, “There is a commonly held view amongst Western art educators that Muslim students are “not allowed” to produce representational art” (p.289). He goes on to repudiate misconceived claims about Islam and art through detailed study of the Quran and the 35

art educational practiced and embraced by Muslims in the United Kingdom and

Singapore. Hickman, (1999), “is concerned with stereotyping, focusing on Western art educators’ perceptions of Muslim attitudes to image making” (p.289).The truth is that Islamic thought about art has different interpretations according to the mind set of different people, but Islam as a religion does not forbid art or the creation of human form in art. Al-Namlah (1994) says:

It may be a surprise to many researchers to find that there is no single pronouncement against images, , or statues of living beings in the holy book, the Quran. The only verse which is understood by some theologians to be the source of prohibition of figural art is: “O ye believers! Wine and idols and divinatory arrows are an abomination, works of Satan all of them; avoid them and you will prosper in happiness.”(Quran 5:91)

In another verse, Abraham addresses his father who worshiped idols: “Verily I look on thee, as on thy people, as being in manifest error” (Quran 6:74). These two verses show a prohibition of idol worship, nothing else.

Many Muslim scholars have given fatwa (a judgment based on religious precepts) for the permission to create art to Muslims, and deemed it as a valuable source of visual record of history. They also accept that art creates certain finesse in taste and the senses and makes people better rounded in general affairs. Art is actually assimilated in the very life of Muslims through their connection to the Quran. Allah in many parts of the Quran urges readers to ponder the rich physical splendor that surrounds mankind. It may be the magnificence of the human body or any other living thing, as well as nature in surrah#55, called, Ar- Rahman (55:78…).

The verses mentioned below illustrate the creation of art as stated in the Quran: 36

And to Solomon (we made) the wind (obedient): Its early morning (stride) was a month’s (journey), and its evening (stride) was a month’s (journey). And We made a font of molten brass to flow for him. And there were jinns that worked in front of him, by the leave of his Lord, and if any of them turned aside from our command, We made him taste of the penalty of the blazing fire. They worked for him as he desired (making) arches, images, basins as large as reservoirs, and(cooking) cauldrons fixed( in their places). “Work ye, sons of David, with thanks! But few of my servants are grateful” (Quran 34:12-13)

Allah is beautiful and loves beauty (Hadeeth; Sahih Bukhari). Among the 99 attributes that Allah personifies, there exists that of “The Artist” or “Al-Mussawar”. If the Muslim

God (Allah) himself can be The Artist, then how can art, as a field, be forbidden? The above mentioned verses and Hadeeth refute the claim of art being forbidden in Islam and leaves a fertile ground for utilizing this art form to explain the culture of the Muslim people.

HISTORICAL BACKGROUND OF ISLAMIC ART IN THE ACADEMICS OF

THE UNITED STATES

When I started looking into the relevance and importance of Islamic Art in the art educational system prevalent in the United States, it made me realize that I had to go back in time to seek its mere existence in the records and archives of art education. My journey took me to three articles in The School Arts Magazine that were published from

1920 to 1940, one in each of the decades:

 Some Arabesque Woodcarving by Dana, L.P . (1924).

 A Bedouin Camp by Wyckoff, J. (1939).

 Calligraphy ….. Its Use in Design by Carrell, M.L. (1949). 37

The article on wood carving was published at the approximate time when the

Quota Law was enacted in the U.S, welcoming only immigrants from northwestern

Europe and restricting other nations. The misconception of considering the immigrant people as “primitive”, and creators of child-like art, (Owen Jones, as cited in Brown and

Korzenik, 1993) is evident in the subject matter of the first article. In which it states that,

“People of the Tent” (p.1) i.e. the early nomadic tribes in Arabia move up to a higher order of thinking when they become “People of the Wall” (p.3), creators of murals with the use of arabesque and designs in wood carving. The architectural examples provided are appropriate ones for the purpose emphasizing carved designs. In the second article one observes no detail in descriptions of customs of desert people. The only visual in the article is a model created by the students, showing lives of the Bedouin People. The

Quranic verses used as examples of calligraphy in the third article are Arabic and not

Persian, as is defined in the article. Most disturbing are the illustrations in the article: one is upside down and the second is a mirror image, emphasizing design only without any thought given to content.

The above mentioned articles speak eloquently about the cultural curiosity of the

West about Islam and lands occupied by the Muslims, without any real concern given to the authentic art forms that Muslims were creating. However, one does not observe any sincere efforts to inculcate Islamic Art in the art education curriculum in the United

States, at that time, from these articles. I shall still try to conceive my glass as being half full rather than half empty and see these articles as the illuminating silver lining in an otherwise dark and stormy cloud. They seem like thin, weak threads that somewhat 38 connect to the historical relevance of the periods in which they exist. The bias and stereotypical representation are evident in all three of the articles.

Brown and Korzenik (1993) accept the dilemma created by ignoring multicultural issues when they point out that, American art along with Jewish and African art, would have been available to her while in school if educators had incorporated multicultural content into the curriculum when she was in school and then she might have met Islamic art as well. This thought points towards the importance of the incorporation of multicultural education in the academic system. Going through the School Arts articles makes one pity the new generation of that time, as the very concepts dealing with Islamic

Art merely scratch the thin surface layer. How could it be imagined that it could improve an outlook or change any views, even at that time.

It would be wise to look at what was historically happening in the field of art education at that point when multicultural approaches in education were starting to flourish in the West, with interest in study of the different philosophies that shaped the multicultural part of art education. The Civil Rights Movement during middle of twentieth century began another phase to multicultural education, which followed the post World War II one; in which education was directed towards global understanding, world peace, through comprehension of similarities rather than differences through the avenue of academics. An early multicultural approach was to study the pattern ideas from all over the world. Educators referred to The Grammar of Ornament, a book written by Owen Jones in 1868, as a primary source in understanding arts of other lands, which included arts of Persia, Arabia, Turkey, India, and looked as far as Asia for inspiration. 39

Brown and Korzenik (1993) believe that Jones’ work helped people acknowledge the

varieties of art history that people of different cultures brought with them when they

settled in the industrialized centers in the U.S. It made it easier for people already living

in this country to accept the foreign immigrants that were mingling with them. It thus

embodied the cultural pluralism that was changing the make-up of the country, while

establishing new ideas about what the extended meaning of what art was. If one expected

Jones, as an Englishman, to do justice to the people and their work from these far off

places without any bias, then that thought would be erroneous. To him these people were

nothing more than “peasants,” even though these poor people were rich in art. Indeed,

they preserved their artistic integrity, because, according to Jones, they were devoid of

industrialization. He admired their grace and innocence and compared their work to that

of children and primitive people.

The 19th century was a time of fruitful searching for beautiful objects and due to

this search, even though it was performed in a derogatory way, it still paved the way for the acceptance of differences in cultures. Stankiewicz (2001) mentions incidences, in the way immigrant art was being received in this country and how different the thinking of

Arthur Wesley Dow, (1857-1922) was:

the way art educators described objects from Native-American, African, and Asian cultures revealed certain prejudices: art-makers from small scale cultures were often described as if they worked without conscious control of media and technique; their tastes were described as strange or bizarre; the meaning an object might have in its home culture was secondary to the Westerner’s perception and analysis of formal qualities. During his 1904 trip to Asia, Dow observed Indian methods of block printing textiles. Later, in his Ipswich summer school, Dow encouraged students to re-experience the course of cultural development by exploring such traditional Indian and Japanese craft techniques. (p.92) 40

Dow’s philosophy reiterates the need for integrating multicultural examples in art classes

to broaden the horizon of students, felt so many years ago.

Two brilliant and aspiring American women, Jane Addams, (1860-1939, a painter) and her classmate Ellen Gates Starr, (1859-1940, a crafts person) took it upon

themselves to create a change, the impact of which would be very profound. They

worked with the impoverished immigrants in Chicago’s famous Hull House and its art

extension program held in the Butler Art Gallery, The Labor Museum. The creation of

Hull House was inspired by two such places already existing in England at the same time.

These art programs broke some of the very strong barriers existing between the poor

immigrants and the powerful ruling immigrants, by explaining and exposing the crafts

and cultural heritage of these poor immigrants, instigate an appreciation of the ever

growing diversity in the population. The work done in Hull House was aimed at creating

tolerance towards the people from various countries that were uprooting themselves only

to try to re- root in America.

The mention of Enella Benedict and Eliza Starr, (Ellen Starr’s aunt) would be

appropriate here as well, because of the role they played in the importance of the

activities in Hull House. Benedict, (1893-1942) created studio art projects and Starr, who

was one of the founders of The Art Institute of Chicago, agreed to loan exhibits for the

Butler Art Gallery. Addams believed that people with such little language in common

that they could barely talk, each might have some craft skill that could be used as

communication. Both Eliza Starr and she accepted that even the poor can have interest in

art, a very radical idea for that time period. Hull House spread its ideology to other 41

institutions and thus instigated a change that integrated cultural pluralism. Eliza Starr

later became the president of The Chicago Public School Art Society, but as the president

she changed her Hull House beliefs and worked towards creating a class distinction, in

which she wanted to preserve the unsullied artistic attitudes of the poor immigrants. She

now lacked vision in her activities. Brown and Korzenik (1993) mention that, “the

schools of the arts were seen as neither bridges to students homeland cultures nor as

sources of pride and self esteem anymore” (p.183). The society scrutinized most schools

physically, contributing to their artistic and aesthetic outlook and development. By 1914,

The Chicago Public School Art Society under Eliza Starr had made an impact on art curriculum development with the integration of multicultural issues into it.

By the 1920’s, the representation of multicultural issues in art education were

evident but still lacked in thorough background knowledge of the culture behind the

creation of that form of art. One observes a reversal in the development of acceptance of

multicultural issues in education after the Quota Law of 1921 followed by the Johnson-

Reed Act of 1924 which reduced the influx of immigrants to favor people from

Northwestern Europe, but not before the seeds of what America stands for today were

laid. The Homeland Exhibitions and the America’s Making Exposition in New York City

in the fall of 1921 acknowledged the positive role of immigrants, helped by the

Department of Immigrant Education and New York Department of Education. The U.S

was undergoing The Great Depression in 1929; this still could not stop the winds of

change which were blowing in the fields of education and arts during those times. 42

In the 1930s, Works Progress Administration and Federal Art Projects) were

based on hard visions similar to those of Allen Eaton. Brown and Korzenik, (1993) cite

Holger Cahill, the director of WPA (1935-1943) as saying “one of the things which the indicates is that great art arises in situations where there is a great deal of artistic activity” (p.187). In the 1930’s, when Americans were “consciously trying to cultivate the love of beauty, [it was noted that]….. we find ourselves in possession of a wealth of resources….we discover rich sources of inspiration in the contributions of men and women who have come to us from other lands” (p. 186).The field secretary for the

American Federation of the Arts, Allan Eaton, viewed immigrants as a source of

knowledge in the arts, he said that,

Sensitive people who knew not the rules of composition and color but who felt strongly the impulse to create beautiful objects and responded to that impulse, will not only help us to appreciate more fully the folk cultures of many homelands from which America is made up, but they will give us a vision of what we may reasonably hope in a of all the arts in this country. (p.187)

Brown and Korzenik, (1993) note what Eaton had said in 1932 emphasis on “

utilizing a common interest in aesthetics to promote a better understanding of social and

civic values” (p.186) helped educators and in turn the people of this country, to better

understand many cultures.

Brown and Korzenik (1993) mention that the year of 1943 saw the publication of

Herbert Reed’s book Education through Art, in which he says, “art should be the basis of

education because it exercises people’s differences, “The essence of democracy lies in

individualism, variety and organic differentiations” (p.188). 43

These historical events provide a context for the School Arts Magazine articles on

Islamic arts that were mentioned at the beginning of this section. Through these articles

Islamic art initiated itself humbly in the 20th century, but as we shall see, is still not being provided its rightful place in the multicultural art education pedagogy of today.

KEY COMPONENTS OF MULTICULTURAL EDUCATION AND ART

EDUCATION a. Approaches to curriculum

The ways in which the development of curriculum has been dealt with in the past century, keeping in view the diversity that is observable in this nation, has not been in a just manner. The United States has, since its inception, acted like a magnet for people from many nations all over the world, which is the basic reason behind multi, cross, and inter cultural research and studies in education. Educational efforts have been going on to rectify the dilemma of handling these issues with less bias and stereotype.

Dewey (1932 /1990) in the first half of twentieth century stressed the need of a child centered curriculum, where importance should be on the society that the student belongs to. According to him, “Knowledge is no longer an immobile solid; it has liquefied, it is actively moving in all the currents of society itself” (p.25). He laid emphasis on the culture and society, equally, in the creation of curriculum of any subject taught in the schools of this country, at that time. A curriculum based on the child would change the whole concept of learning by making it more interactive, with increased student participation. Dewey explained, 44

When the school introduces and trains each child of society into membership within such a little community, saturating him with the spirit of service, providing him with the instruments of effective self direction, we shall have the deepest and best guaranty of a larger society which is worthy, lovely, and harmonious.(p.29)

Even the hard work and thoughtful philosophical insights provided by people like

Dewey could not change the mindset of the majority, including people in fields of

education in this country. The problem is deeper than is observable from the surface,

infact what one does see is only the tip of the iceberg. The United States looked towards

Europe, specifically Britain, for any kind of roots. These roots could have been in any

subject, from art to culture, and the field of education was definitely one of them. These

racist roots that were intricately laced through the very fabric of anything in Europe at

that time.

Racist roots became more troublesome here due to the fact that the United States

of America was a nation that was created by immigrants. Diversity was one fact, one

reality of this land. But as Chalmers (1996), says, “rarely have the full implications of

cultural diversity, and the unity within that diversity, been implemented in today’s

approaches to art education” (p.25). Chalmers, (1996), says that, “art educators are also

vulnerable to powerful and ingrained hierarchical constructs about racial and cultural

superiority and manifest destiny” (p.25).

Sleeter and Grant (1997) discuss the representation of multicultural groups in

textbooks. Their prime concern is racism, class distinction, and concessions (or the lack

there of) that are made for disability in the educational system in the United States. After

analyzing forty-seven textbooks on different subjects, used between the grades of 45 kindergarten through eighth grades, during the nineteen eighties, they discovered that the representation of minorities was very nominal. They came to the conclusion that, “the students are usually presented with one version of reality. That version embodies certain interests, reifies certain interpretations and value judgments, and gives prominence to some pieces of knowledge while rendering others invisible” (p.294). Both of the above mentioned authors suggest that

Curriculum design might begin by selecting concepts, experiences, images, and contributions that should be taught about each racial, gender, social class, and disability group, then weaving this throughout the curriculum. Repetition, such as excessive numbers of adventure stories about White males, should be eliminated, and skill drills, such as multiplication story problems, could be contextualized within meaningful content. (p. 297)

Sleeter and Grant (1997) end their discussion by suggesting that text books should be carefully looked into and those which do not explain the diversity that is present in this country and “its history of oppression, should not be bought and used”

(p.297).

Bennett (1999) in her book addresses problems faced by multicultural education in the academic system prevalent in America today. She talks about the essential need for multicultural education and reiterates that the Reagan administration’s report “A Nation at Risk” in the mid-1980 was a wakeup call for many in the field of education. She also claims it was also touching on a problem which had already been under scrutiny all through the twentieth century, that of the struggle of the nation towards a “true excellence in education.”(p. 15). Bennett, lays the premise that,” Multicultural education is comprised of four interactive dimensions: the movement towards equity, curriculum reform, the process of becoming interculturaly competent, and the commitment to combat 46

prejudice and discrimination, especially racism” (p. 11). She and pinpoints four core values that provide a philosophical framework for multicultural curriculum” (1) acceptance and appreciation of cultural diversity, (2) respect for human dignity and universal human rights, (3) responsibility to the world community, and (4) reverence for the earth” (p.13). Bennett outlines lesson plans which address and combat racism and inequality.

Chalmers (1996, 2002) discusses the racist roots that are predominant in society as well as in North American educational system.

To Victorians, the notion that Islam could replace Christianity as a civilizing force was, of course, controversial. But that Islam was halfway between barbarism and civilization was probably generally accepted. This idea seems to have been accepted in art education of the time as well. For example, Europeans credited nonwhites, especially Islamic peoples, with doing beautiful decorative and ornamental work, but did not necessarily acknowledge that they could make art, relying on work available in 19th-century British museums and exhibitions, Owen Jones devotes 22 of the 112 plates in his 1856 book The Grammar of Ornament to what might be called Islamic design, and three to what he terms as “savage ornament,” although all the examples are from the south Pacific period he also includes 12 plates showing ornament from the Indian subcontinent and three showing Chinese ornament. If his book had been about art rather than ornament, it is doubtful that the work of nonwhites would have been included (p. 21).

He gives an in-depth view of where this racism initially stemmed from. He also justifies, in very definite manner, how art education pedagogy could benefit by the discipline based approach. An in-depth study of any other culture utilizing art criticism, aesthetics, and history; reinforcing the studio component, could create a better understanding of the material. According to Chalmers, Banks has provided quite a few insights as well as implications for the application of art education “a curriculum that…largely ignores the experiences, cultures, and histories of other ethnic, racial, cultural, and religious groups 47 has negative consequences for both mainstream [dominant culture]…and cultural and ethnic minority students. A mainstream- centric curriculum is one major way in which racism and ethnocentrism are reinforced and perpetuated” (1996, p.10). Even though all other arts besides the Western canon were deemed as below quality even then, Islamic art was placed at a higher level than any other nonwhite, such as the Chinese, south pacific, etc.

A huge amount of responsibility rests on the shoulders of educators, who are in a position to create a paradigm shift in the field of multicultural educational curriculum.

Eck (2001) argues not only of the change in America after 9/11, but also reinforces the opinion that the basic knowledge of religions has become a necessity, due to the fact that,

“The religious landscape of America has changed radically in the past thirty years, but most of us have not yet begun to see the dimensions and scope of that change, so gradual has it been and yet so colossal” (p.1). “The United States,” she notes, “has become the most religiously diverse nation on earth” (p.4).The lack of inclusion of religious knowledge in academics denies important aspects of the perspectives, culture, society, traditions, and beliefs of many people living in this country. To deny the basic knowledge of religions in education is a further negation of the theory of student centered pedagogy.

This brings about the question of the discrepancy between theory and practice that is found in the academia in this country. How could peaceful co-existence, of such a diverse peoples, be the outcome, if there was no comprehension of the basic beliefs of many?

Yet presenting religion, and specially Islam, meets challenges in the schools. An elementary school, social studies teacher, whom I met at a conference, spoke of the 48

problems in discussing Islam as a religion. She spoke about problems with administrators

as well as parents that she had to face when Islam was brought up in class in connection to September 11th (Sara, Personal Conversation, on September, 20th, 2004). The same

opinion was aired by my son’s ninth grade A/P English teacher, who decided to include

the knowledge of different mythologies and religions in studying different beliefs in the

creation of the world, a few weeks ago(September 26th,2004). She even had to send notes home to calm distressed parents. Most of this reaction, in my opinion, is due to the stereotypical imagery, which seems to be out of control in the aftermath of September the

11th. It could also have been due to the fact that the educators did not have adequate

knowledge to address this issue, in a proper manner, and their own opinions might have

gotten in the way of the transfer of knowledge. To create a curriculum which helps in the

understanding of above mentioned issues, is what I intend to address in this thesis.

Chalmers (1996) continues to support “equity pedagogy” (p.13) as a pedagogy that

provides equality to all, bar none, can be successful in creating a better future for Western nations. Chalmers (2002) says, “too often xenophobia and white supremacy are embraced as not necessarily desirable, but nevertheless essential. We must not let September 11 provide and alibi for certain types of regressive racist behavior. Unfortunately it is still generally true that the lighter one’s skin color the easier ones life is going to be”

(p.301).The efforts of curriculum development and implementation, today, still assigns the Western canon the central role and only then is uninhibited enough to add on a few examples of art that belong to other canons. 49

Chalmers (2002) notes the difficulty of implementing diversity in Australian schools in discussing Rizvi’s chapter, “The arts, education and the politics of education.”

It begins with an observation that “much of what goes on in schools is based on a set of cultural assumptions that are antagonistic to diversity” (p. 55). He argues that although arts education rhetoric relates art and cultures this is not well reflected in curriculum design and implementation. What has resulted, he states, is a version of multicultural education… [that] involves learning about “other” cultures as a way of breaking down stereotypes and thus promoting greater tolerance of diversity in society. A major problem with this approach is that it does not define “the other” in relational terms, in a way that might refer to the speaking position. Rather it naturalizes “the other” in representations

that are assumed to be objective. It obscures the issues of disadvantage and

discrimination, and of the politics of ethnic formation (p.60-64).

Rizvi argues that this is the case because “the school is a site for containing the

effects of marginalization and oppression by promoting a fiction of tolerance between

social groups in order to produce a society in which a certain truce exists between ethnic

groupings and classes” (p. 296). Chalmers mentions multicultural art educational

concerns in Australia, Canada, and America. According to Chalmers (1996) enlightened

art educators have over powered the past and jumped over the chasm of viewing

multiculturalism as a “contamination” (p.300) to that of “celebration”(p.300).

As visual culture is presently inundated by images of Muslims, it is highly

relevant to address this issue head-on, and clear some stereotypes that are at the base of

racism in this country. Garber (2002) speaks of stereotypes of Muslims in visual culture 50

of the past and the present, and their impact on the psyche of the people living in the

United States. “Teaching should include critical study of the media representations (T.V., movies, radio, newspaper, magazines, and popular literature) of Arabs, Muslims, and

Middle Eastern peoples and cultures-as well as of blacks, Latino/as, Asian, etc” (p. 41).

She mentions the different curriculum efforts that are underway to address this problem, like the curriculum Beyond Blame and the Peace curriculum, which were created in response to the September eleventh tragedy. Garber says that,” Art education has a role to play not only in healing, but in addressing our political world and in addressing the goal of understanding ourselves” (p.41). She suggests ways in which this change can take place by stressing the need to include the study of Islamic culture and religion as part of

the academics in this country to alleviate the misconceptions that are dogging the

followers of Islam.

b. Concepts and directions of the literature review

As thus far demonstrated in this literature review, one observes a very large

gaping hole in the study of Islamic Art in multicultural art education pedagogy. The

preliminary literature review turned up very few examples in the peer reviewed academic

journal articles that deal with this specific subject. In the search for references to Islamic

art, residing or hiding in the curriculum of education and art education, one tends to find

mostly irrelevant leads. To create a picture of islam and Islamic religious art in American

education, one has to strive towards connecting threads found in multicultural and cross

cultural studies in art education, as well as theories that touch upon the dominant

influence of the politics of power prevalent in the world since the conquests of the British 51

in the field of education and art (Chalmers, 1987, 1999, 2002; Mason, 1999).Why this, fact about religious diversity, was ever a question, amazes me. Politics of power seems to have been very active and successful in making the population blind to this fact. But to what gain, I wonder??? This country could have been much better off with the acceptance of different beliefs and religions, than play acting that they never existed, from the very inception of this country. Educators now have a more difficult, if not monumental task; of rectifying this situation. To know that it can be accomplished, is the very first step, and half the battle won, to realize that it can only happen with the help and support people in power, is the most daunting part. As Islamic art can be integrated into many mainstream subjects, the change can be brought about in the field of general education first and then arts education could follow suit. In the aftermath of 9/11, there is already a lot of work being done on the integration of religious knowledge in the elementary levels in this country. Social studies curriculum in the state of Arizona, as mentioned in the first chapter, is now required to inform students, in an unbiased manner, about the five main religions of this world, which includes Islam. It is now a part of the. This could the right time for the introduction of Islamic art, before explaining the religion itself, in those classes. c. Solutions provided by scholars

All of the literature reviewed above mentions the problems being faced by educators in developing curriculum with emphasis in multicultural, cross-cultural and inter cultural studies in this country. These examples of literature also show ways of counteracting this dilemma. Even though all this progress is being made in curriculum 52

development one still comes to observe stereotypes and racism present inside the four

walls of academic institutions and in our everyday lives today. While speaking on the

responsibility on art educators in dealing with multicultural issues Chalmers, (1996) says

that,

We need art educators who can analyze and pinpoint how and where art education materials are racist and who will develop culturally appropriate curriculum materials to supplement those available. When the treatment of different cultural groups is limited or biased. Students can often teach teachers about the arts of their own cultures- in a multicultural society, both learning and teaching need to operate in several directions (p.23).

Rizvi, according to Chalmers, is prescriptive in wanting educators “ to teach for

those forms of artistic imagination that problematize cultural formation and acknowledge

that a politics of difference involves a dialogue with other who speak from different

traditions, locations and experiences” and believes that “it is… essential for teachers,

ethnic communities of artists to work together to unsettle the ideologies that sustain the

practices of exclusion, marginalization and oppression” (p.296).

The main point of this study is to introduce Islamic art and culture into

multicultural art education in the United States. To do this by placing the art and culture

in its historical, geographical, archeological, architectural, political, and religious context

is the key to increasing awareness and appreciation. This can be done by drawing

similarities between different cultures to make comprehension of this subject, in

particular, more effective. All this can be achieved by first educating educators; after all, if the educators do not understand the subject matter, then how will they pass the true

picture on to the future citizens of our country? 53

In doing this, I draw upon instructional approaches in multicultural education, specifically that of Sleeter and Grant’s (1999) definition of five instructional approaches.

Which are: Teaching the exceptional and the culturally different; Human relations; Single group studies; Multicultural education and Education that is multicultural and social

Reconstructionist. They recommend the fifth approach as the most effective one as it constitutes the most positive synthesis of all the pervious ones and then builds on them to encourage inquiring minds and a commitment to democracy and taking an active role in our communities. Their stance on multicultural instructional approaches is that of social reconstruction that involves four components: Democratic participation of students, teachers, and administrators; participants’ analysis of their own life circumstances; participants’ acquisition of social action skills to enable them to actualize the first two components; and the coalition of disenfranchised groups to work together. The data that informs this thesis provides an insight into the issues faced by multicultural education in the United States. The assumptions from Sleeter and Grant’s (1999) social reconstruction instructional approach to multicultural education, informs my study in conceptualizing how instruction, of Islam and Muslims and their art is to be organized and implemented; the over arching ethical values that underlie it; the attitudes of the educators and students as well as their interaction with each other. The impact of educators’ knowledge and comprehension or the lack of it in this particular field of Islamic art, concerns this paper along with a myriad other more global issues, for example, regional, political, financial and educational ones existing in the United States. 54

It is further impacted by studies done by Wasson, , Stuhr, and Petrovich-Mwaniki

(1990) whose six position statements provide hypothetical principles to create better instruction of art again in keeping with the democratic pedagogy echoed by the afore mentioned work, in a diverse classroom. It also provides a multicultural approach in art education; their statements that emphasize a dire need of integrating multicultural and cross-cultural issues while teaching in America, to make learning more effective and all encompassing. A desire to create a paradigm shift in the arena of art education is observed in the academia today, to make multicultural art education more accepted in the presently controversial multicultural and cross cultural issues, that have become the focus due, first, as mentioned before, to the present world politics which began with the immigrant rush, in America at the onset of the twentieth century. The demand for multicultural art education is due, as well, to the ever-changing and evolving, world population. As the population becomes inhabitants of this, one huge social circle, they need to accept the diversity to be able to merely exist peacefully. Wasson, Stuhr, and

Petrovich-Mwaniki, (1990) belief in the sociocultural dimension present the diverse population of the art educational classes presently, carries weight in the class rooms for faculty, where educators learn to deal with the sensitive issues prevalent in the world today, so much so that the educated become free thinking individuals that can question the dominant ideology and thus understand and shirk the politics of power so that they can create a curriculum, which positively reflects the art, and which is culturally responsive and effective. In dealing with a comparative belief system the educators can create a sense of security and something that the participants can relate to, for example a 55

lecture on divided cities that might deal with places like Cypress can include detailed

references to cities like Nogales and Berlin, and when pilgrimage and architecture are

discussed they might touch upon both Greek orthodox Christian and Islamic to create an

assimilation of another culture in the minds of students who did not have prior knowledge of the subject.

This thesis also draws from the foundations of Chalmers’ (1987, 1999, 2002) work in which he calls for a broad base of knowledge and perspectives in education, rather than those based in Eurocentric roots. It is through this lens that I have tried to visualize Islamic Art in American education. Chalmers’ stance is one of the strongest voices that address the need for a change in art education curricula.

Knobel (1999) gives an in-depth overview of James Gee, who in his theory of

“D/discourses” (p.6), the Discourses reflect our connection and identification with certain cultural subgroups, as we all employ certain discourses. This thought creates acceptance and comprehension of differences and harmony in coexistences, much needed for the world today. This multicultural approach is something that the future of art education pedagogy needs to work towards. The presences of the cultural subgroups, present in the

Islamic countries, are connected through their art even today, and their exploration would create acceptance of the Muslim people if studied in the United States as a part of its education pedagogy.

Smith-Maddox and Solórzano’s (2002) work encompass the ideology of multi and cross-cultural education in their presentation of a new kind of framework that draws from

Paulo Freire’s work and Critical Race Theory. This thesis seems to reflect Freire’s (1987) 56

dream of a new society of people empowered to try another not negative way against the power now in power. This framework “creates a space in the curriculum for teacher candidates to unlearn their stereotypical knowledge of race while analyzing problem solving, and theorizing what it means to teach a diverse student population” (p. 80) which is precisely the ideology this study.

Blair & Bloom (2003) mention how difficult it is to make Islamic art accessible to the masses. They note that, “Despite the exponential growth of interest in the Islamic

lands generated by the oil boom and crisis of the 1970’s, Islamic art remained a rather

esoteric specialty field taught in a few elite institutions ” (p.152) in the United States.

Richard Hickman (1999) reiterates the importance of educating art educators

about the importance of Islamic art. Hickman notes that,

I draw attention to the need for art educators to continue to reflect upon and question art curriculum content in the light of the needs of individual learners and the need for clarity in formulating learning objectives. The teaching of art in schools gives lots of opportunity for “mis-education” where students are actively misinformed rather than educated (p. 289). Art teachers if clear about the fundamental aims of their teachings can provide a range of themes and activities which, while superficially different, may all contribute to pupils’ aesthetic development. The inclusion of, for example, an investigation into Islamic geometric forms and the principles underpinning it, will enrich the curriculum for all (p.300).

He calls for the study of Islamic art and deems it a case for further investigation. He

elaborates on the practices of teaching about Islamic art in lesson plans that deal with the

use of Islamic art to understanding the Middle Eastern regions in varied subjects, e.g.

architecture, geography, and history. These lesson plans should arise out of understanding

of the subject matter which lessens stereotype. Hickman (1999) summarizes his study of

Islamic art by touching on its importance in the field of art education and refers to 57 representational art in reference to Islam as a topic that needs further study for educators to be able to explain, Islamic teachings about art, in more positive and sensitive terms.

Edward Madden (1975) explains that Islamic art cannot be separated from the religion and understood, it becomes more effective by combining both the study about the art and the religion to get the message across more efficiently. Madden (1975) in his writing elaborates on the characteristics of Islamic art by reaching into the depths of the religion to explain its aesthetics and deems it an impossibility to understand the art without the comprehension of its religious beliefs.

John Renard (2001) lays emphasis on the importance of Islamic art and deems its uses of ornament as the “mediators of meaning” (p.410). The artists who create the work are using architectural imagery to communicate concepts, even in the present day. The educators can utilize ornament in Islamic architecture and art to make the content more attractive. Each of these points elaborated upon in the above mentioned discussion reaffirm the ideas that originated in the themes of the data collected in this study. Renard also mentions the importance of Islamic architectural themes in ornament and how they symbolically represent the religion itself and are effortlessly used in all types of visual art displays in countries that are Islamic. Ornament is seen, for example on houses, trucks, and billboards, making it common place and not just held in reverence shut inside of museum walls. This makes it as approachable as the religion itself, which is a way of life, again not something imprisoned inside Masjids (Muslim place of prayer).

The above mentioned literature offers insight in emphasizing the need for integration of Islamic art in art education pedagogy. This study suggests that Islamic art 58 can be positively integrated into the mainstream of education pedagogy. If form and religious function of Islamic art are generally considered, they offer a framework for further comparative study in the departments of Theology and Religion. Educators can unlearn their biases and prejudices and utilize this form of art in their curriculums in subjects ranging from mathematics to history, to create a better understanding of Muslims and Islam. 59

CHAPTER III

METHODOLOGY

In this chapter, the teaching methods and instruments used to collect data for the

study are explained. Additionally results of the study in the form of lesson plans on

Islamic art created by the participants; the pre-service teachers are described. I will also

analyze the important recurring aspects within the data, which have been dealt with as

themes, as part of this chapter. A part of the data is based on attitudes of pre-service

elementary teachers towards the importance of the integration of Islamic art in

elementary schools. Central questions to be answered from the data were:

1. What kind of racial stereotypes pre-existed in the minds of the participants?

2. What are the attitudes of pre-service teachers towards Islam as a religion and the

art form that explains the Islamic beliefs and will the attitudes of the participants

differ after exposure to the lesson plans?

The questions are answered by examination of the data collected by reviewing the participants’ journals, their research papers on Islamic art, and observations of the participants’ in my own journal entries, item by item. Both these questions are also answered by comparing early and late journal entries written by the participants’ of the study. Additionally this chapter provides some description of the participants’ involved in the study, whose names are changed for reasons of confidentiality and anonymity. 60

DATA COLLECTION

The data for this study was qualitative in methodology. I procured information from:

1. Observations of the students- in their reactions to learning about Islamic art.

2. Written responses of students towards learning about Islamic art.

3. Readings of the participants’ journals, with specific analysis of pre- and post

learning comments.

4. Photographing of the students’ art works.

5. Discussion sessions and responses of students recorded in my own journal.

6. Analysis of research papers which accompanied the lesson plans.

7. Review and analysis of the students own lesson plans that they created as future

teachers.

Qualitative methodology is a widely used methodology of research projects that

lends authenticity to the whole process of research as well as its final outcome.

Researchers and authors like La Pierre (1997) express their view on questions about

the differences between scientific and artistic research methodology. According to La

Pierre the researchers in arts education are observing, brainstorming, and looking

from an artistic point of view and in doing so they create fresh parameters that echo a

base of knowledge linked unswervingly to the arts. This form of research takes into

consideration the mode, technique, or fashion of the creation of art and then the

response to that creation. 61

The research in the arts concentrates on dynamic depictions and studies its impact

on the instruction, learning, testing, actions, performance, and cognitive abilities. La

Pierre (1988) further explains that in the research of arts it is the spontaneous, spatial,

and the cognitive structures that take precedence.

Qualitative researchers according to Marshall (1999) depend typically on four

methods for the collection of information:

 Involvement in the surroundings which refers to participation in the social

setting.

 The field notes or the direct observation has the methodical observation and

recordings of proceedings, behaviors, and artifacts.

 Analysis of documents like the journals, and lesson plans.

 Interviewing which includes the general interview guide approach, the

informal conversational, and the open-ended ones which is standardized

Most of the above mentioned methods of data collection and analysis were undertaken by me as a researcher. As all of the students were engaged in working on deciphering the lesson plans on Islamic art taught by me, the observations recorded in my journal, portrayed that they, later in the teaching process, felt a sense of harmony and participated

in the discussions about beliefs, whole heartedly. I felt that they were communicating

very well and were voicing their opinions with passion. The subject matter, in the lesson

plans created by me, was designed to bring the study of Islamic religious art in a more

comprehendible manner which included the beliefs of all. This resulted in the 62

participants’ comprehending that it was close to everyone’s lives. As mentioned above, as

it was their present that we were discussing, they could connect to it. I was encouraged

that after initial hesitancy, students took over the discussion and it flow ed freely. When I

analyzed the journals, all of them had written about the impact of learning something

new.

This approach involved me as researcher and as the educator who developed the

lesson plans. The position of a disconnected scientific researcher was not possible, and in

this case inappropriate. In this study my research was occurring at the same time as that of the students, as they investigated this new information created art works and their own lesson plans. Even though I was the one conveying the information about art procedures and the one recording the data for the research I was personally involved as the subject is a matter of personal gratification. I found that direct scrutiny of the lesson plans and art production by the participants, revealed how they had assimilated the concept understanding the society of Muslims through the study of their art.

This study was conducted on 18 pre-service elementary teachers. The lesson plans consisted of three, to be delivered in spurts of approximately forty-five minutes to one hour each, which did limit the time for discussion and presentation. I would have preferred more time in articulation of lesson plans for better communication of the idea of

Islamic religious art. I would have chosen to conduct this study with pre-art specialists as well as future social studies educators for comparison as well as in the public school settings. 63

THE PARTICIPANTS

While I was taking required courses to complete my maser’s degree at the

University of Arizona, I was also teaching a Creative Art Methods class that is a

requirement for pre-service elementary classroom teachers. I also taught this class in the

summer and that was when I conducted this study. The class met Monday through Friday

afternoons and consisted of eighteen students, two males and sixteen females. Ten

students were Hispanic, one was Native American, one South American (Belize), and six

were White Americans. Concerning the concept of religious beliefs some of the participants did not follow any religion, some were Catholic, some Christian one

Lutheran and one followed the Jewish belief, as such there existed diversity, not only in the ethnicity but also in beliefs of the participants. All of the students decided to participate in the study. Of the eighteen students, fifteen were under the age of thirty, three were between the ages of 35-45, four were married, and two had children. I divided the students into four groups. Two groups had four members and two had five members each. The reason for dividing them in groups was for discussion and brainstorming purposes and the creation of group lesson plans at the culmination of the study.

TEACHING PROCEDURE a. Introducing Islamic art

I introduced the topic on the very first day. As I entered the class I could see that there were students from diverse ethnic backgrounds, which gave me strength. I began

the class as I usually do, with introductions, but this time I asked personal background

questions as to where everybody was from, introducing myself first, as I externally look 64

different due to my outfit, I have always celebrated my differences and have never tried

to blend in. I thought it was important to start the study with these in-depth introductions to determine opinions of pre-service teacher on the subject of Muslims and Islamic art. I informed them that one of the purposes of the study was to determine student teachers’ attitudes concerning the subject of Islamic art in education, and whether the lesson plans on Islamic art are feasible for teaching in the art room.

As stated above, the introduction was designed to determine present day attitudes of pre-service elementary teachers about Muslims and their art. Most of the pre-service

teachers had strong opinions, and wanted to discuss the present global scenario due to the

fact that they had been exposed to and were touched by the war on terror in one way or

the other. A large majority of the class had loved ones fighting on the front, a some had lost a loved one in the months leading from September eleventh and only a couple of students had no personal connection with it, but each had something to say about the War on Terror, in this discussion most used the accepted negative stereotypes to refer to

Muslims but there was also a small number in class who were critical of these stereotypes. Initially only a few of the students seemed to be open to Islamic art. After explaining that they had the option of not participating in the study, I moved on to discuss the required course work.

For the rest of the week we just concentrated on the routine course content. I knew that time was of the essence as the summer courses last for four and a half weeks

and a lot has to be covered within that time period. As we progressed into the course, I

encouraged frank discussion in class about the students’ beliefs and conceptions about 65 ethnic differences and how they will have to deal with such situations in the diverse settings of public schools. I observed a positive swaying of opinion, concerning me as well as my Positionality, in the student body.

Now that the students had been exposed to me as a person as well as an instructor,

I again broached the subject with more confidence. This time the reaction was unanimous, all of the students wanted to participate in the study. Just one student, student

‘R’, seemed to have some qualms about participating but nevertheless agreed to do so, commenting, “I might learn something that I do not know already” Her husband was in the military, in Iraq. b. Instruction

Before teaching about Islamic art, I held a general discussion with the pre-service teachers about various issues and difficult topics their future elementary students might experience or be exposed to via the mass media , such as separated or divorced parents, physical and mental abuse, and the present War on Terror. I noted that these difficult to broach topics, can be handled in a non-aggressive manner through the vehicle of art. This was an apt opening for inclusion of the topic of Islamic art.

A question and answer session followed. Issues that participants specifically raised were:

1. Anxiety about teaching art.

2. Apprehension about addressing Islamic art with students, especially in view of

the recent national and global events.

3. Concern that art and religious topics were not compatible. 66

4. Personal religious beliefs and how their beliefs might conflict with religious

beliefs of children they would teach.

5. Many were concerned with how parents of their students might react to Islamic

art education.

Students in the Creative Methods class are usually required to keep a journal. The participants, therefore, were required to keep a reflective journal on their learning experiences, thoughts, and feelings, while participating in the class as well as in the study, with an entry every day of the session. I then taught lessons that dealt with Islamic art with a brief history of Islam as a preamble. The majority of students was religious and had strong beliefs and preferences. As I introduced the architecture of places of worship, I spoke of different religious architecture and places of worship of many belief systems, the world over, showing images done by various religious artists and architects.

I concentrated on the concept of perfection in such works of architecture. Then I asked the students about their own places of worship( students who were Mormons had their temple, and Christians had churches as a comparison), and if they thought that the architecture was perfect for the purpose it was built, this exercise brought in their own lived experience and was instrumental in gaining their focus on the subject being discussed. In later sessions I introduced the other forms of Islamic art that I had chosen to expose the students to, which are the floral and geometric designs and the various styles of calligraphy in Arabic script. These elements of calligraphy and designs have remained constant throughout the history of Islamic art and are an essential part of the decoration of architecture produced by the Muslims. 67

To help facilitate talking about Masjid architecture (Mosques, Muslim place for congregational prayers and a centre for all religious activity including academic activity; just like a Church, Synagogue, or a Temple), I displayed two dimensional reproductions of Masjids with emphasis given to each architectural features of a Masjid, such as the

Mihrab ( an alcove in the wall that points towards the direction of the Kaaba in Saudi

Arabia towards which Muslims face during each of the five prayers in a day) , Mimber,

(The steps placed within the Mihrab on which the Imam or the leader sits while addressing the congregational prayers, comparable to the pulpit other places of worship),

Minaar (minaret; a thin and tall architectural feature which is used to call the faithful for prayers). To reinforce knowledge of these architectural features we took a field trip to the local Masjid, which the participants insisted upon. While there they also wanted to see how Muslim prayers are performed. As I am a Muslim and it was time for one of the five daily prayers, I went ahead and performed the prayer in front of the class. This was a firsthand experience that they had never had before. At this point the remaining walls of misconceptions and confusions seemed to come crashing down. The studio portion of the lesson plan required students to create not an Islamic place of worship but their own, personal one. This permitted them to express themselves; the students who did not have any accepted religious belief created a house, or a garden which represented their own place for . They were given a choice of mediums and materials, which the students were comfortable with, such as water colors, oil pastels, and pencils. Each lesson plan used the four disciplines of art: aesthetics, art history, criticism, and art production/studio. 68

c. Curriculum lesson plans (see Appendix A)

The curriculum on Islamic art comprised of three lesson plans which were taught

for almost an hour each. Lesson plan one is on Masjids and is called Perfection in Places

of Worship, Lesson plan two is on Islamic designs called, Islamic Design Elements and

the Shaping of Ideas constituted of geometric and arabesque (floral designs), Lesson plan

three is on Arabic calligraphy. Lesson plans one and two have extensions attached to

them in the shape of alternate ways of dealing with the same subject matter but with

certain variations, such as the first lesson adds architects Frank Lloyd Wright and

William Van Allen and the use of landscape design as part of architectural pieces and in

the second lesson an abstract way of visualizing geometric shapes called Drops of Shape

integrating artworks of Jean Arp are added. I designed the lesson plans to look at ways individual artists and cultures depict their beliefs, religious or otherwise. The aesthetic examination of the architecture and artworks revealed the beliefs of the people who created them. These lessons can and should be adjusted according to age/stage levels of

students and the length can be varied according to the time restrictions of a class.

The lesson plans I developed, posed distinct problems in the communication of the concept because of a very different way of life being exposed to the students, who had very little authentic knowledge of the Islamic faith and way of life. Their position stood in contrast to my own as a passionate believer of the faith. Moreover lesson plans on Islamic religious art that knowledgeably represent the culture and beliefs of Islam are few and not readily available (as mentioned in chapter I), restricting research. Moreover, 69

the time constraints did not permit me to go in all of the detail of the lesson plans,

specifically its studio portions.

Questions that I put before my class for further discussion and investigation were:

1. How can the subject of Islamic art be introduced and discussed in the art room

using accepted methods of teaching art?

2. How can exposure to the art of a certain belief system explain the society and

culture as a whole?

3. How can students use creative processes to understand a very different way of

living? Or how can creative processes contribute to understanding of a society?

4. How is Islam being visually expressed in our society?

Lesson Plan I-The Concept of Symmetry and Perfection in a Place of Worship

I chose perfection in places of worship to introduce Islamic art as a minor topic nestled within a broader topic of religious architecture so that it is made accessible and more comprehendible for the students in an ethnically diverse country like the United

States. I used Masjid architecture for the first lesson due to several reasons: first, because it is visually a very distinct art form; secondly, due to the fact that the Masjid is the centre of Islamic society itself; thirdly, because most of the designs of Islamic art, such as the geometric, arabesque, and calligraphy, usually reside within the precincts of a Masjid; the last but not least, this style of architecture has remained constant and consistent throughout the history of Islam. I introduced the lesson plan by asking students if they were familiar with a Muslim place of prayer, to which they answered negatively. After this response I asked them if they were familiar with any places where the faithful go for 70

prayers, to which they responded in affirmative. I, then, exhibited visuals of various

places of worship, from varying faiths and geographically and chronologically diverse

places. The visuals were from ancient Egypt, Early Christian, Byzantine Classical, Greek,

Romanesque, Gothic, and Renaissance periods, from Buddhist, Hindu faiths and finally

from the Islamic faith itself. The most ancient and the most effective examples were of

Egyptian art and The Pyramids. I specifically mentioned ’s St. Peter’s

Basilica as a comparative study can be done with the domes of both a Masjid and the

Basilica. Historical information provided was focused on the concept of perfection in a place of worship. Most students were familiar with this period of art and accepted that it effectively explained the beliefs and society of those ancient people. An open discussion session followed with a free flow of questions and answers. From the students’ reactions

I could gauge that they were absorbing the whole concept of perfection in places of worship and that this idea was not threatening anymore and had developed into a more universal topic rather than being specific and narrow of Islamic architecture and religion.

Maneuvering the discussion towards the meaning behind each architectural feature, colors, similarities and differences, I displayed artworks and presented information on each piece of architecture, such as the name, and where and when it was created and asked the questions, such as: How is this piece of architecture different from the rest of the examples? Why would it be considered attractive? What kind of people would create a thing of such grandeur and beauty? What kind of a statement do the creators of the piece want to make? Why is it effective as an example of a perfect place of worship? 71

Leading questions were asked, such as: What kinds of structures and colors do you see? How are they different from the other places of worship we have seen? How are they similar? How are the vertical and horizontal lines being used and how are they being divided by the placement of the domes? Do you see any symmetry in the designs? How this symmetry is effectively used to create perfection in balance and then also instigate aesthetic pleasure? Are there colors? Are they bright or dark, warm, (reds, oranges, yellows) or cool (blues, greens)? How do the colors establish an atmosphere or sentiment?

Then I informed the students of the reasons and logic behind each architectural manifestation that they had observed in the different examples of the Masjids, starting with the common features first. I encouraged them to compare it with any other places of worship of any other faith so that they could critically and aesthetically compare and contrast each example.

In the next part of this lesson, students brought materials, for use in creating their own place of worship. Due to time constraints, three dimensional creation of places of worship were not utilized but are mentioned in the lesson plan in appendix-A. The lesson plan emphasized the theme of creating perfection in places of worship and it demonstrated that Islamic art is an art form that is the visual manifestation of a certain religion, a manifestation explaining a society and culture. I also added an alternative lesson plan which has floor plans as its base and compares different Islamic Masjid architecture and landscape design, concentrating on their geometric precision, with 72

architecture and floor plans created by William Van Allen and Frank Lloyd Write. This lesson plan was not taught to the participants and is thus not included in this description.

Lesson Plan II- Islamic Design Elements and the Shaping of Ideas

Geometric and floral designs are integral to Islamic art. The designs that I concentrated on were ones found in and around Masjids and are thematically repeated in manuscripts and illumination of The Quran (the holy book of Muslims, known as the divine word of Allah, their God). Like the first lesson this lesson plan was also cross- cultural, but added to that it was also cross-curricular in design. The historical information provided was of a mathematical and historical nature, with an introduction on how Muslim artists utilized the laws of mathematics to create an infinitely tessellated design form depicting the never-ending nature of the Creator. For this lesson, I took

geometric designs like the star polygon and the arabesque (repeating vegetal design) to

explain further the similarities and differences of this form of art with other religious art

forms. For examples I touched upon the illuminated Celtic manuscripts. I also showed

examples of secular Persian manuscripts which are most commonly shown as Islamic art

but which are not representative of the religion itself and are rather illuminations and

illustrations of secular fables and stories. The participants viewed designs and pattern

work on various frescoes and relief work in interiors and exteriors of Christian churches,

Hindu and Buddhist temples and stupas, and the Egyptian Pyramids. Also included was a

discussion about basic art issues, such as how the use of color in the manuscripts and

interiors of religious buildings to symbolically evoke and express an aesthetic reaction 73 from the followers of the belief as well as a non-believer. The goal was to have students’ experiences relate to an aesthetic response.

I specifically mentioned places and works that were familiar to the students such as Michelangelo’s ceiling and Bernini’s, Ecstasy of Saint Teresa as examples of two and three dimensional forms of interior decoration within places of worship. Most of these examples had human forms depicted in them unlike most Islamic religious art, which led to another discussion about the how and why of the non-figural traditions in Islamic art. After hearing how religious history has often become entangled with idol worship, which led to worshipping of idols created by humans as representative of the gods, Muslims choose not the recreate the images of humans (the greatest creation of God) in most places of worship and the illuminations of the Quran so that past folly should not be repeated. After a discussion period the students seemed to understand the logic behind the non-figural stance of Muslims.

This brought us to the Star polygon, which resembles the Star of David that I showed as a comparison (see Appendix A). It is to be noted here that star and crescent symbols which have become representative of Islam are infact pagan ones but it is the meaning behind these images which give it authenticity as Islamic. As I illustrated the differences between these 2 geometric symbols the varying meanings became evident.

The Islamic star is a geometrically precise one which is comprised of several square shapes which rotate to form the star. There is no specific amount of squares that it can utilize, invoking the concept of infinity. The Islamic star portrays the rotations of the universe as well as the rotation of pilgrims that occurs around the Kaaba in Mecca at all 74 times. The Kaaba is, incidentally, a plain square structure that is the direction for each of the five prayers as well as The Place of pilgrimage for all Muslims. The Star of David on the other hand, is created by two triangles placed in opposing direction, and is restricted to a shape of hexagon or a six pointed star.

I introduced the tessellating art works by M. C. Escher, a Dutch artist, whose works are introduced as a part of middle school math in public schools here, and all of my students were familiar with him and his art works; what most of them did not know was that Escher went and visited several Islamic architectural sites in Spain to get inspiration and technique for the art form he became so famous for. “I was surprised that the genius of Escher was an inspiration from the Muslims,” responded Student B. “We could never imagine connecting Escher and Islamic art,” wrote Student E.

There was not a single student who was not impressed by the patterns and designs as well as the color combinations and the aesthetic impact the designs had on the senses.

They seemed impressed with the meaning and background information provided. For the studio section, the students created their own tessellating patterns. They experienced how countless patterns can be created out of a single grid, each of their created designs looked different. The art production activity reinforced what students had expressed about the beauty and ingenious quality of the designs and the observations of the artworks proved it.

The object of the lesson plan was to help the students make connections between art and belief, as well as consider meaning in beautification of places of worship. This was visualized in the designs created by the students. I also observed that the students 75 were learning and questioning use of space and the effects of shapes and colors in designs by, first, the Islamic artists and then by themselves. I did add another lesson plan which compares an abstract manner of seeing shapes and utilizes the works of Jean Arp as a comparison. This lesson was not taught to the students but is included in the appendix-A

Lesson Plan III-Calligraphy

Calligraphy is a common thread which can connect different beliefs through the art of writing. Written word is of paramount importance in the Islamic faith which is illustrated by the Muslim artist in the shape of varied styles of calligraphy in Arabic. The

Quran is in Arabic, and is regarded as the word of God to man by Muslims; therefore, calligraphers have undertaken the beautification of Arabic throughout the history of

Islam. The participants had a sense of different ways of writing and were knowledgeable about how the Arabic script looked, in part, apparently, “thanks to the media images of the War on Terror” as Student D noted. They were exposed to images of religious calligraphy that dealt with various faiths including Sanskrit script, different scripts of writing in the Christian religious manuscripts from different periods. I then encouraged the students to think about the design quality, balance, and aesthetic pleasure in the viewing of each of the calligraphic examples. Students were encouraged to ask questions and think critically, while artistically comparing and contrasting each of the different styles of writing that were presented.

The students were exposed to the Arabic alphabet and the right to left way of writing explained to them and the countries where Islam was the dominant religion. They 76 used this knowledge to color the map of Islamic countries which increased their geographic knowledge of those countries. Differences in writing direction were further clarified by touching upon Japanese and Chinese calligraphic scripts. Then we looked at different scripts of Arabic calligraphy, , Nasakh, Taliq or Farsi, Deewani, Riq or

Ruqa, Tughra, and Zoomorphic. The students observed the differences between these samples of calligraphy. The students responded well to them and thought reading Arabic looked very difficult to learn but aesthetically pleasing. They were introduced to the importance of the written word in Islam and how literacy and education are demanded as a mainstay of the religion. They had a lot of questions about the Zoomorphic style, which had animal and human figures in it. It was fun explaining the reason behind this change from non-figural representation. As all creations are understood in the Islamic faith as made by Allah, the Muslim calligraphers have thought up ways of assimilating and amalgamating the word of the Creator(Arabic calligraphy) and the created(all living things including animals and humans created by God) to show them(calligraphy and living beings) as indivisible forces and integral part of each other. To close this lesson, the students were asked to write their names in an artistic manner using any of the calligraphic styles and arabesque design work. All of them opted for the Arabic script, in part at least, “because it is a cool way of writing and I would rather have my name presented in a different manner than the same old, same old” as student C wrote.

LESSON PLANS CREATED BY THE PARTCIPANTS (see Appendix B)

The students were divided in groups to create the lesson plans. Lesson plans are an integral part of this course for pre-service teachers. The groups created lesson plans on 77

Islamic art that stemmed from knowledge learned in class and later from their own research. The students had unanimously decided to undertake research papers and lesson plans somewhat connected to Islamic art as their final project. This research would help them understand the subject of Islamic art better as the time slot in class was not adequate to go into depth. We were simultaneously working on the required text and we had decided to take out forty five minutes to one hour three times in the first half of last week for my teaching of the curriculum, and then the students were to research and work on their own lesson plan on Islamic art.

Their lesson plans were on: Geometric Art Designs using M.C. Escher’s tessellating designs, it was created by the group which included participants; P, F, J, E, and B. Multicultural Body Art was created by participants M, N, R, and H. Mayan vs.

Islamic Architecture was created by participants O, G, C, and K and

Geometric/Symmetric Tile Designs, created by participants; D, I, L, A, and Q. each lesson plans had Islamic art either as a central issue which was being addressed or used as a minor reference in the lesson plan, but they did utilize the content of Islamic art in some way. The individual research papers were on various topics ranging from the emblematic explanations of the different designs and symbols in Islamic art to the comparative study of this art and architectural form with other religious arts representing a culture, which they later used in devising their lesson plans. The comparative Mayan architecture was undertaken by the group that had the student from Belize, thus bringing in his own cultural heritage and beliefs which made me feel very successful in reaching and touching the participants. I strongly suggest pride in ones background. The Multicultural 78

body art also spoke of an all girls group’s individual choice in taking that aspect of

Islamic design that is being used culturally for beautification of the body itself (a concern

and fad of the present generation). They brought into the study the cultural connections

that knew no physical boundaries. This group connected the Impermanent henna tattoos

to the permanent kind practiced here in the United States.

Tessellations

This group was inspired directly from my own references and similarities and

contrast between Islamic art works and the works of Escher. This lesson plan focused on tessellation in Islamic art and how it influenced an artist like Escher in devising his artworks but concentrated more on the geometric stance, making this lesson cross-

curricular in design. The history portion mentioned links to Islamic religious art. The

studio portion had the creation of tessellation designs by using the slip, rotate, slide

manner with pieces created by individual students in the class, after they had studied the

rules of tessellations, which was unlike the geometric grid I had used for my lesson.

Overall their lesson was effective in communicating the ideas of the connection between

Islamic art and geometry.

Geometric/Symmetric Tile Designs

This lesson was an interdisciplinary one, like the others. It used geometry, Islamic

arabesque/geometric designs, and concept of lines of symmetry to create effective tile

designs on a two dimensional medium that of a paper, which can be changed to three

dimensional by creating actual tiles. They used slides to share arabesque and geometric

designs. Their lesson plan was neither controversial nor confusing. 79

Mayan vs. Islamic Architecture

This lesson plan compared the architecture of two cultures, and utilized the

information provided on Islamic art as reflective of the culture, to represent the Mayan

culture as that has left architectural and other art forms for the world to see. These two

cultures were compared and contrasted effectively by the group, even though both the

cultures are not equal chronologically and the Islamic culture is on going. Despite these

problems the group took the comparable portions of their architecture, writing, and

mathematical systems to create an effective lesson. They had a slide show to present the

commonalities between the two cultures, and a Venn diagram as an assessment tool.

They utilized soap carving as their studio portion. It was a gratifying to observe during

the presentation that Islamic art if compared to other cultures can be an effective tool to

represent comparative beliefs.

Multicultural Body Art

This lesson connected the decoration of body through artistic designs created by

diverse cultures through history and their symbology to tattoos and other forms of body art and decoration presently prevalent in the United States. They included body piercing as an art form. It was a well researched lesson but with a few stereotypes; as they represented body art as a form of a religious ritual in Islamic religion, a misconception that I did address at the end of their lesson. All the other groups did share their lessons with me before their presentations but this group had problems in getting all the members together and devising the lesson and as such were not able to communicate with me before, therefore I did not have the opportunity to correct or change anything in their 80

lesson. I found the lesson interesting as the group members used a visual presentation for

the communication of the idea in the form of a power point and an excerpt from a movie.

The designs that they used as motivation had Islamic arabesque designs. Their studio

portion had the creation of designs and art on a traced out body, which was an interesting

way of culminating the lesson. This lesson does connect to the lives of students in the

United States and could be well received by students of schools but might be

controversial and create problems when dealing with administrators, parents and teachers.

I did share this insight with the group before and after the lesson was presented.

After reviewing the data collected, some of the words and statements that I saw, read, and heard, were repeated and seemed to have a connection, this lead me to decipher the themes that helped answer my research questions. After in-depth study and

observation of the whole process; from introduction of subject to teaching and creation of

lesson plans by the participants, and analysis of the field notes and journals (my own and

participants), and participants’ research papers and lesson plans, I found a few common

threads which were woven into the fabric of this study. These themes could also be

regarded as steps leading up to the final attitude change which the participants’

underwent.

The first theme was that of hostility, which came to the fore in my study of the

participants’ journals and my own observations that I included in my own journal, of

their initial reactions to the subject of Islamic and its religious art. This reactionary

attitude was fairly uniform in the student body and was hard to tackle in the beginning.

This hostile reaction was directed towards me as their instructor probably due to my 81

Positionality and might not be evident if a person of a different background tackles this

subject matter. This negative attitude could be the cause for the participants’ lack of

absorption of the topic initially. It was not something which was unexpected for me, as

even before starting to teach this session I anticipated these reactions and was prepared to

address it. The analysis of data proves that this was a necessary action to undertake for

the students to face their stereotypes and misconceptions about Islam and its art.

The second theme is that of politics and religion. These topics were observed in

the discussion sessions as well as journals entries of the participants’. The subject of

Islamic art could not have been broached without referring to the September 11th debacle

and the media representation of the Muslims. The subject of Islamic religious art is

impossible to explain without touching on the religion as it is for all religious art. I drew

on this common bond of all religious art while addressing the topic of Islamic religious

art. The only way to touch upon this very sensitive subject was to take the safer route of

diversity in backgrounds and beliefs of the students, and then gently leading the

discussion through the thorny path of September 11th and role of terrorist ‘Muslims’, up to the subject of Islamic religious art as a calming factor of this whole process. They say, time is a great healer, and I hope that this subject of Islamic art might not be as difficult to broach in the future of academics in this country, as it was for me as a teacher/researcher who touched on the subject when the wound was still open and

unhealed.

The third theme was that of connections between art and culture that were observed in the analysis of the students’ lesson plans and their research papers mentioned 82

the quotes in the fourth chapter. This theme was the result of students’ exposure to me as a person, an artist, a teacher, a researcher who is a Muslim, and was linked directly to the

lessons which I taught. At that point in the course session the participants were

developing their own connections to commonalities between different cultures and the subject of Islamic art had become non-threatening for them. In the process they had

examined their own misconceptions and worked around the diversity existing all around

them, inside as well as outside of our class. There was a change in their attitudes towards

art as a representative of culture and beliefs.

The fourth theme was that of receptivity which was illustrated in the research

papers as well as the lesson plans and can be reviewed in the data analysis mentioned in this chapter and chapter IV. This was the final step in the process of attitude change which occurred during this study. This study was initiated with observance of extreme negative reactions from the participants but culminated in an atmosphere of openness and acceptance from the same group of students. These reactions were due to the many reasons mentioned already. This study does provide a feeling of hope due to its positive results.

The theme of Islamic art, the actual focus of the study, was present from the very beginning of the study and continued throughout the whole process and throughout all forms of the data collected. In the analysis of the data I found the mention of Islamic religious art, from a very negative standpoint connected to the Muslim terrorist image, in the beginning to appreciation of this art form and its ability to become a peaceful vehicle in explaining the culture of the people who create it. 83

CONCLUDING NOTE

Before I conducted this study, most students had not thought about the use of art to portray the beliefs of a society. This is a contradictory state of affairs considering many of the participants had been exposed to examples of Egyptian and various eastern arts in hit movies like The Mummy, The Scorpion King, and The Indiana Jones series. One reason for this paradox is that in our society, people are expected to enjoy and forget without paying attention to the background and to look too deeply into any subject connected to their own lives let alone that of other cultures, which might be the underlying cause of creating stereotypes. The general message is about having fun and conveniently forgetting, but the unconscious mind absorbs the subliminal message of racial stereotypes and a reaction is developed from deep within, which has negative repercussions later. During the study many students realized and accepted this reaction as a given here, in today’s society.

Responses in the journals and observed reactions indicate that participants of the study agreed that such topics as Islamic art could be used as a vehicle to explain a society along with educational information on Islam. They were not sure about how and when to introduce this subject. They seemed to agree that Islamic art and Islam should be taught as part of a required curriculum without contradicting religious or cultural beliefs of the learners. On the whole, there was openness towards the subject of Islamic art. 84

CHAPTER IV

This chapter gives an in-depth observation of participants’ journals and research papers’, their reactions and statements on Islam and its religious art, as recorded by me, as a researcher, in my own journal, and also the later lesson plans created by the students.

This chapter also describes the participants involved in my study, whose names are changed to alphabets referring to students, for reasons of confidentiality and anonymity.

This data is the outcome of the initial lessons which introduced the subject of Islamic art to them. I will also introduce the personal responses of the students that touch upon the subject of Islam at a contextual level.

As I have mentioned in the past chapters; when the subject matter of Islamic art was first introduced to the participants, most of them were unprepared to either address the issue or even to think about anything Islamic, especially as it was coming from a person of my background. The initial lesson was the most complex to develop as it had to be attractive enough to grasp the students’ attention and to keep them wanting to come back for more. With introduction to the architecture of a place of worship, they came to accept the subject as part of the larger topic of all kinds of places of worship and the relationship of architecture to belief system. Throughout this journey of exploration the participants had to visualize many hither-to-fore ignored canons as well as beliefs, like revisiting their own beliefs and sharing the beliefs of others in the class.

Rather than focusing on religious beliefs the students were presented with the religious information of the art within historical and cultural contexts and art movements as part of the culture of its creators, with prominent religious beliefs addressed as such. 85

The educators in the public schools presently do not have authorization to discuss religious beliefs because of the separation of the state and religious institutions, which might pose a problem in addressing the subject matter of Islamic art, at a later date, if not handled appropriately. Within an art classroom, to view religious art becomes an aesthetic, cultural, and critical experience, which enhances independent and critical thinking skills and cross-cultural understanding. What educators can do is to discuss the artist’s intent, the methodology of creation, the time period the work was produced in, as well as the way the work is composed and what the work symbolizes. They can also explore the relationship between various religions and cultures. It is under the symbolic representation that the lesson plans created by me on Islamic art, come to be fostered.

Those lesson plans did demand that students revisit their own beliefs and think of their personal preference in a place of worship and how that preference influences their way of understanding other places of worship.

After the participants presented their own places of worship and verbalized about the meanings behind the different aspects of their creations, one could observe a relaxation of the relatively tense mood which persisted in the beginning. After the discussion session, the first lesson plan and the visit to the local Masjid, I could sense a change in the atmosphere of the class. The participants became more flexible with positive attitudes. Most of them agreed that the first lesson had opened a new way of perceiving different beliefs.

The second lesson incorporated the Islamic religious designs and what they signify. When the students realized that the tessellating and arabesque designs are designs 86 which inspired M.C. Escher (an artist whose art is usually introduced in connection to eighth grade mathematics) and that these designs were present in nature, (like in the honeycomb and cell multiplication) they were very impressed. When they found the meaning as being representative of the infinite nature of Allah (God), they could then associate the meanings articulated with the patterns, and their comprehension grew. The lesson on Arabic calligraphy was the final one taught and the students responded to this very well, and even those who were the hardest to impress were excited to write their names in a different language, a language they had seen over the mass media as representative of the terrorists.

PARTICIPANTS’ REACTIONS

This section will take each participant and present an overview and quotes recorded from the students’ journals and recorded reactions, their research papers, and through the in-depth study of the lesson plans which were created by their respective groups as well as my own journal entries. The study of these forms of data provided the gauge which permitted me to weigh the extent of attitude change which the participants’ underwent. The collected data also served as a necessary window through which the responses of the participants could be viewed and deciphered.

The participants’ journal entries were, as a common practice, what all of the pre- service students’ had learned during a class, throughout the course. As we were meeting everyday during the course of the summer semester, their journals carried, within them, varied responses to the class curriculum as a whole and were not particular to lessons taught on Islamic art. To figure out relevant insights I had to do an in-depth study of the 87 journals before I could find quotes which were specific to the topic of Islamic art and the participants’ reactions and their inevitable attitude change, which were initiated by the

Islamic art lessons taught by me. The quotes mentioned in this chapter are the result of that study and are only those which were relevant to their initial attitudes and the subsequent change which occurred as a result of the study. The journal entries were informal and contained their personal and emotional reactions to the class, their personal lives, as well as towards me as an instructor.

Their research papers and resultant lesson plans, on the other hand, were somehow related to (in case of the focus on body art) or specific to Islamic art. The excerpts from these forms data were easier to decipher and draw on to be included in the body of this chapter. I did concentrate on the portions of the texts which were directly reflective of the process of attitude change which the participants underwent during the course of this study to be included in this chapter.

I have used my own journal entries as a guide to decipher where the reactions of these participants were stemming from, what kind of personal backgrounds were providing to serve as a backdrop of their reactions, and which particular events in their voiced and observed reactions recorded in my journal, seemed to formulate and affect their responses. The background information was collected through their direct responses during class discussions spearheaded by me and through my observations of the participants’ group discussions on related and non-related subject matter, and their answers to direct questions articulated by me. This exercise of keeping a journal of the study, allowed me to distance myself and develop a better perspective of the ongoing 88 events, and later permitted me to return to it for better understanding and comprehension of the participants and the collected data. It became a necessary support in this whole process. I have taken the participants’ own words to display the attitude change which occurred as a result of this study. All of the above mentioned sources have been amalgamated in producing the narrative of pre and post responses mentioned below.

Participant-A

Participant A belonged to a small town in Texas and spoke about racism existing there even today and said he did not accept any religion’s validity. In this class he came through as a quiet person who said little and absorbed a lot. He had some qualms about accepting the content of the subject of Islamic art which was to be taught in the beginning but gradually, with exposure, changed his views. His initial reaction to the lessons was full of scorn for anything Islamic, specifically coming from an “insider”, which this pre- service class had termed me instantaneously. In his initial journal entries he observed and stated, “I wonder what Islamic art has to do with us in this class and what point this instructor is trying to make.” “I do not find anything attractive about Islam, Muslims or their art.”

Before attending this class I knew nothing about Islamic art and belief. I found it so interesting, specifically when we visited the local Masjid and spent time talking and looking around it. The best thing was when I had the freedom to create my own representation of a place of worship, and as I do not have an accepted faith but believe in goodness of all humanity I just created a peaceful place in nature. The more I learned the more I wanted to know.

His research was on the understanding of the use of geometrical patterns in

Islamic art and tile design. His study was in-depth and understanding profound. His 89

ultimate reactions surprised me even though I personally believe in the power of Islamic

religious art to explain the culture.

I now feel that Islamic art would actually be that resource which could eradicate the problems that Islamic people are facing in the period after 9/11. Students educated about Islam through its art would accept it better, like our class did. Granted problems may arise if the educator is not trained to teach this subject. Educators should have the same kind of opportunity that we have had here, in getting trained to handle any kind of multicultural activity, including Islamic art. Geometric designs which were my focus would be very useful in connecting with the students [sic] lives here. I was surprised to learn that Escher was inspired by Islamic designs.

Participant-B

Participant B was a person who was very vocal about her own beliefs during our class sessions. She was a White American and a Mormon, who had an uncle fighting in

Iraq. She was very connected to her own religious views and did not appreciate an introduction of a different religion to which she had no exposure and did not think was important. She had very stereotypical views on Islam and Muslim women. She thought that even exposure to Islam through art would not have the power to change her pre- existing views. She did take the discussion on diversity that we launched on the first day very well. This discussion centered on how each of us is different in one respect or the other, and that we do not have to be physically or ethnically varied to be different. Most of the students were surprised to discover the variety of ethnic and background that exists in an outwardly all white classroom like theirs. It would not have been possible to move onto the discussion of Islamic art without touching on the multiculturalism present in our everyday lives at the very beginning. The following are excerpts from her journal entries:

On the first day we discussed where everyone was from in our class. That was really neat because I was able to see all the different cultures and backgrounds 90

brought together in one class. It was so interesting to visit and observe the Masjid because I was a little confused as to how they looked when we were being taught about them in class and even when I had gone home and researched some on my own.

Being able to research the history of Masjids and Islam really intrigued me. It interested me enough to know more about my own religion. It was interesting to compare and contrast the similarities and differences between churches, temples, and Masjids.

Her research focus was on Islamic architecture. Once her attention was captured she did better work than some of the other participants. She gave justice to the subject matter, which was clearly indicated in her studio work, research paper and recorded reactions.

The Islam religion is so intriguing. There is so much information to know and so much interesting history. For the thousands of years [sic] that Masjids have been in existence they have been extremely important for Muslims. The Masjids have supplied a place to worship, a place for meetings and a place for people to get to know each other. Through out the years Masjids have been transformed and changed. Yet, every addition and change has made the Masjids what they are today. The addition of tessellations and arabesque art has been an asset to the entire world. Tessellations have become a huge deal in the subject of math and more importantly children love to do them. One of the most interesting facts about Masjids is that each room and each building have such history. There are supposed to be certain prayers said in each and different times. The religion in itself is so interesting and the addition of the Masjids makes it better. The art work is beautiful and the architecture is incomparable. Masjids were made so people were able to worship their God but some where in the middle of making them, the designs and architecture became absolutely beautiful and the Islam religion [sic] became known for their art.

Participant-C

This student was a Mexican American who was also a Mormon. She was happily married, a mother of two and a deeply religious person. She was a middle aged woman who was very unsure of her artistic abilities, and nervous about being a returning student. 91

Her attitude, in class, was colored by her intense connection with her family and religious

spirituality. She was initially a little confused but accepted what was being opened to her.

Her representation of a place of worship closely resembled her own temple and she

became very emotional about it while presenting, almost on the verge of tears. The rest of

the class was very supportive of her which made her comfortable enough to go on.

The visit to the Masjid was a relaxing time; it reminded me of my own religion and the visits to the temple. I could say that I learned something new today and very positive.

The lesson plans on Islamic art brought a new perspective to me in how to introduce to children the knowledge of cultures that are myth to them. Thanks to this class I feel like a new person knowing that the Islamic people are very much normal as anybody else in the United States. I have been educated about the Islamic culture in a very artistic way and there is no point of return just to keep on gaining knowledge.

Her research concentrated on Islamic art in general and comparison with other forms of art, in particular. She mentioned the Book of Kells which we had discussed in class, which meant that she had researched the subject in more depth and could now compare different belief systems. She still calls to thank me for a wonderful experience.

Her last call was a few days back, February 25th, 2005, in which she referred back to the class and said:

I really appreciate what you taught us about Islamic religious art and I have integrated it in many lessons that I have taught with very good results, and I have seen students change their views after the exposure to the art.

She now teaches part time in her religious centre. 92

Participant-D

Participant D was a Mexican American who was very close to her heritage and

the Catholic religion. She had passionate views on the ongoing war and believed that

Muslims were getting what they deserved within and outside of America, “after all we

are at war with Islamic terrorists so why do we have to learn about their art”. After open

discussion sessions she opened up and her perspective started altering. In the few days

after the discussion session, she wrote, “Everyone in class is so passionate about their

belief like me and wanted to share every detail of it.”

She wrote in her journal that:

It was interesting learning about Islamic architecture and the meanings that were behind many of the designs. The fact that interested me the most was that the Islamic religious art generally does not contain any human form. I really enjoyed how we discussed and clarified stereotypes that are towards the Islamic culture. In today’s society all I hear and see on the news are negative portrayals of this culture. It was nice for once to get away from all the negativity and view this culture through its very beautiful art. My favorite part of this class was visiting the Masjid. I had never been in one before so I was curious as to how the setup inside was. The room for communal ablutions is something I had never seen before I did not realize that before each prayer Muslims needed to cleanse themselves ritualistically.

I honestly did not know that much about Islamic culture and religion, and this course opened my eyes to a view I was never exposed to. So writing about Masjid was very important to me because I was applying new knowledge and learning the beliefs of Muslims. Especially in this day and age it is important to realize that a culture should not be judged on what a handful of their own do [sic]. Overall I am glad that I took this class and will take wonderful memories with me.

This participant’s research was on Islamic architecture, which she wrote without stereotypical representation of Muslims and did embraced a median rout in the whole research process. Her research paper handled architecture as a vast and visually prominent subject and a place for Islamic religious architecture within that vast subject. 93

Participant-E

Participant E came through as a very intelligent and devoted student. She was a

Mexican American who shared her Christian beliefs without reserve. She had loved ones

who lived in New York and had suffered directly in the September 11th tragedy. She initially displayed a negative feeling about Islam and had been very vocal about it. One of her first journal entries had her feelings displayed in words, “I cannot imagine why we are trying to understand, of all the cultures, the Muslim culture through their art” and a few days later she wrote, “somehow it now makes sense to be studying Islamic art at this time”. This was to be her last class before student teaching and she was nervous about finally being able to practically teach. After the lesson on Masjids was taught she wrote:

The purpose of the Masjid and Islamic art was discussed. All of the information was fascinating and creating tessellating designs while in class is so much more fun because of the interaction with others. Discussion about Islamic art and its connection to the religion is very interesting. I am glad that we discussed about Islamic art and the many misconceptions about the Muslims. It should be the role of the educators to enlighten students about cultures. Americans have difficulties understanding the people and religions of the Middle East. We, generally, hate the Muslims for what happened on 9/11, but we should all think about the fact that it is a minority of people in each culture that are misguided and willing to commit horrible acts to destroy others, but this does not mean all feel the same way.

It was fascinating to me to be inside a Masjid, this building that I have wondered about every time I have passed by. As an intriguing structure, I always looked at the outer design to try to guess how it appears and is used on the interior. This building was interesting also because of the religion that is practiced there. I am now interested in learning about a culture that has been as prevalent in the news as of late. Visiting the Masjid provided an insight into the people that worship and congregate there. It actually looked like other places of worship in that there was a pulpit up front and space for prayers and reflection. The separation of women and men was fascinating as well. I only wish I could have seen the Imam or more decorations to gain an even deeper understanding of Islamic culture and art. 94

I cannot believe it is the end of the journey; I have learned a lot but am still unsure of my abilities to teach. I want to wish the teacher all the best in her future and thank her for opening a whole new world to us.

I would revise our own lesson plan and make it two or three day process so that I could go into Islamic art with more depth. Later as an extension, I would add other art forms such as arabesque and calligraphy to reinforce the lesson.

The research focus that this participant chose was on Islamic architecture. She gave an in-depth view on the architectural features of a typical Masjid and elaborated on each aspect with interest and justice. Her feelings about the plight of Muslims in America also changed positively.

The topic of Islamic Art is not one that is covered in classrooms across the country. The main focus of most art programs is western art. It would behoove teachers to think about the fact that an entire civilization and its creations are being ignored and it is important to talk about every culture in order to understand the history and the future. By taking a look at the architecture of a culture, a lot can be learned; this is because along with the structures themselves we can gain an insight into the technology, beliefs, and other art forms of a group of people. Rather than just focusing on Egyptian pyramids, tombs and sarcophagi, we as educators should include other cultures, religions, and art from that region of the world. This is especially evident today with the political upheaval, animosity, and distrust that exist between the western world and worshippers of Islam. Art is transcendent and can bridge the gulf between cultures in a way that no other subject can. Islamic art also provides an outlet for integration of other subjects into an art curriculum because of its strong connection to geometry.

Participant-F

This participant was a devout Mormon who had cousins fighting in Iraq. She could create very beautiful art and had sold many of her paintings for good prices. She did create a sense of envy in her fellow students due to her artistic ability; most of the class members were very vocal about their sense of inadequacy in the creation of art when they compared their art projects to her art works. She was very open and accepting 95 of this study and of the lesson plans on Islamic art from the very beginning of the class.

After the visit to the Masjid, she wrote in her journal:

It was a great treat to go to class today and find that we would be taking that long awaited trip to the mosque. I have always been drawn by it, and often wondered about what it is like inside. Once we were there I realized many other aspects of the architecture and design. First the crescent which is very interesting on top of the dome that covers the mosque [sic]. Inside I was expecting there to be patterns on the floor and more decoration. The floor was carpeted and the walls white. You get the sense of purity there. Almost as if everything negative should be left behind at the door. The bathing rooms were also interesting and the process of washing three times and like the water drips from the elbows. In the larger room I liked how the light was so calm not too much and not too little on the top of the dome is where the design could be seen and that was intricate and had a very nice aesthetic quality. I feel that going there made a big difference on how I look at both the culture and religion of Islam. I now find it even more fascinating and hope that I can incorporate this into my class. Thank you for opening up a part of your culture to us. It was awesome.

One of her last entries in her journals reflected her thinking process and acceptance of changed views and went as such:

I did a lot of reflecting today in class while I was working on art. I feel like I have learnt a lot. I never really knew much about Islamic art, Muslim people, and their religion and of the culture till now. Islamic history is fascinating. Even our visit to the Masjid was very interesting. I would like to go and travel just to experience some of the art and what it is like. I would have liked to see some more decoration like tessellations and calligraphy but I know that there are Masjids out there like that. Overall it was new and interesting.

During the crafting and teaching of the lesson plans she came up with various suggestions on how she would handle the topic of tessellation, “I would compare cultures and the tessellations that each used. There really are endless possibilities but I think I learned so much.” This participant’s research concentration was on Arabic religious calligraphy, as a general art form as well as an integral part of Islamic art.

Calligraphy is a practical practice, it is an art form and it is a necessity. With so many cultural and aesthetic connections it is hard to ever put a book down that 96

discusses its background or meaning. We see that is a corner stone of the development of a great society and a philosophy of life. Calligraphy is both beautiful and practical in its use. For many it is a religious relief that must continue with each new generation to share the words of the great prophet Mohammad. With all the forms that we have today, particularly the ten major forms that have been practiced for the use of the adornment of buildings and the teaching of the Qur’an, as well as numerous other possibilities that calligraphy can be used for in the creation of the objects and teachings is so important to understand the Islamic culture and the Muslim way. With the entire fast pace technology that we use today it is sad to see less and less of it practiced. There are many out there that are trying to preserve this tradition. The form may never die out; let us say we hope that there will always be a continuation of this fascinating form of writing because it was surely one of the first that has advanced us to where we are today. It would be a shame to lose its meaning and purpose in the future.

Participant-G

Participant G was a Mexican American who was very proud of his Mayan heritage. He had many qualms about Islam and the power of its art as well as of me as a teacher in the beginning but changed his view as the class progressed. He did not have any religious preferences and said he was looking for a faith that fit in all of his own beliefs in life and humanity. He was a little shy at first because he had a strong accent while speaking and shared with us that he married recently and his wife was a practicing

Christian. His representation of his own place of worship was a very simple home which he said was his own home and it was everything he desired in a place of spiritual peace.

His reaction to being exposed to a Masjid for the very first time was recorded in his journal in subsequent entries in the following manner:

We went to the Masjid located on park and First Street. It is our teacher’s church. She explained to us the different designs of the church and their meaning. She was very nice because she was very open and made us feel comfortable and welcome. It was really interesting. I liked her church. I specially liked the feeling of peacefulness that I felt when I first stepped into the Masjid. 97

We discussed the trip to the Masjid. We all had more than one question about it. Mrs. Seemi was more than happy to answer our questions. We later compared the different beliefs of each of us and if any art form explains our beliefs. It was very interesting since some of us do not believe in any religion.

After the lesson that his group planned and taught, he wrote in his reflection:

For our lesson plan we focused on comparison between the Muslim and the Mayan cultures. Under cultures, we compared their religions, their writing systems, their architecture and art. I am from the Mayan culture therefore it had a lot of meaning for me.

This participant’s research focus was on Mayan architecture and culture that he compared with Islamic art and architecture. He advocated that teachers should incorporate other forms of art into their curriculum rather than only the Western canon.

The following excerpt comes from his research paper:

I think that it will be very important for teachers to concentrate in the teaching of cultures such as that of the Maya and the Muslim to elementary children instead of teaching them the western art only. It will not only help children to understand other cultures but it will also help them to see that art varied from location to location and from one period of time to another. It will also help them to realize that art has different origins such as that of according to culture and religion. Through this type of study they will also have a good understanding of their geographical locations of the world and that their world is much more diverse than that of the traditional white American culture. For these and for many more reasons, I believe that it is necessary for teachers to plan their curriculum with the objective in mind that they need to be more diverse in the teachings. It is a fact that children will be happy to learn about the different cultures and histories of the many present and past peoples of the world with the help of their teachers.

Participant-H

This participant was a Native American who was a devout Christian but very conscious of her own cultural heritage. She had loved ones in New York when September

11th occurred but that had not influenced or altered her views on Islam and Muslims. She had passionate views about present influence of politics in connection to the plight of 98

ethnically diverse people belonging to any subculture in the United States. She and her

people had experienced the problems faced by minorities in this country. She spoke

openly about all the stereotypical imagery which followed her own people. After the visit to the Masjid she wrote:

Today we went to visit the Masjid. I always wondered what was in that building every time I saw it. Our instructor showed us the rooms where they cleanse themselves before they can enter the Masjid. We had to take our shoes off before we could enter. We saw the big room where the males prayed and in the back there is a small room where the women prayed. She showed us how she prayed; we sat in the room so we could ask questions about the Islamic culture about the Islamic belief and faith.

During the lessons being taught on Islamic art by me she wrote in her journal, “We all learned a little more about Islamic art in this class”.

Her research focus was on Islamic art. This just seemed to increase her

comprehension of the arts of different cultures which reflect their beliefs. She was very

open after being exposed to my lesson plans.

There is so much to learn about Islamic art and by many readings there are numerous stories on exactly how Islamic art first started. I am happy that I had the privilege to learn more about Islamic and Muslim religion and culture; it gives me a broader sense of who the Muslim people are. With the media these days making negative remarks on Muslims, it is a shame that most people do not understand that all Muslims are not terrorists. I am glad I got to know more about the culture and the religion. My eyes are open and I respect the Muslim community more, because they are the same as we are. As for the art and architecture, I am truly amazed on how much detail the artwork has in it. The Masjid’s have so much history and design that I am at awe by looking at the pictures. I hope that one of these days I will be able to visit and see the Dome of the Rock in Jerusalem, or even the Taj Mahal in person. It is one of the many sites I would like to see before my time is up.

Participant-I

Participant I was a white American who had spent quite a few years in Pakistan

along with her parents and knew the society there and could vouch for whatever I was 99 saying about the independence of women in Muslim countries and many other stereotypical views generally held by people. She seemed uncomfortable when addressing her own beliefs, the explanation of which came out in her journal and is as follows:

I am Lutheran, but have recently been investigating other religions and beliefs. I feel it is important to remain open-minded. I did learn a lot about other beliefs.

ARE 361 was definitely a class that I am glad I took. I will look back on this class for guidance when I need help with teaching art, specifically cultural representation through art. Thankfully it has taught me a lot.

Her research focus was on the importance of geometric shapes throughout Islamic culture and art. Her attitude was, somewhat, of an insider as she had lived in an Islamic country and had gone to schools there and had a number of Muslim Pakistani friends. She loved Pakistani foods and missed visiting her friends’ homes in Pakistan. In her research paper she said about Islam:

Islam is a very special religion based on honesty and loyalty. The Muslims do this in many committed ways, especially through the architecture and design they form their Masjids with. Every element is vital in their system of prayer. They ensure that they are surrounded by shapes that represent their religion and beliefs, and words, through arabesque that speak of their God. Many Muslims believe it does not matter where you go to pray, as long as it is done five times a day. This reveals true devotion and understanding. Muslims’ have been creating geometric designs for thousands of years. It is important for other to understand the importance they play in defining the culture and the religion. If one looks hard enough they can see unity, devotion to one God, logic and order. These are all important elements portrayed though something as simple as geometric patterns.

Participant-J

Participant J was a Mexican American with very negative views on Islam and its art. She was one of those students was very hard to convince in accepting a new idea. She 100 made sure to raise controversial issues about the course content whenever Islamic religious art was discussed and brought up Persian miniatures and The Taj Mahal, times and again, as part of the religious representation of Islamic art.

I do not know what the instructor wants us to believe about Islamic art. I do know that the Persian miniatures are a part of Islamic art, as my aunt brought some back from her visit to Iran a long time back.

She did understand the difference between Islamic religious and secular art after some time which resulted in her giving justice to the subject of Islamic religious art and its symbology. She said in her journal entry after the lesson created by them as a group had taken place, that:

A lot in our lesson plan was also part of my research paper focus, so I felt as though I had a pretty good background in the area of Islamic art and tessellations and symbolism.

Today we focused a lot on Islamic art. I have never really learned about Islamic art and found it very interesting. I found it interesting that Islamic art is not artist based but artisan based. We spent some of the class time talking about Islamic stereotypes. I learned a vast amount and I thought this time was well spent because most Americans are not well educated about Islam. One thing that I found very interesting was the similarities between the different places of worship. Our visit to the Masjid was very fascinating. I have to say I expected it to be more intricate but it was still beautiful. I also enjoyed the time we spent toward the end of the day discussing the religion of Islam and some common misconceptions, I learned a lot from this experience and was really pleased with it. For our lesson plan we have decided to work on Islamic tessellations. We plan on integrating Islamic art and found some beautiful and intricate Islamic tessellations online that we will be sharing with the class. As for my research I am going to do it on the star polygon, but unfortunately I have not been able to find a lot of information so I am going to do it on tessellations. I am just fascinated with the beautiful designs in tessellations and have been able to find so much information on Islamic tessellations. I didn’t realize that geometric shapes had such an interesting meaning. This worked out great because I am doing my research paper on tessellations and symbolism and I now have more information. 101

Her research focus was Islamic tessellating design and its symbology. She

actually went very deeply into the symbology portion of her research and uncovered

many aspects of Islamic designs which are not known to even a lot of enlightened people

who belong to the religion itself. Her attitude change was very profound.

All in all, Islamic art is a very unique art for several reasons. One of these reasons is because of its intricate designs and unique symbolism. The legacy of Islamic art still remains strong and it can be found in Turkey, Pakistan, and India among other places. Islamic religious art gives the artist and those who experience the art a chance to get closer to their God, Allah.

She quoted in her research paper,” For Muslims, beauty has always been and will always be a quality of the divine” (Hussein).

Participants-K

This student was a Mexican American who wanted to major in art education. She

had good background knowledge about Muslims because she had close friends who were

of that faith. She had also taken classes on the history of Muslims and Islam as a religion.

This prior knowledge came through in her acceptance of the subject and her raising

constructive points during our discussion sessions which made the students ask more

questions and seek better understanding, “has Islamic design evolved and changed in any

way”, “Islamic art does explain the culture in many ways.” She was full of praises about

the use of multicultural art forms to explain a certain culture. In her journal she noted:

I am glad that we as a group chose to do the lesson plan on Islamic art. I think it is a great idea to use when we have our own classrooms. At my niece’s school they celebrate and learn about a different culture or country every month. I would really like to do something like that now that I have learnt about another culture specifically as it is the one usually misrepresented in the media.

Before we went ahead with our lesson on calligraphy and writing of names in the Arabic script, she wrote in her journal: 102

Children are curious how to say or write their names in another language. We could maybe have a whole unit on names to be written in other cultures and languages, as suggested by our teacher. The students could learn more about Islam and hopefully have better understanding of the culture.

The research focus of this participant was on Islamic art. She did justice to the

different styles of design and elaborated it eloquently. Her attitude was always positive

and did not alter to a great degree except in the deeper knowledge about Islamic art. In

her research paper, she mentioned how much she would like to teach about Middle East

in these words:

I would teach a unit on the Middle East. I would like to have a lot of time so that I can go into different aspects of the Middle East. I would teach about how the religions of the Middle East began and what was going on at the time. I would like to incorporate it into social studies, art, language arts, and math.

Participant-L

This participant was a Mexican American who believed in the power of art to convey any message. During class sessions about beliefs, she came through as being very connected to her direct and extended family, and believed them to be a strong part of her beliefs of life and the world. She was generally a quiet student who loved creating art works and working with fabrics to enhance art works. Her preoccupation with the studio portion seemed to be a hindrance in her studies, but she surprised me in the end when she started taking interest in the discussions about Islamic art and beliefs. She spoke with clarity of ideas on Islamic religious art, which impressed me. In her journal she wrote:

It was neat to see differences between decorations of Masjids and churches and even though they were so different each were beautiful in their own way. 103

Her research focus was on Islamic art and architecture. To which she gave a very

deep understanding and comprehension. Her take on the art as the peaceful vehicle was

very well articulated, in both her journal and the research paper, she wrote in her research

paper:

Many people believe that all Muslims live in the Middle East, but in reality only about ten percent of the world’s practicing Muslims live in the Middle East. However in places like the United States teaching children about Islam has become a taboo thing to do. After September 11th people are scared to talk about Muslims and to teach about Islam in schools. Unfortunately not talking about or teaching about a subject can cause many more problems than informing people about it. It can easily cause the public to be ignorant and they can form biased prejudices based on assumptions not facts. One of the most common misconceptions is that all people who are Muslims are terrorists. This is like saying all Americans are snobs and stuck up. The best way to counter these opinions is to present people with the facts about Islam and allow them to form their own fact based opinion on the subject.

People who follow the faith of Islam have helped to make this world a more beautiful place. They have created many styles of calligraphy to help them write the worlds of the Qur’an, influenced tile design throughout the world, and helped engineer and design new architectural elements. All of these accomplishments need to be celebrated and taught throughout the world. By teaching about the positive things that Muslims have given to the world the negative stereotypes and biases will disappear. It is also important to teach about the religion of Islam in the same way that children are taught about Egyptians or Mayans. This way they will understand the elements of the religion and they will be more open-minded and understanding individuals. Education is the answer not ignorance.

Participant-M

A Mexican American and a devout Christian, this participant had difficulty in accepting of new ideas and had an apathetic attitude towards what was going on in class.

She also invariably paired with members of a group which had difficulty in addressing this subject matter, like the participants R and N. During class sessions when Islamic art was being taught by me, she did bring up what Muslims had done to the United States on 104

September eleventh and how it had changed their lives and that she did not find anything attractive about Islamic art. She did respond better later on in the course and changed her disinterested attitude in the end in doing justice to the subject matter which she and her group had undertaken. In her journal she mentioned the trip to the Masjid, and said:

We took a field trip to the Masjid today. It was very fascinating. I also liked having the pleasure of seeing our teacher pray. My research on Islamic art taught me a lot about an interesting topic. I have learned so much beneficial information on Islamic art that I feel confident in talking about this subject in the future.

Body art and design were this participant’s research focus. She and her group decided to incorporate Islamic design but in the form of body art which is a cultural aspect of some people in a few of the Islamic countries but is not religious in any way.

But this group mentioned how some of the designs used in the ‘body art’ represented

Islamic religious art.

Participant-N

A Jewish American who realized what being a discriminated against as a minority could be like, this person had passionate views on racism and stereotypes but was mostly inhibited about discussing her beliefs even if it was in the context of art. She was very apathetic in her views about art forms as a force which might be wielding any influence over explaining a culture. She mentioned in her journal that, “I am taking this class because I have to not because I want to” and “I do not believe art has any real function in life” (She was absent a lot and was unconcerned with her position in her group making her group members really tense).

She did change her views on Islamic art by the time that the second lesson plan was administered. For her place of worship she created a place that looked like the 105 synagogue. Most students who believed in a certain faith created their places of worship in the accepted models of that faith. Her last few entries in her journal were as follows:

I enjoy learning about Islamic art but do not feel the religious part of the discussions is appropriate.

I really enjoyed our hand out, I feel that the Islamic art projects we are doing are very beautiful and very educational.

The research of this participant concentrated on henna designs and their connection to the

Islamic designs. She came through for her group members in the end and took part in the lesson plan actively doing justice to it. I felt a profound sense of encouragement and teaching achievement when I read the following in her research paper:

I feel that the only way to fully capture and see what henna means to different cultures is to emulate the same designs and patterns in a teaching environment.

Participant-O

Participant O was a White American with a tolerant attitude towards her fellow students’ apparent and vocally shared diversity as well as integrating of other canons to address the diverse population in the world of education presently. Always full of knowledge about everything that we were studying, she was also hard working and very helpful to her group members. Her group, participants G and C among others, created the lesson plan on the Mayan versus the Islamic art to explain both their cultures. To the subject of Islamic art she brought very deep issues to discuss and had a profound knowledge of different religious arts including an insight into Islamic religious art.

I am familiar with Celtic art and have seen many of the designs and tessellations used in math books, quilt projects, graphics, and architecture that originated with Islamic art. I find it hard to interpret the art because much of it is in Arabic calligraphy and I am not able to read it. I am going to keep an open mind and see what I can learn more about this art form. 106

It was humbling to visit the Masjid and see our teacher perform her prayers at our request. She did not even stop and think before she did it. This told me a lot about the Muslim people (if, of course, they are like her). I think the interior of the Masjid was peaceful but not as beautiful as the ones she showed us in class, but I guess one cannot compare something created a long time ago or in very victorious circumstances and the one created as a minority, struggling community.

This person’s research focus was on Islamic architecture: a feast for your eyes and mind.

She wrote very eloquently about the architecture of the Muslims and religious content of

each architectural and design form and explained how it bespoke of the belief. The paper

and the lesson plan were both very well researched.

Throughout researching this paper I have found it hard to focus on reading. I want to look and study the photographs, even though the history is fascinating. Maybe that is part of the experience that one would get by entering such atmospheres but I can only experience only a small distant dose. I imagine many of these places to be hypnotic and calming with the repetition, and flowing designs. Is this part of the spiritual experience Muslims had and still experience upon entering and worshipping in such places? No book could tell me that.

Participant-P

Participant P was a Mexican American very devoted to her boy friend who was serving in the army in Iraq. She kept her views on Islam and its art narrow. Her journal entry, “Islamic art is just another art form and I think it cannot explain a culture of terror,” spoke volumes but she did not verbalize her opinions, in class, very often. Her attitude made it difficult for me to communicate with her. She said in another journal entry, “ I do not know why I have to share my views on any topic which I do not know

much about with people I do not know at all.” she opened up after getting comfortable

with the rest of the class as well as with me. Her journal entries (like the one mentioned 107 above) later informed me about her initial views. After hearing and sharing discussions about different beliefs, including my own, she wrote in her journal:

I was also eager to learn about Mrs. Raina’s culture as for me, not a lot is known about it. I was intrigued to learn more about it as what I know seems to be wrong information.

Our teacher took us to the Masjid and explained why blue and green are used in designs to represent the sky and sea as creations of God.

Arabesque or the repeating floral design was Participant P’s research focus. She did justice to the subject, researching it well.

What I have found out by reading all this information on Arabesque was the true meaning behind what the art is all about. To find out that shapes and flowers are the main designs on the buildings because they relate to eternity would have never come to my mind before. To see how the shapes could have specific meanings such as earth, sky, water and fire gives new meaning to what everyone sees certain objects as. I found that reading all information on math and science was a learning experience. I know as a child I was never interested much in math because I thought I would never use it. What I have learned as I have grown up is that math is used every day life. The one thing that I would like to introduce to my future students is that they need to learn not to judge people or religions until they know all the facts behind them. What I also would like to bring my future students is that art comes in many different shapes and sizes. They need to as much as they can go and visit such buildings as the Masjid in Tucson and or an art gallery featuring Islamic art. The only loss in someone’s life is that of ignorance and shelter. If a student does not go out and research about others and their lifestyles they will always wonder what they could have found. If they don’t go out and research the history of the art and where it came from, they will never be able to judge it correctly. Arabesque is a beautiful form of art that is used primarily in the Middle East. I am fortunate enough to find out early in my life and am more fortunate for that.

Participant-Q

This participant, a Mexican American, at first was not very interested in what was going on in class. She had a cousin fighting in Iraq. After the first few discussion sessions she started taking interest. Her initial views were colored by the impact of mass media 108 and her family; who had stereotypical views on Muslims and Islam due to the cousin in

Iraq. Her first few journal entries carried within them direct reference to her families views, “ My mother thinks that whatever the television says about Muslims is true and I believe her as she is a teacher and knows her business.” Her opinion underwent a change after the initial class sessions on Islamic art. “I cannot connect what is in the media and what this instructor is putting in front of us in this class about Muslims and their art.” In another entry she said, “Muslims might not be that bad, their art is very beautiful and each one symbolizes something about their belief.”

Her research focus was on Islamic art and in it she wrote:

Islamic art has made great achievements and has produced beautiful works of art not only to reflect beauty but order, unity of nature, and belief as well. Islamic art was something I never knew anything about and now that I have been introduced to it I find it very beautiful and meaningful. Not every religion is blessed and portrayed with beautiful art like the Islamic religious art.

Participant-R

A white American, with a profusion of preconceptions and resentments against

Islam and its art, participant R thought that she knew everything about Muslims because her husband has served in the military in Islamic countries. She loved airing her views about Muslims. She made the stereotypes she carried, into an issue and riled up the class on occasion.

We spent a major part of the class discussing world religions and how most of these beliefs instigated art which became a representation of the faith itself. I wonder why we need to discuss this in this class. I wonder how this teacher says she is a Muslim, she does not even cover her head and she talks as if Muslim women actually do have some say in their life. 109

Her views did change after we discussed more on the subject as a class and in doing so

clarified a few stereotypes. Her later journal entry said:

I must say with all the confusion I had in the beginning, this class has taught me more than any other, about tolerance and peace through the language of art.

Despite changing her views, participant R’s research paper illustrated some

misconceptions still in existence which she had not been able to over come, like the

representation of body art as a religious practice of Muslims. Her research focus was on

henna and the designs used in it. The group she worked with incorporated Islamic floral

and geometric designs as a reference in their lesson plan. She mentioned in her research

paper:

Middle Eastern designs are composed mainly of, floral patterning; inspired from the wonderful free-flowing designs typically found in Arabic carvings, paintings, and textiles. The designs are placed on the hands and feet, to enhance them- accentuating the elegance of the hand or foot, elongation the fingers, and encircling the wrist of ankle. Each design is usually built up in layers around the centerpiece and much of the hand or foot is allowed to remain visible. Although floral patterning is the most typical Middle Eastern henna body decoration, it is usually reserved for special occasions, for casual every day wear Bedouin women apply henna to the hands and feet, displaying no pattern.

As I have mentioned before, I had permitted the class to incorporate any non-western art to show insight on any culture other than the most depicted ones in the canon of art which they saw in their experience with art. The class had decided that the most common were

Egyptian and but this particular group had chosen a topic which did not encompass any of these topics. Their choice of topic was alright for me as I could clarify any stereotypes or misrepresentation as they came; regarding Islam and its art, in class. 110

But this scenario might have very different results if undertaken without prior educator

knowledge of the subject of Islamic art.

CHAPTER SUMMARY

This chapter illustrates the attitude change that was noted as the participants became acquainted with different belief systems and in the process revisited their own.

Their journal writings revealed queries that dealt with a topic which had not been addressed before, that of Islamic art as an expression of a certain belief system.

When I had initially addressed the creation of a curriculum on Islamic art, I had

not considered going into such extensive detail on the subject matter. I had expected the

negative reactions but not to the degree that I encountered. This negative reaction could

be due to my apparent positionality as a teacher/researcher, Muslim artist. The lesson

plans that I developed explaining the society and beliefs of Muslims in a generalized and

understandable manner, which is appealing, at the same time being none threatening,

were mostly successful, as demonstrated through the in-depth study of the journals, research papers, and the group lesson plans. 111

CHAPTER V

This chapter contains recommendations for art specialists and mainstream teachers on how this study can aid future teachers as well as researchers. This chapter also takes into account the whole project to draw its conclusion from and tries to give a candid view of the strengths and limitations of this study as it unfolded, analysis of which should be helpful for future educators.

The recorded reactions of the participants indicate that the Islamic beliefs and society can be explained through the generalized study of Islamic art, by means of awakening the cultural curiosity which is an inherent instinct in a majority of humans.

This study also indicates that art can contribute to opening dialogue about issues that are otherwise hard to explain.

RECOMMENDATIONS FOR FUTURE ART SPECIALIST

 The most important point is the teachers’ understanding of Islamic society, beliefs,

and art. Before undertaking the teaching of Islamic art, the educator needs to have a

thorough knowledge of the subject matter.

 The art specialist or general educator must let go of any personal biases and

stereotypes before presenting these lesson plans.

 Including a research assignment as part of students’ learning, makes the study of the

subject matter more effective.

 Having students to keep a reflective journal of the whole process without any

reservation, encourages them translate and express their thoughts in words and thus 112

permits the educator to have knowledge of how effective the teaching is or

information of any problems which may be arising.

 Involving the lived experiences of the students increases student emotional and

physical interest, developing and retaining focus.

 Discussion and dialogue are an integral part of the procedure.

Public Television Station aired a three part, one hundred and fifty minute program

called Islam: Empire of Faith, in May of 2001, which gave a historical view of the

Islamic faith for the first one thousand years and also touched upon its art. There is a

website related to this program, PBS - Islam: Empire of Faith - Educational Resources which

has important suggestions on teaching about the Islam. This program might be available

through Amazon.com or like websites, but the website with educational resources,

mentioned above, is accessible through the internet. This would be a useful resource for

educators and art specialists to educate themselves, before exposing the students to any

form of the art of Muslims and information on Islam.

SUGGESTIONS FOR FUTURE RESEARCH

This research and its accompanying study points towards the inclusion of Islamic art, not only as part of multicultural art education but also as an integral part of mainstream educational courses, which can be interdisciplinary in nature, as well. It is often the classroom teachers who make the decision to include any content to the semester course work thus the responsibility lies with these teachers to include Islamic art as a component of any subject curriculum. I, personally, do recommend that to deal with the subject of Islamic art in a contextual and comprehensive manner, which is guided and 113 accompanied with critical and historical context, might be better if placed in an art room.

The students can thus utilize their creative energies in the assimilation process.

For using this study in future it is suggested that in-service training provided for teachers is to be promoted. School administrators, art supervisors, and curriculum specialists are encouraged to provide such services for teachers. Inclusion of Islamic art as an initial step in the introduction of the Muslim people is encouraged. Regular educational coursework of pre-service and art specialists at universities should have

Islamic art as an integral part, so that they grow beyond a mere tourist approach in handling a topic which is complicated and out of the ordinary. There should be an accountability process in gauging how teachers, trained and untrained in Islamic art, are managing the lesson plans, such as educator workshops in which teachers could share their experiences and maybe a specialist of Islam or its art to be an observer during the time this lesson is being taught. This would lend an insight into any problems with the lesson plan which could then be fine tuned and chiseled to overcome any of the hurdles stated by educators keeping in mind their suggestions, this would permit the subsequent trials of these lesson plans to become a democratic and evolving process rather than a static and rigid one.

OBSERVATIONS, REFLECTIONS, AND CONCLUSIONS

Art educators and art specialists have avenues that permit them to explain varying belief systems prevalent in the world through art. They are also able to create scenarios that can encourage students to extend and explore their own values and beliefs in a secure environment. In the process of designing and practicing these lesson plans I included 114

examples of related art pieces that explained different beliefs and most of these art works are religious in nature.

The introduction of the subject of Islamic art was received negatively by most of the students, but the open discussion session with a free flow of ideas instigated the students to come face-to-face with most of their personal prejudices and stereotypes. It

was also positive that we, as a class, were meeting every day for the summer session.

Verbalization of their prejudices made them confront and progress forward from their

limitations in dealing with Muslims. My own responsibility throughout this initial process

was as a guide in the navigation of the conversation towards a more objective way of

examining their stereotypes. During teaching of Islamic art and architecture the reactions

of the students subtly and gradually improved and they became more approachable and

receptive towards this art form. After studying the reactions of the participants it was

evident that had there been previous regular exposure and unbiased access to this to topic,

assimilation would not have been this complex.

The extreme negative attitudes I encountered might be the result of post 9/11

xenophobia and specific to U.S. American places such as Arizona where the population

includes few Muslims. Art seems to have taken a backseat here, thus even the most

familiar works from the western canon that I displayed were not recognized by the

participants, even though they had already taken previous art courses; for example, The

Ecstasy of St. Teresa, by Bernini, or Michelangelo’s works on the ceiling of Sistine

Chapel and in St. Peter’s Basilica. The broadening of cultural understanding through the avenue of art can, as my study has shown, instigate attitude change. Especially after the 115

events of September eleventh, the real hope for creating cross-cultural understanding lies with educators and education.

In our class conversations about religious art, we inevitably turned towards religion and personal belief, which was necessary to create the understanding which actually did follow the exposure to the curriculum, but these discussions never turned towards religious confrontation. The reactions of the participants portray that with careful guidance by the teacher such discussions can be directed positively. Such discussion of religious beliefs, as an initial step in learning about religious art, ensures that parents and students know that the teacher is not imposing her religious views and personal beliefs on the class.

Personally, I am enthusiastic about the possibilities of Islamic art and its aesthetic power, as a peaceful vehicle that can explain the society and culture of Muslims in a non- threatening manner. It is the avenue which, if properly taught, can be a generator of an improved and more peaceful life for citizens of tomorrow. A younger audience than the ones which participated in my study will absorb better, challenging issues which are otherwise hard to explain. Because children are more expressive and uninhibited, they will be more likely to ask questions and get over stereotypes sooner than an adult can.

Teaching Islamic art in elementary and middle schools can contribute to closing this gap between ignorance and understanding and can be managed in any mainstream subject.

Tessellations and the history behind them would be effective to use in a math class, specifically (as mentioned before) when the inspiration for M.C. Escher can be 116

addressed, as he went to Islamic palaces and Masjids for the study of an art form which

made him famous.

In social studies, students can learn about the expansion of Islam, the dynasties,

and their relation to the Crusades. Students could learn about the different ways of

dressing in Islamic countries and the utilitarian and religious purposes behind it, for

example chadors, burkas, and often-heard terms like ‘Hijab’.

For the art, students can make drawings of their name in Arabic and other

languages, for example Chinese, Japanese, and scripts students are not commonly

exposed to in U.S. schools and connect it with the artistic writing of their names in

English. They can also discover that expressionist artist Paul Klee, who included personal

and global meanings in his art, went to Africa and used the Arabic alphabet in his art

work as a design quality and said that the shapes of this alphabet speak to the onlooker

and “could communicate a feeling beyond words.”

Literature of the Middle East including the Qur’an, poetry, and stories could be

incorporated as part of the language arts section. They could learn about Massnavi,

Ruba’i, Ghazal styles of poetry: for each style they can read the translated version of

famous Middle Eastern poets, such as Rumi for Massnavi, Hafiz for Ghazal and Omar

Khayam for Ruba’i. In addition, western poets can be compared: for example William

Blake’s, The Tyger, can be compared with a Ruba’i, a four line stanza. Students could create an art work which they feel expresses the words of a poem. An example that can be used is Roni Horn’s artistic work, Thicket # 2, which was inspired by Blake’s above

mentioned poem. The same can be done with literature: The students can be exposed to A 117

Thousand and One Nights which can be compared to Aesop’s Fables, and the stereotype of a rich Muslim depicted in the above mentioned book, who married a new woman every night only to kill her the next day, to be appropriately addressed. They could also read Ferdowsi’s Shahnama and see the illustrations that go along with the book. The difference between Middle Eastern art and literature versus Islamic religious art and literature should be emphasized so that learners have a clear understanding of differences between the secular and sacred expressions in these arts.

With the mention of dance, students can be exposed to many dances around the world and then learn how the sacred Islamic religious dances are different. A good example of Islamic dance is Turkish Whirling Dervishes also known as The Dance of the

Sufi’s; who through dance achieve a trancelike state. This whirling was practiced by

Maulana Rumi while reciting the poetry recorded in his Massnavi, in Kunia Turkey, which was later developed by his son as a form of ritualistic, religious choreography.

Every action in this dance is symbolic, and of a mystical origin, such as the arm and hand movements and positioning, the right arm is extended with the hand open palmed exposed to the heavens and the left arm is extended with the palm facing the earth, expressing the mystic or Sufi as a conduit who partakes from the Almighty and gives out to humanity. Combining and comparing mystical poetry to modern Middle Eastern poetry and dances like belly dancing which is not religious in any way, can help distinguish again the sacred and the secular forms of the arts.

All of the above mentioned ways can be adapted depending on the age of the student body. This would be a great way to help students learn more about Middle 118

Eastern and other Islamic cultures, with the learners connecting the learning with their own lives; hopefully they can then learn compassion and eliminate stereotypes.

The results of this study were meaningful and positive even though I was disturbed by some of the initial reactions. The introduction of the subject of Islamic art on the very first day was a difficult decision for me and I was instinctively shying away from doing this. My concern was my own positionality and the present global scene in relation to Muslims and the terrorist image of them; needless to say it is a hot topic that could develop into a volatile situation. It could end up doing the opposite of creating an acceptance of Muslims through the use of their art as the peaceful vehicle. [I personally wanted to wait a week before mentioning it, by the end of that week, I knew I would have their trust and they would be more accepting of the topic but I still went ahead and there were the negative repercussions which are mentioned previously].

The lesson plans were pleasurable to the students because it was taught from a general and creative standpoint and included the full participation of students and their own personal beliefs and values. Students who participated in the study still contact me tell me how much they enjoyed learning about Islamic art and how their attitudes changed towards Muslims. The participants in the class recognized the need for the integration of Islamic art as a representative of the society and culture of the Muslims.

The study suggests learning about Islamic art can improve the attitude of learners in how they visualize Muslims.

This research embodies my own beliefs, culture, religion and above all my own values in life. It has utilized two of my greatest passions: being a Muslim, as an integral 119

part of me, and being an artist. This research has made it possible for me to combine both

the strengths within me to generate an even more effective way of being an educator, as

this study gave me personal insights regarding the way I responded to the student’s

reactions, how I analyzed these responses, and finally how I represented them with

respect during the whole process. In retelling their stories as well as my own side of it I

realized and assimilated many aspects of Islamic art that I had never done so before.

Clearly, my position as a Muslim, artist, and researcher/teacher might have impacted the

results of the study as any educator’s positionality influences anything they choose to

teach. This journey that I undertook, with the help of the participants, made the research

possible and productive. The satisfaction and personal gratification that I achieved while

undertaking this research is beyond compare. It benefited me by making me realize that

every person can add that drop to the ocean which can cause ripples which might affect at least some boats to sway and bend towards a better tomorrow.

It was confusing for me, at first, to discover that with previous courses of art the youth here are not exposed to any canon other than the western canon, even though the course work indicates that there is an inclusion of all art forms. The educators here also do not have proper training to address most other canons of art. The student body on the other hand is exposed to ethnic diversity in classrooms. This study points towards a need for further research in this field and also for the education of educators and art specialists to deal with different art forms in mainstream subjects as well as art education. The education of parents is also recommended because the basis of many of the prejudices and stereotypes are formed at home. If educators and parents work towards building a 120

better understanding towards children, they would be able to connect with the new

generation better and then it would also make it possible to improve their own responses

and that of their children, towards taboo subjects like religion, death, beliefs, drugs, sex

and Islam, which are usually considered forbidden in American society but which need to

be addressed.

This study may be regarded as useful by educators and administrators. But any

research that would be undertaken by another person would be different due to their own

personal experiences and background. Any person who would be teaching from these

lesson plans might have dissimilar results and reactions from their students due to the

differences in the presentation style and the uniqueness of both the teacher and students.

Never-the-less, I do hope that these lesson plans will create some kind of positive starting point for others who use them. 121

APPENDIX A

THE CURRICULUM

LESSON PLANS 122

The Concept of Symmetry and Perfection in a Place of Worship

Theme:

1. Researching, thinking and then writing about art can provide new and interesting

insights into cultures that are other than our own.

2. Art has been utilized as a representative of different religions and cultures.

Grade:

Can be adjusted according to age/stage levels but is recommended for upper elementary and high school levels.

Length of Lesson: Depends on grade level and time allotted for each class.

Lesson Overview:

Students look for visual signs of architectural patterns that reflect symmetry and

perfection as well as their practical purpose in the everyday world. They will then

develop questions that lead to inquiry to guide their study and investigation of Islamic

Architecture specifically that of Masjids (Mosque: Muslim place of worship). After

sharing their discoveries with their classmates they will start to identify concepts and

ideas for their own architectural structure which focuses on the concepts of symmetry and

perfection and their symbolic meaning in their own religion( in Islam perfection in any

design represents Allah ( God).

Objective:

 Students are encouraged to investigate a different culture and society to explain

certain beliefs (religious) and to look within and better understand their own belief

system. 123

 Students learn that there is more to a place of worship than the common

understanding of it.

 Students learn that architectural works can have a deeper and not so obvious

function.

 Students explore the different belief system and reach the desired conclusion that in a

certain group of people who share the same beliefs have the same outward

architectural manifestations which have not greatly changed in the practical and

utilitarian purposes in over fourteen centuries (there might exist variations in the

structures according to the different geographic and cultural and societal beliefs).

 Students learn to identify evidence of symmetry and perfection in the overall

structure of a given piece of architecture and any contextual information that the

investigation uncovers, for example: the arches, domes, minarets, Mimber, Mihrab,

the placement of a place for ablutions, worship for men and women, school,

courtyards etc.

 Students learn how to pose questions which are to guide their inquiry in the meaning

of specific architectural elements.

ARIZONA STANDARDS: http://www.ade.state.az.us/standards/arts/arts-visual.htm

Procedure:

Explain that buildings have some very obvious functions, for example:

o Shelter

o 124

o Landmark

o Provides comfort for human needs

o General appeal

And some not so obvious functions:

o Place of worship

o Religious pride

o Documentation of an event

o Inspiring religious devotion

o Communicating religious ideology

o Symbol of religious presence

Explain that architects and artisans of many ancient civilizations as well as

contemporary ones use architecture as religious symbols, for example:

 Egyptians Pyramids

 Buddhist Stupas

 Hindu Temples

 Christian Churches

Explain that many different shaped buildings and structures that were built have not so obvious functions; the depiction of religious beliefs, e.g. Pyramids, Stone Henge.

Lead discussions that involve the students to come up with examples of the above mentioned and as well as challenge them to look around them and find such examples from their daily lives, for example: Twin towers, churches, synagogues, television (mass media) representation of Masjids and discuss the overall connotation of terrorism. 125

Divide class in groups and present them with images of Masjids and introduce the key

structural elements e.g. Mihrab; the niche in the interior of the Masjid which directs

the Muslims to face Kaaba (the direction of the Muslim prayers located in Mecca Saudi

Arabia), Mimber; the stepped platform on the side of the Mihrab on which the Imam

(the leader of the prayer) sits and gives Khutba (lecture) Minaret; the place for the

Muezzin to call the people or believers for the prayers. Introduce the external structure of the; Dome, Arches etc. and ask them to talk about the aesthetics and visual appeal of the examples with more importance on the structural elements as well as for them to understand the geometric symmetry of the floor plans and the placement of the Minarets, the arches and the dome or domes/cupolas. The importance of rotation in Islamic art

needs to be discussed at this point laying emphasis on the creation of domes which is an

arch rotating on its axis. Encourage the students to find more examples of rotation in the physical world around us e.g. solar system and the different natural cycles and talk about its importance in the Islamic religion mentioning the constant rotation present at the

Kaaba (Muslim place of pilgrimage and worship in Saudi Arabia). Mention why Tombs can not be classified as Islamic art but the decorative designs can be classified as such.

Find their own contemporary and past (historical) examples of Masjids and

bring them to class.

Activities:

Ask them to research and identify each structure by, date, title, structural

medium and patronage. 126

Ask them to formulate 3 questions that they would like to pursue in order to

fully understand this structure.

Read from the list of websites and books provided.

Look at the structures with better understanding and pose further questions

which would make the study more interesting.

Challenge them to think about different ways to view structures made by

different societies and cultures where their art and architecture represented them,

for example, Buddhist, Egyptian, and above all Christian (in the architectural

works by artists in the Renaissance period like, Michelangelo’s St. Peter’s

Basilica).

Challenge them to think about the symbolic meanings of the structures.

Make students share responses with fellow students.

Find experts on subject and discuss the structure with them or find anyone

who could provide insight on them.

Prepare a two dimensional structural representation of their own belief which focuses on

the concepts of symmetry and perfection and their symbolic meaning in their own

belief or religion.

------

THREE DIMENSIONAL WAYS OF CREATING PLACES OF WORSHIP:

Cardboard Sculpture

Materials:

Cardboard Sheets (single and double ply, old refrigerator boxes can also be used) 127

Box cutters and utility knives

Pencils

Tempera and acrylic paint

Brushes

White glue (water-based)

Old paintbrushes for glue

Masking tape

Optional:

Colored paper

Aluminum foil

Butcher paper

Papier-mâché

Colored cellophane wrapping paper

Learning Objectives

Students will…

Make a large sculpture that supports itself and stands firmly in place by gluing internal braces and considering gravity and balance.

Increase the scale of a sculpture and enlarge the original small model into a huge, full- sized piece that will communicate from a distance.

Extend the sculpture into space and break up the space in interesting ways, paying attention to negative and positive space. 128

Make the sculpture draw the viewer in for a closer look. Design it so that you see new things as you walk around it and thus don’t see it all at once.

Tape Sculpture

Materials:

Wide, clear packaging tape

Scissors

Clear cellophane wrap

Optional:

Colored cellophane wrap and bubble wrap

Learning Objectives:

Students will…

Learn the process of creating a three-dimensional, free-standing sculpture.

Explore unique properties and potential of materials.

Apply common medium in creative application of design and structure.

Demonstrate the ability to construct a free-standing sculptural form.

Develop on awareness and application of styles of various sculptors and art movements.

Reflect on and assess the characteristics and merits of their work and the work of others

Clay Sculpture

Materials:

Self-hardening clay

Krylon stone-textured spray paint

Wooden craft sticks 129

Plastic bags/ sheeting to cover tables

Clear plastic to wrap sculptures

Learning Objectives:

Students will…

Create their distinct sculptures.

Create three-dimensional art.

Use their sculpture and its history to better understand the past as reflective of the present

Better understand the properties of clay

Learn about Islamic architecture, past and present.

------

Prepare oral presentations to be delivered in class in which you as a group can:

a. Explain the in depth study of the structure.

b. Point to the different elements of symmetry and perfection present in the

structure, outside and in the interior.

c. Explain how and why the structure was made and the concept of symmetry and

perfection present there. How different people have different concepts of

symmetry in different societies and cultures.

d. Explain the concept of symmetry and perfection in the floor plans and the pattern

work.

In conclusion, ask the students to list concerns that are relevant to the study. Ask

them which concerns are most important and why. Finally ask the students to identify

two to three situations in which this study could come in useful in their everyday life 130

and if it helped in the understanding of these structures as well as their

comprehension of the society and the culture and the religious beliefs that the people

who created it, embrace. Did they comprehend that Islam is just another religion and

the Muslims are just another group that is the inhabitant of a global society.

Assessment:

Note during presentations if the students are able to point out the various structural elements as well as understand how a place of worship functions. Whether they are able to generalize questions and seek the answers to their satisfaction. Note if their own, self created two or three dimensional place of worship has symmetry and perfection in its design.

Items for Islamic architecture portfolio:

o Lists of initial and revised questions.

o Lists of concerns and interest of students

o Samples of architectural structures from internet and everyday sources, for

example: newspapers, books, journals etc.

o Their own art work. 131

ALTERNATE LESSON PLAN OF

A PLACE OF WORSHIP

This lesson plan would draw from the above mentioned lesson is reference to content as well as explanation of the contextual knowledge provided on Islamic arabesque and geometric designs.

Grade Level: 6th – 12th or can be adjusted to all grade levels by changing the visuals and

motivation according to age/stage of the students.

Length: Five fifty-minute class periods or more or less according to the grades and time

allotted to instructor.

Content Outcomes:

 Students will learn about design and important influences in architecture such as

Frank Lloyd Wright, William Van Allen and Islamic architecture and landscape

designs (Art History).

Chrysler Building by William Van Allen 132

Masjid Quwwat ul Islam (1206-1210, A.D.)

Jamia Masjid Champanir (1485, A.D.)

Jamia Masjid Fatehpur Sikri (1571, A.D.)

Moti Masjid Delhi (1658-1707, A.D.) 133

Beth Shalom Synagogue by Frank Lloyd Wright.

Floor plans by Frank Lloyd Wright.



Landscape in Islamic India. 134 135

 Students will use pencil and paper to sketch a “blueprint” of their place of

worship on white construction paper (Studio)

 Students will explore working with mediums such as tempera paint, cardboard,

magazine cut-outs, glue, and other materials in an attempt to make three-

dimensional models of their places of worship (Studio).

 Students will construct a three-dimensional model using materials (such as yarn,

buttons, modeling clay, cardboard, glue, magazine cut-outs, etc.) and combine it

with various colors in order to develop an understanding of how these elements

come together and also the process of design (Aesthetics).

 Students will have the opportunity to evaluate their completed work and compare

it to the works of other class mates (Art Criticism).

Procedure:

 Begin with a brief background on the history and contributions of important

architects along with some of their accomplished designs as well as examples of

Islamic architecture and landscape designs.

 Go into detail with the architects, Frank Lloyd Wright, William Van Allen, and

Mirza Meerak Ghayas (Mughal Architect) and discuss some of the architectural

sights they have designed. Be sure to explain why these architectural sights are

significant to the world of architecture.

 Show transparencies of famous designers and their work for motivation.

 Discuss some occupations of design such as landscape designers, interior

decorators, and architects who specialize in designing home. 136

 Begin studio by passing out white construction paper (8” X 11”) and instructing

the students to do a preliminary sketch of their future homes with pencil and ruler.

Explain the purpose of blueprints for designers and builders.

 Pass out design magazines to students.

 After completions of the designs have students each make a list of what specific

materials they think they may need for their model architecture.

 Allow students to bring whatever materials they wish from home for their project

(give examples such as photographs for personalization).

 For the next fifty-minute class period begin the three-dimensional aspect of the

project.

 First, have students move desks so that they are in groups of four (they will need

to do this so that they can share glue guns).

 Pass out pre-cut pieces of cardboard that are 17” X 20” in size.

 Students will then sketch the floor plan of their architecture and also the design of

the front and back yards on the cardboard using their “blueprints”.

 Students will also be provided with additional pieces of card board of varying

length, but five inches in height for the walls.

 The students will then use tempera paint to paint the floors and also the front and

back yards with whatever colors they wish.

 They will also use tempera paint for the pieces of cardboard that will be used to

construct the walls of the model.

 Allow paint to dry until newt fifty-minute class period. 137

 On the third fifth-minute period, students will begin decorating the walls of their

model homes using the materials provided by the teachers (buttons, colored yarn,

magazine clippings, modeling clay, beads, colored pieces of fabric, and popsicle

sticks) and also whatever materials the students brought with them from home.

 Glue guns will be used to install the walls after they have decorated the walls.

 Elmer’s with glue will be used to stick materials to the walls.

 Students will continue decorating and constructing their models on the fourth

fifty-minute class period.

 On the fifth fifty-minute class period, have students view the other students’

models.

 Have each student choose the architectural piece they liked best and discuss the

reasons why they like it best.

 Have students fill out “Student Response Sheet”

Motivation:

 Transparencies of accomplished designers and the structures.

 Provide magazines that illustrate examples of interior designs, landscape designs,

and architectural designs.

 Examples of any blueprints showing floor plans of artists’ work as well as masjids

and their landscapes.

Vocabulary:

 Architecture

 Design 138

 Islamic architecture and landscape.

 Frank Lloyd Wright, William Van Allen and other designers

 Blueprint

 Models

 Three-Dimensional Art

 Interior Decorating

 Landscape design

 Arial View

Materials:

 Scissors

 Tempura Paint of various colors

 White Construction paper (8” X 11”)

 Card Board Pieces (17” X 20”)

 Card Board Pieces (5” in height, no specified length)

 Hot Glue Guns (Enough for one per every four students)

 Hot Glue Gun Sticks

 White Elmer’s Glue

 Buttons

 Color Yarn

 Popsicle Sticks

 Design Magazines for Cut-Outs

 Transparencies of designers and examples of the structures built 139

 Pencils

 Rulers

 Modeling Clay

 Beads

 Assessment:

 Student Response Sheet

 Student’s Critique of other students’ work

Resources:

Books: 1.Islamic Architecture by Robert Hillenbrand.

2. Classical Islamic Architecture by Graber.

Websites: Choose “Islamic architecture” or “Islamic Art” while doing a

web search.

www.archnet.com

www.Koutayba.com

www.suit101.com

www.Babalmadina.tripod.com

www.greatbuildings.com

www.mit.edu

www.im.com

www.islamway.com

www.metropolitanmiseumofart.com

www.worldwidetourofislamicarchitecture 140

National Standards addressed:

This lesson focuses on obvious and less obvious functions of architecture.

It addresses Content #2: Using knowledge of structures and their functions. It also introduces students to historical and cultural roots of

Islam and its earlier architecture thus addressing Content # 4: Understanding the visual arts in relation to history and culture. 141

PLACES OF WORSHIP

VISUAL AIDS USED AS MOTIVATION 142

THE DIFFERENT EXAMPLES OF PLACES OF WORSHIP Pyramids used as places of worship by different ancient religions:

MASJID AL-AQSA MASJID IN PHOENIX

(JERUSALEM) (ARIZONA)

ANCIENT PRESENTDAY 143

THE CEILING OF SISTINE CHAPELL AT THE VATICAN 144

MICHAELANGELO’S BERNINI’S

ST.PETER’S BASCILICA (ROME) ECSTACY OF ST. TERESA (ROME)

KHANNA KAABA IN SAUDI ARABIA 145

Islamic Design Elements and the

Shaping of Ideas

Lesson Overview:

Students analyze how artists and artisans have defined shapes within their

artworks and architectural structures. The students then select and modify, or invent a

shape they plan to use in their study of Islamic design elements and the symbolic concept

of ‘infinity’, ‘purity’, and, ‘perfection’.

Grade:

This lesson can be adjusted to age/stage levels with modifications in vocabulary terms and visuals as well as the studio portion.

Objective:

1. Students learn that a shape is a defined area. (A shape may or may not depict

an object).

2. Students learn that a symbol is something (such as a color, or shape, or a

gesture) used to stand for something else.

3. Learn that artisans and artists can use shapes symbolically in order to

communicate ideas.

4. Students learn how to identify a shape they can use to replicate and in order to

show the concept of infinity.

5. Students learn that shapes can be defined by contrast in value (light or dark) or

color, or by the case of outlines.

6. Students learn that shapes can be implied without using clearly defined edges. 146

7. Students learn that negative shapes are defined by positive shapes.

8. Students learn how to define shapes clearly and implicitly.

9. Students learn that the response of viewers can help them refine their planning

or help them assess the effectiveness of their artwork.

ARIZONA STATE STANDARDS http://www.ade.state.az.us/standards/arts/arts-visual.htm

Activities:

Explain how shapes connect and form repeating patterns to create intricate designs which symbolically represent ‘infinity’.

Explain how a shape may or may not depict realistic objects. A rectangle may or may not be a bill board. A triangle may or may not be a pyramid.

Show examples of and explain several ways in which artists can use shapes create or define shapes in an architectural structure.

 Artists can define shapes by clear outlines.

 Artists can define shapes by contrast in volume; light, dark, or color.

 Artists can define shapes less clearly.

 Artists can define shapes background or negative shapes with as much care as

foreground or positive shapes.

o After showing them examples, explain how shapes are used in Islamic art.

 That in tessellating a design, the shapes do not overlap but repeat endlessly until

a border design stops it’s infinite growth. Study Escher’s work and talk about his

study of the shapes present in Al-Hambra Spain. 147

 In referring to the star polygon and the crescent as symbols of Islam, it would be

wise to understand and explain that these most associated symbols of Islam are

actually pagan in essence. These two symbols can still be explained as Islamic if

one goes its symbolic meaning behind their representations. That a many pointed

star can be created by taking 2 or more squares and rotating them at regular

intervals. Study the patterns in different Masjids in order to understand this point

of equal radiation on all sides, depicting the spread of Islam in all directions of the

world. To study the formation of the Star of David in the Jewish faith and study

its similarities and differences. Study the symbology of a star created from a

shape with four points in the representation of the square or cube of Kaaba and

the rotation by believers that is going on there at all times. It would be appropriate

to mention the symbolic meaning of the Cross as well as the Star of David or it

could be a research project for students to undertake.

 Make Students realize how closely Geometry affects the formation of precise

shapes and patterns recurrent in Islamic art.

 Linear border designs are used not only to balance out the patterns from

spreading infinitely as well as outlining the structures architectural turns and

bends.

 That Arabesque is a typical design used by Muslim artisans and artists in the

decorations of Masjids as well as book/ manuscript illuminations. It is a

combination of vegetal, flowing and curving patterns. 148

 Explain the how and why of non figural representations and any variations there

of, in Islamic Art. Explain the religious implications of non figural depiction in

the Islamic faith reiterating that the Persian Miniatures are painted as

explanation of legends and stories such as The Shahnama, and The Maqamate

Harriri and do not have any religious connotations. Any art made by Muslims

may not be Islamic Art just like any art made by an individual who may be

following a certain faith may not be a depiction of that faith.

 Explain the use of calligraphy and the importance of written word for the

Muslims. To emphasize the importance of its use as an integral design element in

the creation of architecture and book illumination by Muslims.

Print out different examples of each kind of design work and let the students simplify the shapes down to the triangle or square, then help them work with the grids to produce their own designs. Explain that these Islamic designs are reproduced in the earthenware, textiles, tiles, , carpets etc created by Muslims all over the world, yesterday and today.

Explain the definition of shapes by color and line, value, negative and positive shapes. After showing them examples of Islamic patterns which have endured over time, explain the different shapes have been used in Islamic Art.

Explain how these shapes might overlap but always repeat themselves endlessly until a border design seems to break the flow for adjusting to the architectural twists and turns. 149

Emphasize each by giving parallel introduction on patterns used in Christian manuscript and book illuminations and Irish Gaelic manuscripts to see how they are similar and how they differ, to realize what has survived over time and is still symbolically representative of art being a reflection of the culture and society’s belief.

Reiterate that the Islamic designs have a higher symbolic meaning. Explore and study the designs for the students to realize that if anything is actually symbolic in the representation of each design and pattern within the many manuscripts studied. Explain the ideology of infinity in Islamic decorative designs.

Ask students to review the idea that they are developing to come up with a design showing the concept of infinity. Ask them to draw a shape that could be used as a symbol, to represent anything they themselves believe in. Then ask them to make at least three versions of that shape, each defined in a different way.

 By contrasting value of light and dark (using scissors and black and white

construction paper for contrast).

 By contrasting color (using scissors and contrasting bright construction paper,

similar colors for less contrast preferably the color ‘green’, reinforcing Islamic

concept of purity and rebirth. (as is the concept of the crescent as that of a new

beginning)

 By carefully planned negative shapes (cut out the negative shapes and place them on

uncut background paper to define the positive shape).

 Less clearly, with gradual change in value (light or dark) (Shade with pencil or work

with pastels, chalks, or colored pencils. Eliminate or avoid making any outlines). 150

Tell them to share within their groups as well as class to get a better picture of what they are doing. Then ask each to indicate which method of defining shapes they think might be most effective in their work and why.

Assessment:

In their analyses of earlier artworks, notice whether students can find symbolic shapes and accurately analyze how the artisan or artist defined them within his or her work. Check students’ planning work noting whether at least three methods of shape definition are represented. Confirm that students have recorded comments made by classmates about their shapes.

Items for an Islamic art portfolio might include:

 Negative shapes sketches from reproductions.

 One shape defined in three different ways.

 Notes on classmate’s comments about their shapes.

Grids of tessellating designs in Islamic architecture 151

ALTERNATE LESSON PLAN ON SHAPES: DROPS OF SHAPES

This lesson plan would draw from the above mentioned lesson is reference to content as

well as explanation of the contextual knowledge provided on Islamic arabesque and

geometric designs.

Grade Level: Grades 1-3

Length: 2 Fifty Minutes Class Periods

Content Outcomes:

 Students will be encouraged to learn about the artist Jean Arp. (Art History).

 Students will learn about Islamic art and its use of geometry to create shapes.

 Students will explore working with mediums such as scissors, colored

construction paper, glue, rulers, stencils and watercolor. (Art Studio)

 Students learn how to create geometric shapes and apply unique art techniques to

create a work of art. (Art Studio)

 Students will incorporate various colors with different shapes to produce

interesting abstract works of art. (Aesthetics)

 Students will read Philip Yenawine’s book entitled, Shapes, in order to

understand the many ways shapes can be incorporated into a work of art.

(Language Arts)

 Students have the opportunity to reflect on the art project and evaluate the

completed work of art. (Art Criticism) 152

Procedure:

 Instructor will read the book, Shapes by Philip Yenawine.

 Instructor will expose students to Islamic geometric patterns.

 Instructor will conduct a lecture about geometric shapes (squares, rectangles,

circles, triangles, trapezoids, pentagon, and hexagon).

 Instructor will introduce the artist, Jean (Hans) Arp and his famous artwork called

“Arrangement According to the Laws of Chance”.

 With colored construction paper (8.5” X 11”), students will cut out twelve

geometric shapes of varying sizes and colors.

 Shapes will be measured with rulers and protractors (for angles) for upper grades

and for lower grades provide stencils of geometric shapes.

 Colors of construction paper are chosen by students.

 Students will place 18” X 24” butcher paper on the floor.

 Students will drop each shape (one by one) onto the butcher paper allowing the

shapes to land on the paper randomly.

 Once the shapes have fallen into place, students will glue the shapes onto the

paper without moving the shapes out of place.

 Students will attempt to duplicate the image of the dropped shapes with

watercolors onto a sheet of watercolor paper that is 9”X 12” and then compare

them with Islamic designs.

For a variation of this lesson plan, the instructor can use organic shapes as well to demonstrate the difference between geometric shapes, vs. organic shapes. 153

Motivation:

 The book called Shapes by Philip Yenawine.

 Visuals of Islamic art designs and patterns and lecture on their symbology.

 Lecture on geometric shapes.

 A visual of the artwork entitled Arrangement According to the Laws of Chance

by Jean (Hans) Arp.

Vocabulary:

 Various Geometric Shapes (squares, rectangles, circles, triangles, trapezoids,

pentagon, hexagon, etc.)

 Pattern

 Colors

 Angles

 Sides

 Geometry

 Islam and geometric shapes.

 Symbology in geometry in Islam

 Abstract Art

 Organic Shapes (optional) 154

 Randomness

 Conscious Art

Materials:

 8.5” X 11” colored construction paper

 30 pieces of 18” X 24” white butcher paper

 30 pieces of 9” X 12” white watercolor paper

 Watercolors

 15 Glue Sticks

 Scissors

 Rulers

 Stenciled Geometric Shapes

 Protractors

Assessment:

 Quiz on Geometric Shapes and Islam.

 Student Response Sheet

 Evaluation Sheet

Resources:

 http://www.tessellation.org

 http://www.shodor.org/interactive/activities/tessellate/

 http://www.islamicart.com/main/architecture/sites.html

 Contemporary Arabic art http://ndukhan

 http://www.sakkal.com/arab_calligraphy_art2.html 155

Books for children:

1. Mosque, David Macaulay

2. Islam, Discover the faith, culture, and history that have shaped the modern

Islamic world, by Philip Wilkinson.

3. A 16th Century Mosque, by Fiona MacDonald, Mark Bergin.

4. What You Will See Inside A Mosque, by Aisha Karen Khan.

5. Iran Enchantment of the World, by Miriam Greenblatt.

6. Muslim Festivals throughout the Year, by Anita Ganeri.

Standards Addressed: (interdisciplinary)

Math; perform elementary transformation, tessellations, flips, slide, and rotation.

Po1; demonstrate using concrete geometric figures.

Po 2; illustrate concrete or pictorial models, a slide, flip, turn.

1AV E 4; continue to expand, know, and use different art media, acquiring several

new techniques.

Interdisciplinary ways of teaching about Islamic Art;

Science: infinite patterns created in Nature, e.g. in cell division, honeycomb etc.

Math: study of angles, shapes, and line segments in relation to tessellations and other repeated patterns.

Social Studies: The comparative cultural study of different arts that represent different societies and cultures through the depiction of their beliefs and religions.

History: the study of how history reflects a continuation of art works and the methods of their creation. 156

Language Arts: researching and writing about Islamic art as a representative of the

Islamic Art 157

VISUAL AIDES USED AS MOTIVATION FOR THE SECOND LESSON

Interiors of Masjid (ancient to present)

Islamic Geometric, Arabesque, and Tile designs 158

Islamic Star MANY SIDED STAR Star of David 159

Calligraphy

Grade: This lesson can be adapted for all grades. It is recommended for 5th through

twelfth grades adjusting vocabulary and images as needed.

Time: 50 minutes or can be adjusted to the time constraints of each educator,

ARIZONA STATE STANDARDS

http://www.ade.state.az.us/standards/arts/arts-visual.htm

Content Outcome:

a) Students will explore the possibilities of mixed medium. (studio)

b) Students will learn how to divide a picture plane. (aesthetics)

c) Students will be exposed to a map of the countries in the Middle East. (history)

d) Students will learn about Islamic culture, architecture, art. (art history)

e) Students will learn about the history, structure, and purpose of masjids. (history)

f) Students will be exposed to the Masjids of the Middle East, for example the Great

Mosque of Cordoba, Suleman’s Mosque, Al-Qasr in Egypt and others. (history)

g) Students will learn about Arabesque art, calligraphy, tessellations, and the parts of

a Masjid. (art history)

h) Students will learn how to incorporate Islamic art into their own artwork. (studio)

i) Students will learn how art is connected to culture and society. (history)

j) Students will learn how Islamic art appeals to people. (aesthetics)

Performance Outcome:

a) Theme: Islamic Art 160

b) The students will create artwork using their name using the Arabic script and

incorporate other Islamic art styles in their work, for example arabesque and

geometric designs.

c) Students will use various materials to create their artwork, including tempera

paint.

Procedure:

a) The students will be divided into groups of three to four students.

b) Each group will given a copy of the Arabic alphabet and a page of sample

Arabesque patterns.

c) Each student will be given and individual copy of their name written in Arabic.

d) Students will create their artwork on a sheet of 11x14 sheet of paper using

tempera paint or other art supplies they choose.

e) Students will write their name in Arabic using calligraphy and use arabesque or

other Islamic art styles to decorate the rest of their art.

f) Students will examine and present their artwork to class.

g) A title will be given to their work.

h) Students will write a paragraph about their work and what they learned about art

and culture.

Motivation:

a) Students will take field trip to the local masjid. 161

b) Students will learn about Islamic culture and art, having posters and books

displayed in the room, as well as handouts and websites to look at. For example,

www.lama.org/islamicart/thumbnails/thmbnail.htm

c) Students will be exposed to posters of different masjids from all over the world.

Vocabulary:

Picture Plane, Islam, Muslim, Masjid, Minaret, Kursi, Mimber, Mihrab,

Arabesque, Pattern, Tessellation, Qur’an, calligraphy, Kufic (kufi), ,

Nasakh, Taliq or Farsi, Deewani, Riq’a, Tughra, Zoomorphic, unity

Materials:

Handouts of Arabic alphabet and arabesque patterns, tempera paint, calligraphy

pens, paint brushes, watercolors, markers, color pencils, art pencils, art pencils,

pens, sheets with each student’s name in Arabic

Assessment:

a) Worksheet about Islamic art and culture to be filled out by students.

b) Map of the Middle East to be filled out by students.

c) Evaluation through observation.

Standards:

a) Understanding and applying media, techniques and processes.

b) Students know the difference between materials, techniques and processes.

c) Students use different media, techniques and processes to communicate meaning.

d) Students use art materials and tools in a safe and responsible manner.

e) Student will explore and understand prospective content for works of art. 162

f) Students select and use subject matter, symbols and ideas to communicate

meaning.

g) Understanding the visual arts in relation to history and culture.

h) Making connections between visual arts and other disciplines.

Comparative Calligraphic Scripts. 163

QUIZ

Name:

1. What is a masjid and who uses it?

2. What are at least two different styles of Islamic art?

3. Do you feel you successfully completed the assignment? Why or why not?

4. What was your favorite part of the assignment?

5. Would you be able to research a particular Islamic artist? Why or why not? 164

VISUAL AIDS USED AS MOTIVATION

MOST RENOWNED ARABIC QURANIC SCRIPTS 165

DETAILS OF THE SAME ARABIC SCRIPTS MENTIONED ABOVE 166

PARTICIPANTS AT WORK INTEGRATING ARABESQUE DESIGNS INTO THEIR NAMES IN THE ARABIC SCRIPT. 167 168

APPENDIX B

PARTICIPANTS’ LESSON PLANS 169

Tessellations

Grade Level: 5th Grade can be adjusted to other grade levels.

Length of Lesson: Can be adjusted according to time constraints.

Content Outcomes:

 The students will create tessellations using various geometric shapes. (Studio)

 The students will be exposed to tessellations in Islamic Art and their meaning.

(History) (Infinity)

 The students will identify and discuss both common and unusual shapes and

objects that tessellate. (Aesthetics)

 Students will evaluate and discuss their creations. (Criticism)

Performance Outcomes:

 Theme: Tessellations

 The students will be placed in groups of four, and each group will be able to

experiment with different geometric shapes to see which ones will tessellate and

which one won’t and why.

 Students will create their own tessellations using their won unique shapes.

Students will then share their own tessellations with the class.

Procedure:

Students will be introduced to a variety of different shapes.

 They will be shown a selection of tessellations from Islamic art along with

Islamic vocabulary.

 Pictures of Islamic tessellations will be shown. 170

 An overview of vocabulary terms will be given prior to the lesson beginning.

 After covering the vocabulary and the description of the project the groups will

be divided and the students will begin to sot there respected shapes.

Procedure of the Studio Project:

Show picture of tessellations done by Islamic artist to the students.

 Define tessellation

 Each group of students will be given different shapes and told to explore whether

or not they tessellate.

 Each group will then describe what they have noticed and decide as to which

shape they will want to create/use for their design.

 Each group will then design a pattern and color it with crayons and or markers

provided.

 Each group will then present what they have created to the class.

Motivation:

Islamic tessellations shown in class will help the students to discuss what their

own meaning of tessellation is. Students will be given access to pictures and

images while being told why certain shapes were chosen for the exercise. The

students being set up in groups will help them to use each others creativity in

making up their own designs. 171

Vocabulary:

Tessellation, slide translation, rotate, pentagon, hexagon, cross, square, scaling

triangle, octagon, right triangle, acute triangle, oblong, degree, geometry, Islam,

criticism.

Assessment:

Students will be graded on a rubric from 0-4. They will be graded on there being

no space between the shapes. The student’s basic understanding of tessellations

and their use in Islamic art. The creativity used by the groups in creating their

designs. Students will be graded on how they worked with all of the shapes given.

Standards:

 1AV-F8: Demonstrate responsible uses of tools and materials.

 1AV-E2: Demonstrate increasing technical ability and skill to complete visual arts

assignments.

 2AV-E1: Use subjects, themes and symbols that demonstrate knowledge of

contexts, values, and aesthetics to communicate intended meaning in their

artworks.

 3AV-E3: Interpret and describe the messages of contemporary and historic

artworks in terms of cultural and ethnic influences.

Tessellations quick notes:

Regular tessellations

-no gaps

-made of only regular polygons 172

-each vertex must look the same

Shapes that tessellate: triangles, squares, hexagons

Semi-regular tessellations

Made by using 2 or more different regular polygons.

-no gaps

-each vertex must look the same

Islamic Art

Elements

Tessellations

Star Polygon

Calligraphy

Arabesque

Linear patterns

No human figures or animals

-geometric forms were an acceptable substitute

Why is geometry used in Islamic Art?

1) Mohammad had warned against the worship of any idols (representation of

human or animal forms)

2) Geometric shapes and Islamic religious values say similar things about

universal values e.g. In Islamic art the infinitely repeating patterns represent

infinity 173

Symbolism

Light- divine unity

Circle- eternity

Mecca (center of Islam)

One God

Triangle- human consciousness and harmony

Star polygon- equal radiation in all directions from a central point. 174 175

Geometric/ Symmetric Tile Designs

Grade: 2nd-6th

Length: 50 minutes

Content Outcomes:

 Students will learn about symmetry from Islamic tile designs (Art History).

 The students will learn basic geometric terms and shapes.

 Students will learn about arabesque designs (Aesthetics).

 Students will be able to compose a symmetric drawing (ART production).

 The students will learn how to evaluate their artwork (Art Criticism).

Performance Outcomes:

 The students will draw a symmetric and/ or geometric design on a piece of paper

that is 8”x8”, this will be their tile.

 The Students will use only plants, flowers, geometric shapes, or line drawings in

their design to follow the tradition of Arabesque designs.

 The students will be able to critique their tiles and the tiles of their classmates

based on the symmetry, geometric shapes, and Arabesque designs in the tiles.

Procedure:

 The students will be given a piece of blank paper measuring 8” x 8” and drawing

materials to create a symmetric/geometric tile design.

 The students will then color in their designs using colored pencils.

 The students will evaluate their designs and the designs of others for the aspects

of symmetry, geometric shapes, originality, and quality. 176

 A title will be given to each piece.

Motivation:

 Students will be shown slides of Arabesque tile work and geometric art.

 There will be a brief history lesson on the purpose and usefulness of geometry/

symmetry in art.

Vocabulary:

Symmetry

Lines of Symmetry

Arabesque

Abstract

Geometric

Plane

Linear

Hue

Composition

Materials:

Paper

Pencils

Colored Pencils

Rulers

Assessment:

What is symmetry? 177

What is a line of symmetry?

Define the terms given in the lesson.

How does relate to geometric shape?

What components make up Arabesque design?

What components are graphically represented not in Arabesque design?

Evaluate their design based on the criteria of Arabesque design, the idea of symmetry, and the use of geometric shapes.

State Standards:

Begin to look at and talk about art.

Identify and discuss the similarities and differences of art produced by themselves and others.

Understand there are various purposes for creating art.

Identify various subject matter, ideas, and symbols.

Identify art objects from different times, places, and cultures through reproductions and/ or original works of art.

Use visual structure to organize the components of own work into a cohesive and meaningful whole.

Select and demonstrate and understanding of how subject matter communicates meanings, themes and ideas in works made by themselves and others. 178 179 180

Mayan vs. Islamic Architecture

Standards:

Creating Art (Visual). Grades 4-5.

Objectives:

Studio: 1. Demonstrate use of tools safely and appropriately.

2. Plan out design, shapes, and content of the artwork onto paper

before etching or carving them into the soap or drawing on paper

brick.

3. Manage time wisely to finish task within allotted time.

Art History: 1. Recognize structures from the Mayan and Islamic cultures.

2. Describe unique attributes (minx 3) of architecture, design

or writing systems from both cultures.

Criticism: Student will write a brief explanation as to why they personally

chose to carve or perform the calligraphy exercise. Write 1-2 sentences

describing their final product and if they fell successful or not

(why).

Aesthetics: 1. Demonstrate the ability to compare and contrast the

differences, uniqueness and similarities of these two cultures architecture.

(Venn diagram)

2. Recognize the use of repetition in both types of architecture.

3. Recognize differences in writing systems, math system,

architecture and religion 181

Set:

1. Over the next 3 days we are going to be reading, learning and creating

art that will help us understand what the architecture and art was like in

the Mayan and Islamic cultures. What would you like to learn or know

about these cultures?

2. Show pictures of 2 very different structures. Ask students if they can

tell from the picture if by looking at these buildings if there are any

similarities in the architecture or purpose for the buildings.

3. Read the children’s books days prior to lesson and day of such as

Mosque by David Macauly, Sacred places by Philemon Sturges.

4. Discuss stories and any questions. Watch slide show.

Lesson Overview:

Time needed 3 x 45 min class periods.

Materials: Ivory soap, check boxes or poster board to fold into

brick shapes, pencils, markers, paints, pens, paper clips

straightened and not, chop sticks or skewers, and paper.

Vocabulary: Calligraphy, Glyph, Arches, Domes, Mosque,

Temple, Polytheistic, Monotheistic.

1. Introduce lesson to students. Give students a choice to make

brick with designs that can be drawn, painted or colored on, or to

carve a design into a bar, Demonstrate how each will be made. 182

Give instructions on writing and title of project. Review safety

with carving utensils.

2. Show how to color the negative and positive space and what to

color or carve out depending on what effect they are searching for.

3. Have students plan what kind of design or shapes to place on

their own personal brick if they were the architects or artist in one

of these cultures.

4. Advise students to place their projects atop their paper with their

name and title of their piece in a designated area.

5. Students who finish early will assemble their work in the

assigned area, clean their immediate area then proceed to reading

books, searching website, explore samples of art work or textiles

brought in or starting a second project if time permits.

Closure:

As a group, determine which cultures were emulated in the

individual art pieces just created. Discuss some of the architecture

qualities that were used in other cultures through out history such

as the arches in the roman aqua ducts or the pyramids in Egypt and

continue to be in used in new construction. Look at pictures of

local architecture that may have influence from these cultures.

Assessment:

1. Venn diagram for comparing and contrasting the two cultures. 183

2. Question discussion time. What did you think what the most

important? Have all your questions been answered? What else

would you like to learn about or know about? If not extension

opportunity added for homework. Discuss the success or failure as

a class to follow instructions and safety precautions.

3. Collect student written responses to the art project.

Standards:

1AV-F8: Demonstrate responsible use of tools and materials and task

completion.

3AV-E3: interpret and describe the messages of contemporary and historic art woks in

terms of cultural and ethnic influences.

Resources:

Books for children:

1. Mosque, David Macaulay

2. Islam, Discover the faith, culture and history that have shaped the

modern Islamic world, Philip Wilkinson.

3. A 16th Century Mosque, Fiona MacDonald, Mark Bergin.

4. What You Will See Inside A Mosque, Aisha Karen Khan.

5. Iran Enchantment of the World, Miriam Greenblatt.

6. Muslim Festivals throughout the Year. Anita Ganeri

Web sites:

1. http://www.islmaicart.com/main/architecture/sites.html 184

2. Contemporary Arabic art http://ndukhan

3. http://www.sakkal.com/Arab_Calligraphy_art2.html

4. Mayan Architecture http://library.thinkquest.org/10098/mayan.html

5. Mayan Numerals www-gap.dcs.stand.ac.uk/~historyTopics/Mayan

6. http://www.touregypt.net/featurestoties/mosques.htm

7. http://www.arches.uga.edu/~godlas/IslArt.html

Teacher resources:

1. Cambridge Illustrated History, Islamic World, edited by Francis

Robinson, Cambridge University Press 1996

2. Calligraphy and Illumination a History and Practical Guide, By Patricia

Lovett, Harry N. Abrams, Incorporated, New York 2000.

3. Gods Of Sun and Sacrifice. Aztec and Maya Myth. Time Life Books.

Duncan Baird Publishing, 1997.

4. Splendors of Islam, Architecture, Decoration and Design. Dominique

Clevenot, Gerard Degeorge. Vedome Press, New York, 2000.

5. Islamic Art and Architecture from Isfahan to The Taj Mahal. Henri

Stierlin. Thames and Hudson Publishing, New York, 2002. 185

Carved Designs on Soap 186

Multicultural Body Art

Grade Level: 4th-6th

Length of Lesson: Approximately 2-3 class periods (2-3 hours)

Content Outcomes:

~Students will learn balance and form (aesthetics)

~Students will explore the possibilities of mixed media (studio)

~Students will create a multi-cultural piece of art (studio)

~Students will learn the history and the cultural and symbolic implications of

multi-cultural body art (art history)

~Students will learn to evaluate their work (criticism)

Performance Outcomes:

~Theme: Body Art

~The students will create a piece of body art using processes learned in class

~The students will use paints, markers, colored pencils or other materials to create

their body art

~The students will add symbolism to their body art

Procedure:

~The students will have an overview lesson in class on body art from different

cultures.

~The students will select one culture to do a research paper on the symbolism and

history of a particular culture’s body art.

~The students will present these reports to the class. 187

~Students will get into groups of four.

~Each student will have their body traced on a piece of paper (size of paper

determined by size of student) by another student.

~Students will take turns tracing one another on paper.

~Students will then use materials of their choice to decorate their traced body

with various forms of body art.

~The student must choose a form of body art and be able to identify the culture in

which it came from.

~Students will include personal symbolism in their creations and be able to

explain how the symbolism is relevant to them.

~Students will present their body art to the class.

~Students will complete an evaluation form.

Motivation:

*Students will be shown various pictures of body art from other cultures.

*Students will participate in group discussion about the presentation given by the

teacher

*Students will be exposed to books on the topic of body art

*Students will watch videos with the topic of multi-cultural body art

Vocabulary:

Balance, form, mixed media, body art, symbolism, henna, Islamic culture,

African Culture, calligraphy, and many more depending on cultures used. 188

Materials:

Paper (large, size depends on size of students)

Markers

Colored Pencils

Tempera Paint

Paint Brushed

Newspaper

Crayons

Scissors

Stencils

Materials of student’s choice

Assessment:

*Student will be assessed on the completion of report on a culture’s body art

*Student will be assessed on the completion on body art drawing

*Students will be assessed on the symbolic representation of their drawing

*Students will be assessed on presentation to the class

*Students will be assessed following the completion of the reflection paper

Standards:

*1AV-E1: Choose the most appropriate media, techniques, and processes to

enhance communication of one’s own ideas and experiences. 189

*2AV-E1: Use subjects, themes, and symbols that demonstrate knowledge of

contexts, values, and aesthetics to communicate intended meaning in their

artworks.

*3AV-E3: Interpret and describe the messages of contemporary and historic

artworks in terms of cultural and ethnic influences. 190

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