Class Notes

Application : Co-Constructor of knowledge Learn from each other and that different perspectives exist Shared Experiences: Help kids to connect and lend their lives to others and diff cultures Museums have to become part of the art education   If you are researching, one-on-one is best Tell stories (Marion Richardson)  Bank Street Luis Lorde   Dewey - teach through discourse and dialogue Questions : - How do we engage students independently in a group setting?  - Children's transitional dialogues that start to morph because they are noticing more or making connections, how can I be sure to capture those thoughts? - How do we navigate challenging conversations in the art room? Notes :  Start with authentic questioning:  What would you like to tell me about this... Who do you think this is? What kind of special place this is? Problematize:  Introduce conventional/important information, and do it in a way that fits and builds on their narrative. Never take their narrative away.  *Ackno

 Visitors of former TC student teachers Notes : - How do they think? How do they interpret everything?  - How community impacts and variety of community experiences shape the experience of the students.  - Process of making = engagement  - "Inner and outer" Self and community  - Review of take-aways:      - Don't underestimate "scribblings"      - Materials - every material has characteristics     - The voice and interests of the student is priority     - Art is tied to development and can be measured through growth      - Sequencing lessons     - Engaging students - "stretching out beyond their own work" and engaging their work with others.  Quotes : - We all see the same, but what we don't do is "experience" what we see in the same way.  - Translate what we are experiencing  - "I learned about art from the kids more than art school because of how kids experiment and have dialogues about their art and materials."  - Relationshi

   The Art of Planning Lessons Not solely mechanical, but "an art" that results in an outcome Underline Principles - each section has a rationale  Each step in planning should be based on the developmental needs and own teaching situation Constructive and degenerative learning - juggle Flexible and creative "Ideas must be juggled, re-imagined, and ...into new situations" Sequenced Learning - one step in a series of steps Goals- aligned Good lessons must be challenging and support a variety of learning levels Good lessons build onto each other and use prior knowledge 4 Segments -Materials/Process -Product/Outcome -Objective -Verbal Motivation/What will the Teacher Say Materials: Materials are essential to the process of the art-making and engagement that you are challenging with the children.  How do you want the children to react to the voice of the material? What kind of voice is it? Process: Youngsters have to be as challenged and committed to the process as with

   Planning Goals Exploration in Materials Curiosity Self and relationship Imagination as tool of thought Cultural diversity Symbols as integrators of knowledge Serving the community Planning Goals are meant to highlight the greatest importance of what art offers to people.  Application:  Design my book to pinpoint this kind of learning

Notice:  -within each category, there are more categories (operational thinking) -Erik Erikson (ideas on children's feelings) - when children are engaged in sensory motor phase, they undergo the issue of trust as it relates to people, places, and materials (or things) -when they move into operational phase (make images and command language) they seek autonomy (ie naming their work and telling stories) -doubt about art can relate to guilt in the world -language and visual skills connect -Interactive Events - students present how they relate to the world (affective center in the world) - depth direction movement viewpoint overlap (3rd dimension) We have to pay attention to each component and build their abilities for the larger sense of the 3rd dimension.  Application:  -At the operational phase, we must encourage where they are not name things as we see fit. Children want to please during this time. We must encourage their self-discovery.  - When children try to present the 3rd dime

 Questions: How do we know what is "intentional" or dramatically emphasized without the child's story? Can you share any books or articles about student imagination that document the depth and brevity of imagination? Notes: Reflections of last week: Early Images reflect their language (ie mommy, daddy, my car, my house, etc..) Early images come out of the immediate images in their everyday lives. They enjoy making people because of the emotional factor (for most children).  Out of the early repertoire, me and my friend playing tennis: baseline, air, people, me Children will turn things around and upside down in order to respect the visual representation of the objects.  Good art teaching will result in a student accepting "mistakes" or showcasing a creative response to unexpected events (ie what happens when art doesn't do what we want it to do?) Perceptual capacities to see from different viewpoints as if its in one continuous space (we see things in the im