i

Why & How

to Teach the Arts
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Why & How to Teach the Arts
Contents
Artists & Artworks
Ten Lessons the Art Teach, by Elliot Eisner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Posters of Quotes About Art) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-8
(For more quotes, check the image CD
Art Lessons
The Nature of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Art Is About Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
What An Artist Does . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The Beginnings of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Prehistoric Art: Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
When to Start Teaching Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Why and How to Assess Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
From Art to Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Art Therapy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Aesthetics: Painter or PachydermWho Can Make Art? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Quick Lessons
Art is a Kind of Thinking (4 drawing lessons) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Blind Contour Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Hand Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Monogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Value Landscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Art History Spotlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
How to Integrate the Arts in other areas of the Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Storytelling: Who, Where, How & Why . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
The Why, What & How to Teach Dance Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Helpful Tips and Useful Information
Drawing Stages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Why & How to Develop and Encourage Creativity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Visual Art Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Word WallArt Related Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
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Copyright and Fair Use Guidelines for Teachers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
How to Legally Capture Images for Classroom Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Free Programs for Editing Captured Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Utah Arts Council Grants and Free Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
National and State Art Education websites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Key Art Education websites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
POPS organization information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
On the CDS
A copy of the Utah State Office of Educations Rainbow Chart
Images for the Art History Lessons
Index of lessons from past Evening for Educator packets
v
Why & How to Teach Art
Artists & Artworks
Lee Udall Bennion, First Love
Lee Udall Bennion, Horses
Lee Udall Bennion, Photograph
Lee and Joe Bennion Rafting
bottom left, Lee Udall Bennion, Joe, at the Wheel
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Lee Udall Bennion, Self at 51
Lee Udall Bennion, Self in Studio (1985)
Lee Udall Bennion, Sketch of a Boy
Lee Udall Bennion, Snow Queen: Portrait of Adah
(1992)
Cyrus E. Dallin, Appeal to the Great Spirit
Cyrus E. Dallin, Don Quioxte de la Mancha
vii
Cyrus E. Dallin Elementary School, Arlington, MA
Cyrus E. Dallin, Portrait of John Hancock (1896)
Cyrus E. Dallin, Massasoit, Near Country Club
Plaza, Kansas City, Missouri, USA.
Cyrus E. Dallin with Massasoit
Cyrus Edwin Dallin, The statue of Moroni
Cyrus E. Dallin, Olympic Bowman League, National
Archery Association (1941)
viii
Cyrus E. Dallin, Paul Revere
Cyrus E. Dallin, Paul Revere in Boston
Cyrus E. Dallin Photograph
Photograph of Young Cyrus E. Dallin
Cyrus E. Dallin, Quote
Cyrus E. Dallin, Sacajewea from the back (1915)
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Lee Greene Richards, Sketch of Cyrus Dallin
Lee Greene Richards, Portrait of Cyrus Dallin
Louise Richards Farnsworth
Louise Richards Farnsworth, Capitol from North
Salt Lake
Louise Richards Farnsworth, Hay Stacks (1935)
Louise Richards Farnsworth, Mountain Landscape
(1940)
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Louise Richards Farnsworth, Springtime (1935)
Louise Richards Farnsworth, Storm Clouds in the
Tetons (1950)
Lee Greene Richards, Lady with the Green Scarf
(Louise R. Farnsworth)
John Hafen, Indian Summer (1900)
John Hafen, Hollyhocks
John Hafen, Springville, My Mountain Home
xi
John Hafen, painting
John Hafen, photographed in his studio
John Hafen, Postcard
John Hafen, Quote
John Hafen, Sketch of the Valley
John Hafen, Springville Pasture
xii
John Hafen, The Mountain Stream (1903)
John Hafen, Teepees
John and Thora Hafen
Charles L. Smith, Portrait of John Hafen (1910)
Mahonri M. Young, Portrait of John Hafen
1
The arts teach children to make good judgments about qualitative
relationships.
Unlike much of the curriculum in which correct answers and rules prevail, in the arts, it is
judgment rather than rules that prevail. How qualities interact, whether in sight or sound,
whether through prose or poetry, whether in the choreographed movement we call dance or
in an actors lines and gestures-these relationships matter. They cannot be neglected, they are
the means through which the work becomes expressive.
School curriculum, however, is heavily weighted towards subject matter that gives students the illusion that rightness
depends upon following rules. Spelling, arithmetic and writing as they are usually taught are largely rule abiding subjects.
This is not so in the arts. The arts insist that understanding relationships is vital and that valuable relationships are
achieved when the mind works together with the childs feelings. It is when emotions connect
with thinking that lessons more fully impact the learner.
The arts teach children that problems can have more than one
solution and that questions can have more than one answer.
If they do anything, the arts embrace diversity of outcome. Standardization of solution and
uniformity of response is no virtue in the arts. While the teacher of spelling is not particularly
interested in promoting the students ingenuity, the arts teacher seeks it.
The arts celebrate multiple perspectives.
One important lesson is that there are many ways to see
and interpret the world. This too is a lesson that is seldom taught in our schools. For
example, the multiple-choice objective test celebrates the single correct answer. Thats
what makes the test objective. It is not objective because of the way the test items
were selected; it is objective because of the way they are scored. It makes no allow-
ance in scoring for the scorer to exercise judgment, which is why machines can do it.
The arts teach children that in complex forms of problem solving, purposes are seldom
fixed, but change with circumstances and opportunity. Learning in the arts requires the ability and a willingness to sur-
render to the unanticipated possibilities of the work as it unfolds.
At its best, work in the arts is not a monologue delivered by the artist to the work, but rather, a dialogue of sorts. It is a
conversation with materials, a conversation punctuated with all of the surprises and uncertainty that a stimulating con-
versation can make possible. In the arts, one hopes for surprise, surprise that redefines goals; and purposes are held with
flexibility. The aim is more than impressing into a material what you already know, but actually discovering what you dont.
Ten Lessons the Arts Teach
by Elliot Eisner
2
The arts make vivid the fact that neither words in their literal form nor numbers
exhaust what we can know.
Put simply, the limits of our language do not define the limits of our cognition. The reduction of knowing to the quan-
tifiable and the literal is too high a price to pay in defining the conditions of knowledge. What we come to know through
literature, poetry and the arts is not reducible to the literal and neither is the world in which we live.
The arts teach students that small differences can have
large effects.
The arts abound in subtleties. Paying attention to subtleties is not typically a
dominant mode of perception in the ordinary course of our lives. We typically
see things in order to recognize them rather than to explore the nuances of our
visual field. For example, how many of us here have really seen the faade of
our own house? I suspect few. One test is to try to draw it. We tend to look at our
house or for our house in order to know if we have arrived home, or to decide if
it needs to be painted, or to determine if anyones there. Seeing its visual quali-
ties and their relationships is much less common.
The arts teach students to think through and within a material.
All art forms employ some means through which ideas become real. In music it is patterned sound; in dance it is the move-
ment of a dancer; in the visual arts it is visual form, perhaps on a canvas, a block of granite, a sheet of steel or aluminum;
in theater its a combination of speech, movement and sometimes song. Each of these art forms uses materials that impose
certain demands on those who use them.
They also provide an array of distinctive opportunities. To realize such opportunities, the child must be able to convert a
material into a medium. For this to occur, the child must learn to think within both the possibilities and the constraints of a
material and then use techniques that make the conversion of a material into a medium possible. A material is not the same
as a medium and vice versa. Material is the stuff you work with and a medium is the form through which ideas are commu-
nicated using whatever materials have been chosen. A medium conveys choices, decisions, ideas and images that the indi-
vidual wants to express. The challenge for the child then is to take a materialbe it color, sound, texture or movementto
think within the limitations and possibilities of the given material and then to use the material(s) to shape their idea.
The arts help children learn to say what sometimes cannot be said.
When children are invited to describe what a work of art makes them feel, they must reach into
their poetic capacities to find the words that will convey their message accurately.
Talking about art makes some special demands on those discussing it. Think, for a moment,
about what is required to describe the qualities of a jazz trumpet solo by Louis Armstrong, the
surface of a painting by Vincent Van Gogh, the seemingly effortless movements of Mikhail Bary-
shnikov or the poetic theatrical language of William Shakespeare. The task is to express through
language the qualities that are oftentimes beyond words, hence the challenge is to say what can-
not be said. It is here that suggestion and association are among our strongest allies. It is here
that metaphor, the most powerful of language capacities, comes to the rescue.
The arts enable us to experience the world in ways we cannot through any other source.
The arts communicate meaning and it is through artistic experiences that we discover the expanse of what we are capable
of both perceiving and feeling. Some works of art have the capacity to put us into another world because the experience
is so powerful. The wish then in teaching literacy is not simply to help children learn how to read a book but to help them
use their reading skills to then imagine images while they read. In addition, literacy includes the ability to perceive our
world through many different senses: visual, tactile, kinesthetic and auditory. It is because of more diverse literacy that
children are able to understand the worlds artwork and subsequently, to access the joy, delight and insight those works of
art make possible. Ultimately, when a child can perceive and understand a work of artbe it a symphony, a play, a dance
or a paintingthey gain the skills to then perceive and understand the world in which they live.
3
The arts position in the school curriculum symbolizes to the young
what adults believe is important.
Without question, the curriculum of the school shapes childrens thinking. It symbolizes what
adults believe is important in order for the young to be competent in the world and tells chil-
dren which human aptitudes are valuable to possess.
The value of a subject of study determines both its presence in the curriculum as well
as the amount of time the school devotes to it. Indeed, the most telling indicator of the
importance of a field of study is not found in school district testimonies, but in the amount
of time it receives and when it is taught during both the school day and school week. Add
to these considerations the relationship between what is tested and what those test scores
mean to the overall evaluation of the student and you have a recipe for defining what
counts in schools.
Adapted from: Eisner, E. (2002). The Arts and the Creation of Mind, In Chapter 4, What the Arts Teach and How It Shows.
(pp.70-92). Yale University Press. Available from NAEA Publications.
Text abstracted from NAEAs pamphlet, Parents: Ten Lessons the Arts Teach. For more information call (703)
860-8000 or visit www.naea-reston.org.
4
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9
Why & How to Teach About
the Nature of Art
What is the Nature of Art?
Objective: Students will demonstrate an under-
standing of the Nature of Art by researching,
viewing videos, and discussing before writing
down a brief description of what they think art is
about.
State Core Links: Rainbow Chart, Elements &
PrinciplesThis lesson incorporates everything
the student knows about elements and principles
of art.
6th grade: Standard 4 ContextualizingObjective
2a, Explain how experiences, ideas, beliefs, and
cultural settings can influence the artists percep-
tion.
Materials: Video, Internet, handouts, paper and
pen, and a fiery imagination.
Process: Notice that we are not defining art. We
are writing a statement about the Nature of Art
and what the individual thinks art is about. I
usually start this process with a showing of a fine
video entitled What Is Art?, produced by Discov-
ery Education. This video attempts to make the
visual arts meaningful and accessible to young
students. It is an open-ended approach to the
elusive question, What Is Art? The video focuses
on how and why art is made and the role of visual
elements, artistic intention, mood and styles in
the creation of art. I have described this video in
case you have your own or find another that you
can use as well.
After viewing the video and talking about it, stu-
dents are asked to write down what they think
art is about. Have them address three ideas:
1. What do you think art is or what do you think is
art about?
2. What do you think is not art?
3. What do you think is the purpose of art?
Notice that anything they write is correct because
the question is what they think. We share these
ideas and then move on to what other artists and
writers have said about art. I pass out a paper
with some definitions and statements about art.
We read over these ideas and discuss them. A list
of quotations is included in the lesson. Students
are then given a chance to add to or change their
written ideas. A working understanding of the
nature of art is a life-long pursuit, so we need
room to change our minds.
After students have created a document stat-
ing what they think art is about or what art is
or what the nature of art is or all of the above, it
is time to turn the abstract concept into a work
of art. This can be done in any medium. I usu-
ally let students choose their medium with a due
date. It is also just fine to restrict the work to a
specific medium and incorporate the definition
into another objective lesson based on medium or
motif or historical style. As you know, an open-
ended assignment usually does not get finished.
To help students think of an example they want to
make, I suggest that they work in one of the four
motifs of Landscape, Portrait, Still Life or Design.
This work should be exhibited with their state-
ment about art clearly written and displayed with
their example of the statement. This can also be
done in class with each student having a chance
to share his or her work and statement with the
class. One of the ways I like to tweak this les
10
son is to have students share their statement in
class but assign the example to be done at home.
Those who return with a finished example can
display the work in the Hall Gallery.
Assessment: If a student starts his or her state-
ment about art, I think art is about then any-
thing they write is correct. If you want to be more
formal in grading this project, then you can grade
the spelling and grammar and creative construc-
tion of the document. You can also grade on the
depth of the students thinking about this subject.
Images: photo: a definition with an example.
Sources: I would like to recommend several
books about the nature of art. They dont particu-
larly agree with each other but the purpose of this
exercise or art for that matter, is not necessarily
to convince everyone of a singular, restricted idea.
What Is Art? by Leo Tolstoy the great Russian
novelist. This book was originally published
in 1898. It has been translated several times. I
recommend Richard Pevears translation because
it is currently in print and easy to find. This is a
must read on the nature of art. Tolstoy criticizes
the elitist nature of art in the 19th century and
rejects the idea that arts sole purpose should be
the creation of beauty arguing that true art must
work with religion and science as a force for the
advancement of mankind. He also explores what
he believes to be the spiritual role of the artist.
What Good Are The Arts? by John Carey. Carey is
a former English Professor at Oxford University.
His controversial thesis is that art is anything
that anyone has ever considered a work of art.
He puts forth an erudite and humorous argu-
ment that art is a social phenomenon and should
be treated, analyzed and valued as such. Art is
floundering in the abyss of relativism he writes,
Perhaps relativism is all we can hope for in a
world perceived by over 6 billion minds a day.
Provoking Democracy: Why We Need The Arts, by
Caroline Levine. Levine discusses the role of art
in a democratic culture and what roll art should,
could and does play. Yes democracies need art,
especially art they dont like or understandart
helps defend democracies from its worst excess-
es--the muting of marginal voices, the oppres-
sion of majority rule and the blind conformism of
consensus politics.
What Is Art For? by Ellen Dissanayake
But Is It Art? by Cynthia Freeland
Variations: In the original lesson we had stu-
dents in the 5th and 6th grade write what they
thought the nature of art was, what art was not,
and the purpose of art. A variation of this les-
son is simply to have students do just one of
these questions. At our school the students have
already become comfortable and confident in
writing about art. By the time they are in the 5th
grade, it is pretty easy to get them to do some
serious thinking and writing.
Another variation is to have students do some
research about what others think art is buy inter-
viewing other teachers, classmates (not in the art
class), parents, friends, and neighbors. Most stu-
dents are amazed that other teachers and school
workers wont even try to engage. We have been
doing this for some time, and it is only new hires
that wont play. Even if they cant get cooperation,
students can learn an important lesson about art.
Extensions: When defining art, most students
want to define visual art. They are in a visual
arts class, so it is obvious. There are at least 4
other genres in the arts and they each need some
defining also. Have students answer the same
questions, but specifically about Dance, Drama,
Music, and Electronic Media. Electronic Media
may or may not be its own genre of art. I think it
is, but we get to disagree in art without becoming
adversarial. OK?
Try having students write about the similarities
and differences in these different areas of art. You
will be amazed that the students understand how
similar all the different art forms are. This has
something to do with the fact that it is ALL ART.
Use Line, Shape, Color and Texture and see how
these concepts are used in each of the art genre.
11
This is Maddies fifth grade statement about the nature of art and her example.
12
Art isbeautiful, wonderful, amazing, its what you imagine and what you draw. Its not a pen
and a pencil, or watercolor with paper. Its what you see then write. Draw what you see its amazing.
If we didnt know about art or drawing, our life would be boring, we wouldnt be able to show our feel-
ings in different ways and it would be hard. I love art. I get to draw stories of my life and show how I
feel and that is art.
Some people might think art is a beautiful sunset but it isnt. Even if an artist is standing by it,
its not art. If the artist makes something about it or even says something about it, then thats art. Art
is something we do.
The purpose of art is to draw what you see in your mind so others can see it too. It is to draw
your feelings so others can feel them too.
This is Savanah Ps fifth
grade example of art and
her description of the
nature of art.
13
This is Zacharys statement about art and an example he choose to demonstrate
his statement. Sometimes we choose from other peoples artwork as a visual ex-
ample of what we think art is, isnt, and what is the purpose.
14
This is a decorated contour
drawing of Adison. It is an ex-
ample of Elizas statement.
This is the product of a lesson we
do on contour drawings and then
go in with textures and colors to
find tangent and adjacent spaces.
This is Elizas ffth grade
writing about art.
15
THE NATURE OF ART:
What is the nature of art? As redundant and
rhetorical as this issue may be, it becomes very
difficult to intentionally produce a thing that you
cant define or even discuss. If one does not know
what something isit is not possible to create it.
If your definition of art is anything you want it
to be, then there is nothing that is not art; there-
fore, there is no such thing as art because a thing
cannot exist without its antithesis. If you cannot
determine what is not art, you cannot rationally
know what is art. We are not trying to be exclu-
sive about art. We are trying to clarify a confus-
ing and nebulous idea that most people wont
pursue to a workable conclusion. Abdication,
what-ever, is never an empowering definition.
Remember that understanding the nature of art is
an ongoing, life-long pursuit. So, pursue it!
Rather than defending some didactic, arbitrary
definition of art that we have memorized, let us
engage in an ongoing dialogue on the nature and
meaning of art. Here are some starting points:
Art, n. 1. The quality, production, or ex-
pression of what is beautiful, appeal-
ing, or of more than ordinary significance.
RANDOM HOUSE DICTIONARY
To evoke in oneself a feeling one has experi-
enced, and having evoked it in oneself, then
by means of movement, line, color, sounds
or forms expressed in words, so to transmit
the same feelingthis is the activity of art.
LEO TOLSTOY
Art is the objectification of human feelings; and
the subjectification of nature.
SUZANNE LANGER in The Mind: An Essay.
Art is human intelligence playing over the
natural scene, ingeniously affecting it to-
ward the fulfillment of human purpose.
ARISTOTLE
the creative act is not performed by the artist
alone; the spectator brings the work in contact
with the external world by deciphering and in-
terpreting its inner qualifications and thus adds
his contribution to the creative act. This becomes
even more obvious when posterity gives its final
verdict and sometimes rehabilitates forgotten art-
ists. MARCEL DUCHAMP
you make something, anything, then you
show it to someone. If anyone notices that
they are looking at itthen that is art. Art
is a self-conscious social phenomenon de-
fined by the viewer as much as the artist.
KURT VONNEGUT
Art is a verb. It is an action, a process, and a
thing one does. Art is the physical, emotional,
spiritual, social and intellectual dance between
the artist and his medium. When the creation
dance is over, the phenomenon that the dance
produced is no longer art but becomes artifact;
evidence that art transpired in that place at one
time. The dance can be reengaged between the
viewer and the artifact and once again, art is hap-
pening, but it is difficult.
Art is a kind of thinking. Phenomenology is a
byproduct of the idea. A portentous idea poorly
executed is still a significant idea. A redundant,
meaningless idea, well executed is still meaning-
less. I reserve the right to change my mind with-
out telling you.
JOSEPH GERMAINE
16
17
Why & How to Teach That
Art is About Questions
Elementary Level
by Joseph Germaine
Objective: Students will demonstrate an under-
standing of the inquisitive nature of art by brain-
storming with the class to identify some thought-
provoking questions about art, the nature of art,
what part art plays in our real lives, where art
comes from, when we should start making art,
how to get ideas and how to get them out of our
heads and how you can tell a good idea when you
see it. These should be questions that the stu-
dents can then illustrate with images of their own
devising.
State Core Links: From the Rainbow Chart (5th
grade): Since this project is not directly about
the production of artworks, use the blue column
titled Explore, Contextualize: Discover, look at,
investigate, experience and form ideas.
From the State Core Curriculum in Visual
Art (5th grade), use Standard 2, (Perceiving): The
student will analyze, reflect on, and apply the
structures of art. Objective 1. Analyze and reflect
on works of art.

Materials: Groups of thinking humans, white
board to write on and then whatever medium the
students (or teacher) want to use for the illustra-
tion.
Activity: Life is about questions. It is the ques-
tions in life that drive our actions much more
than the answers. Answers come and answers go,
but the questions stay. Most questions are uni-
versal, but nearly all answers change over time,
geography, culture, age, gender, and inclination.
Significant questions cannot be answered quickly,
didactically, or simply. We want to practice creat-
ing that pointedly significant question that we can
spend a lifetime working on. Visual art is about
visual questions and visual answers as Music is
about sonic questions and sonic answers and so
on.
Have students discuss questions that they can ask
about art. Ask questions about the nature of art,
the meaning of art, the purpose of and the pro-
cess of art. Start with individuals writing down
questions and then cooperating in small groups
to get the best questions and then working as a
whole class to come up with no more than about
20 really good questions. My classes are from
Can blind people make art?
photo by Clara, 5th grade
Cat clay sculpture by Liz, 3rd grade.
Liz is completely blind
18
40 to 50 students at a time so
20 questions makes it possible
for several students to choose
the same question. If you have
smaller classes, make a shorter
list because we want to try to
get several students working on
the same question. These last
questions should be written on
the board. Notice that we have
not started trying to answer
the question. Each student will
choose the question he or she
wants to answer. They will group
together to discuss answers.
When they think they can answer
the question, they should gener-
ate a work of art. The artwork
will be an illustration of the an-
swer and probably also reference
the question.
Here is a list of questions about art generated in
class by 3rd thru 6th graders over many years of
doing the question project:
Is a beautiful flower art? What is art like? Can
art be ugly? What is the prettiest color? Can
something be beautiful and ugly at the same
time? Does art answer questions or ask ques-
tions or both? Can you have an answer without
a question? What is the best kind of art? Why
does everyone disagree about art? Is it ok to
disagree about art? Does art have be a picture of
something? Is it still art if it is not very good? Is
it ok to like someones art even if you think it isnt
really good? How do you know if you like some-
thing or not? Who gets to decide what art really
is? Who is the best artist in the world? What is
not art? Who invented art? Is photography art if
a machine makes it? If you trace something is it
still art? How old is art? Who was the first art-
ist? Why is it fun to make art, especially painting
and clay? Why doesnt everyone make art? Why
do old people quit making art? Is art just for fun?
How can an artist get money for making art? Why
is the art room so messy? Do you think God is an
artist?
When students are finished listing questions, give
them some time to discuss these questions in
small groups. Try to get everyone to participate.
The smaller the group the more participation
can be expected. Notice we did not say, have
students answer the questions. We are going to
discuss the questions. Maybe there is a better way
to ask the same question. Perhaps each question
reminds us of other questions.
We usually end this project here, without resolv-
ing many of these issues. The goal is to get stu-
dents to learn how to ask significant and insight-
ful questions. The well-crafted question lends
itself to the answer. This should be remembered
when crafting a test on any subject for your stu-
dents.
Assessment: All students who have participated
in the creation of making questions and then
discussing them have succeeded in this project.
For a more measurable assessment have students
write down what they think the best question
of the day was. Have them write it clearly and
succinctly. The question can then be graded on
grammar, punctuation, spelling, and insightful
content.
What is art about?
This is a watercolor stll life by Chandler, 5th grade
19
Sources:
DVD: Art Making and Meaning: Understanding
Through Questions, by Anne Coe and Michael Brol-
ly. This is a 143 minuet video, which is compiled
from 54 brief videos that address 17 significant
questions about art. There is also a companion
CD of interaction activities. This is an excellent
resource for older students. I use it for my 6th
grade classes and some of the more advanced 4th
and 5th graders.
BOOKS: The Art of Asking Questions, Get Better
Answers, by Terry J. Fadem; Open to Question: The
Art of Teaching and Learning by Inquiry, by Walter
L. Bateman; The Art Question, by Nigel Warbur-
ton; Smithsonian Q&A: American Art and Artists,
by Tricia Wright; Questions Kids Ask About Art &
Entertainment, by Grolier Limited; How to Talk
to Children About Art, by FranCoise Barbe-Gall;
Puzzles About Art, by Margret P Battin & John
Fisher; But Is It Art? by Cynthia Freeland; Letters
To Young Artists, by Peter Nesbett & Sarah An-
dress; Art and Fear: Observation On The Perils and
Rewards of Art Making, by David Bayles.
I know this is a lengthy reading list. They are all
good sources. Try the DVD, Letters To Young Art-
ists and Art and Fear. I know we are all busy but
my advice as a 33-year veteran in education and
a life-long learner is to find and make the time
and space to sit down with a book some time each
day. You will be amazed. Life is good!
Variations: A variation of this questioning
agenda is a game we play entitled, Question me
an Answer. In this game we take turns present-
ing an answer to the class and then see how many
questions we can invent that are compatible with
the answer. We also try to use humor, but it is not
expected that all questions will result in a funny.
Here is an example: Emily answered, Red. The
class asked, What is hot? What color is your
nose on a cold windy day? What does your Mom
see when you are naughty? What do you mix
with yellow to get orange? This could obviously
go on for a long time. The point here is to look at
the relationship between questions and answers.
Where can you
fnd art?
Pen and Ink and
Colored Pencil by
Caitlyn,
5th grade
20
This is a somewhat twisted, childish take off on
the ancient Geek style of debate know as the
Socratic method, which is a form of inquiry and
debate between individuals with opposing view-
points based on asking and answering questions
to stimulate rational thinking and to illuminate
ideas.
Extensions: To extend this project into the
production mode of art, we have students write
down the question they want to focus on and then
answer the question with an illustration. The me-
dium and motif of the illustrated answer can be
assigned or left up to the student. Some mediums
and styles lend themselves more easily to some
questions. Here are some examples:
Where do you get art ideas from?
Pen and Ink portrait by Walker, 5th grade
21
What is art about?
This is a watercolor
stll life by Morgan, 5th
grade
How can you see a picture of your thoughts in art?
Water color stll life by Megan, 5th grade
22
Can blind people make art? photos by Clara, 5th grade.
Self Portrait in clay by Liz, 3rd
grade. Liz is completely blind.
Dinosaur clay sculpture by Kailee, 9th grade.
Kailee is completely blind.
Dog clay sculpture by Paul, 5th grade.
Paul is partally blind.
Mr. Germaine teaches art to blind kids
who cant see. They come to our school at
night. I saw a table full of clay sculptures that
they were going to put in a show. My queston
was, Can blind people make art? because I
never heard of it before. This is my queston
and my answer. Now I know for sure.
Clara, 5th grade
23
Where can you fnd art?
Pen and Ink water color by Kate, 5th grade.
What does art sound like?
Colored pencil drawing by Max, 5th grade.
24
25
Why & How to Teach What
an Artist Does
Elementary Level
by Joseph Germaine
Objective: Students will demonstrate an un-
derstanding of the role of an artist in the real
world of art by looking at some media production
on What is an Artist? and engaging in a class
brainstorming process of listing and describing as
many artist jobs as possible.
State Core Links: Standard 3, Expressing,
Objective 2, Discuss, evaluate and choose
symbols, ideas, subject matter, meaning and
purposes for students own artworks and
Objective 3, Explore video, film, CD-ROM,
and computers as art tools and artworks.
Standard 4, Contextualizing, Objec-
tive 2-a, Collaborate in small groups to
describe and list examples of major uses or
functions and Objective 3, Recognize the
connection of visual arts to all learning and
Objective 3-a, Collaborate in small groups
to discover how works of art reveal the his-
tory and social conditions of a nation.
Materials: Video, I Want To Be An Artist by
CrystalProductions or any other similar produc-
tion on the nature of art in the real world. See
Bibliography. Writing materials and time.
Process: This lesson is oriented around the ques-
tion, What does an artist do in the real world?
We want to get past the idea that art is just for
artists. The thesis here is that everyone en-
gages in the world of aesthetic creation (art) all
of the time. We want to debunk the idea that only
cloistered-off tortured painters make art. The
traditional stereotype of an artist does a lot of se-
rious disservice to all of those who engage in the
world of art daily as part of their career or part of
their daily life.
We show the video I Want To Be An Artist to
the class. This is a short video production, which
highlights several types of jobs in the art world
that arent necessarily the traditional painting
and sculpting jobs. Art Gallery Owner, Restora-
tion Artist, Art Teacher, Computer Artist, Pho-
tographer, and Fashion Designer are a few of the
careers mentioned. After viewing this or a similar
video, students should discuss several terms like
career, art, artist, job, and hobby. At this point
students should be led in a brainstorming process
to list as many ways to be an artist as they can
imagine. They should also write down how a par-
ticular job uses art. For some classes, making it a
slightly competitive thinking process might help
motivate the students. I divide the class into four
workstations and have each engage in a discus-
sion about artists work. They choose a scribe to
write down the ideas, and then we make a master
26
list on the board. Sometimes we do this individu-
ally rather than making it a group process. But
we still end up with a master list on the board.
Some coaching might be needed to elicit some
out of the box thinking.
Years ago I was shown an article in School Arts
that said that at NASA (National Aeronautics and
Space Administration) there were nine artists for
every engineer. The article pointed out that the
real job of NASA was not to go to Mars but to get
money from Congress to finance NASAs research.
This means they produce a lot of advertising,
pamphlets, films, animations, and re-enactments.
This is an unexpected example of what artists do.

Here is a partial list of art careers thought of by
fifth graders:
Hair stylist, Grounds keeper, House painter, Tree
pruner, Sign painter, Janitor, Housewife, Chef,
Construction worker, Seamstress, Makeup art-
ist, Actors, People who announce the news on
TV, Dance teachers, Music teacher, Fifth grade art
teachers, All the Elementary teachers, Whoever
makes all that stuff the teachers decorate their
rooms with. People who make Christmas Tree or-
naments, Who make Christmas lights, Christmas
card makers, Anybody who decorates a Christmas
Tree, Movie set designer, T-shirt printer, advertis-
ers who make commercials, The guys who paint
the lines on the roads, Farmers who stack hay
neatly, Saddle makers, Jewelry makers, Rock and
roll stars, Guitar makers, Costume makers, People
who design labels on food, People who print the
art posters in our classroom, The guys who built
our school and put the tile floor designs in, The
people who design and invent flags for coun-
tries, The musicians who write national anthems,
Anybody who plays an instrument, Workers in an
Art Museum like the leaders and the ones who
walk around and tell you about the art and the
lady who says hello at the front desk, The people
who make the handouts and notes we take home
almost every day, People who make basketballs
and other sports equipment, The artist who
thought up the Nike design and put it on my shoe,
My mom when she curls my hair, Me when I brush
my teeth and wash my face, Guys who think up
wallpaper, Whoever makes new colors of paint,
The people who make those little pieces of paper
at the paint store with all the colors of paint and
the funny names, The artists who make toilets,
The car guys who figure out how to make fancy
letters in metal to put on cars, Font makers for
your computer, Gardeners who grow house plants
to decorate your house.
Well, the list is much longer and takes a full day
to compile. With 180 fifth graders we make a list
of over 300 jobs and careers that a person who
makes art can do. Of course this all depends on
how you want to define art and artist. Our defini-
tion is obviously an inclusive one rather than an
exclusive one. It always seems more reasonable
to define a thing by what it is rather than what it
is not.
Assessment: If you need to grade this project
on a graduated scale then the obvious way is to
give the group with the greatest number of con-
tributions the highest grade and the individual
students who contribute the most the highest
grade. Although, one cutting, insightful, poi-
gnantly poetic answer may be worth all the other
answers combined. Be careful of the quantitative
paradigm. An important part of assessment for
the lesson would be to identify and recognize any
27
Students having fun making the list.
The list in progress.
student who does not participate and develop a
strategy to recruit that student into the process.
It has been my experience that the best tools we
have for convincing students to engage in the
work of art are other students who are engaging.
Sources: I Want To Be An Artist, a VHS video by
CrystalProductions. This is an excellent starter for
a discussion on careers in art.
What Is Art? a VHS video by Clearvue & SVE. This
video does not answer the title question but it
does create a good starting point for discussion.
Art City 1, 2, & 3, a series of DVDs directed by
Chris Maybach. Each of these DVDs look into the
life and work of real contemporary artists and
discusses the hows, wheres and whys a person
pursues a life and career in the arts by going into
individual art studios of various artists in various
medium.
Art:21, in both VHS and DVD. This is a look at dif-
ferent types of art in the 21-century and how the
contemporary world of art is expanding to in-
clude many art forms that have traditionally been
excluded from the Fine Arts genre.
I Can Fly, Volumes 1-5, VHS video. This is an excel-
lent series for young students, which crosses over
between the disciplines of Dance, Music, Perfor-
mance, Drama, Literature, and the Visual Arts. It
also focuses on three different artists in each of
the volumes and two or more dance and music
performers.
Variations: This lesson can be as simple as hav-
ing students take notes (which they always do in
my class) or as complex as dividing into competi-
tive teams and keeping score on the number of
art career options that can be catalogued.
Extensions: Here are two other ways to use
this brainstorming process to discuss the nature
and application of art without it being a didactic
lecture.
WHO DOES ART?
1. List all the things you did today that were
some kind of art. Combed my hair, chose colorful
clothes, made my bed, whistled a tune, danced a
jig, wore a tie, chose a hat, planted a tree.
2. Follow Mr. Huntington our custodian around
for a day and write down everything he does that
looks like art. Swept the sidewalk, mowed the
grass, cleaned up a mess in the hall, straightened
a picture. Try this on your teacher, your parents,
and your principal.
There will be those who dont see these daily
activities as ART in any traditional way. There is
a sense that art is artifact, and that it is primarily
painting and sculpture. To see how this narrow-
28
ness prevails, make a list of the famous artists
who come to mind. Most folks will notice that
these famous artists are primarily white, Europe-
an, male painters with a sculptor thrown in there,
perhaps. Of course this is not true for everyone,
but then everyone does not concern his or her life
with these issues.
Student Examples:
Artsts design clothes like under ware. I dont really
want to design under ware when I grow up. I want to
be a basketball player like Michael Jordan. He de-
signed his own under ware and that is a kind of art
and a job in art so I guess if it is ok for Michael Jordon
it is ok for me. Fashion designer is a career in art.
Parker, 5th grade.
If there is an underlying sense of beautification
and focus on the visual world in these daily activi-
ties, then with just a little flexibility and inclusive-
ness, much of what we do will fall comfortably
within the greater aesthetic world of manipulat-
ing visual elements to express ones concern and
appreciation for others and oneself. Art is about
the way things look, the way things are, and the
way things might be.
29
A job in art is to design and make labels for food. When you buy something in the store it has a label and
artwork all over it. Somebody has to get the idea and design the wrapper for cookies. This is my idea for
a cookie wrapper. The two litle faces in the Os are the cartoon characters that I made up for the comic
strip project. I think it would be fun to be an advertsing type artst when I grow up but who knows. Im
stll kind of young. Paige, 5th grade.
A good job for an artst is to be a model. Mostly artsts take the picture or paint it but being a model is art
too. It is a kind of drama like actng. It seems like fun and sometmes I model for photographers. When I
grow up I would rather be the photographer. Emily, 5th grade
30
This is a logo for a worldwide telephone company. Some artsts design logos for compa-
nies. Thats what this is. Braden, 5th grade.
31
Jewelry designer. This was thought of and made by a jewelry
designer. People who design jewelry are artsts and they make
a lot of money. This is some jewelry that I designed and made.
Sometmes you can just design an idea but if its a good idea it
is fun to make it too. I want to make and design jewelry when I
grow up. Savanna, 5th grade.
32
WHERE DO YOU SEE ART?
1. List all the things in this classroom that were
made or designed or thought of by artists. Is it
good art or not? How does it help you? This
can be done individually or as a group or as a
graded quantitative process.
2. Lets pretend there isnt any art anywhere.
What would our school look like? What would
our town look like? What would our homes look
like? What would we look like? What would you
miss most? Make a list.
More Extension:
The obvious next step is to have students choose
You might not think it is art
when your Mom fxes your hair
but it is. Some artsts who do
hair make a lot of money doing
it. It is called a Hair Stylist. It
is not like paintng or drawing
but they use lines and shapes
and textures and sometmes
even color to make things more
beautful and interestng. To me
that is art. This is a hairdo that
my Mom gave me. Hair styl-
ists have to study at a school
to learn how to do their job. I
think it is a good career in art
one of the careers in art and create a work of art
that corresponds with that career. If this is some-
thing that cant be done in class, have students
document their project with photos.
33
Why Teach About the
Beginnings of Art
WHY BOTHER TEACHING ART?
In an effort to discuss why we bother with the
expensive and time-consuming discipline of ART
in the public schools we need to know first, some-
thing about the nature of art, second, what part
art plays in our real lives, third, where art came
from, fourth, when we should start sharing the
joy in the production of art with our children and
fifth, some strategies as to how we can go about
this awesome task.
Art is distinctively human. To study art is to study
what it means to be a human being. Art is a social
phenomenon. To study art is to study about our
relationship with our self and all other humans.
Art includes all aspects of human existence. To
learn about art is to learn about our human place
in the rest of the non-human universe. To be-
come aware of, comfortable with, coherent in,
and skilled at art is to become human, which is
significantly more than just existing. It is being
ALIVE! To engage in the aesthetic paradigm is
to engage in meaning. If aesthetics is about the
search for beauty, then aesthetics is the only place
in the educational world where we can discuss
what causes beauty, what to do about it when we
discover it, what it means, and why is it appropri-
ate that we dont all agree.

WHENCE ART?
Whence: From what place, source or cause.
Art is a part of the human condition. In fact it is
the definitive part of the human condition. It is
what makes us human. It is probably the only
thing that humans do exclusively. What do hu-
mans do that is distinctively human? Reproduce.
No! War and violence? No! Eat, travel, hunt,
hide, and horde things?no, no, no! How about
communicate by generating sounds? No! Again.
Perhaps the only thing that human beings do for
which there is no obvious counterpart in the rest
of the animal world is to find beauty and share
our responses to it with others. All academic
disciplines are narrow spin offs of the human
need to observe nature (by the way, we are part
of nature so observing nature includes ourselves
and others) and record our response. Art is the
oldest academic discipline and integrally inter-
twined with ancient religion. Art is the only pre-
literate academic study. Literacy is a form of
visual art, that is, it is an arbitrary symbol system
drawn with lines and shapes to covey a predeter-
mined meaning. We can use these squiggly lines
Close-up of horse heads from the Chauvet Cave
htp://en.wikipedia.org/wiki/File:Chauvethorses.jpg
public domain
34
and shapes to communicate novel and personal
ideas and feelings and descriptions of our world.
Sounds a lot like abstracted art to me.
The following is a brief and incomplete discussion
about where art comes from. We are focusing on
the visual arts because the record is available, but
there is very strong evidence that Music, Dance
and Drama (story telling and ritual) is at least as
old as visual art and perhaps older. It is just very
difficult to document the sound of prehistoric mu-
sic although some of the oldest rock art we have
from Spain shows figures that are either dancing,
hunting or fighting. Perhaps it is all part of the
same thing. Some of the oldest artifacts found are
musical instruments. We will start with written
language to demonstrate that visual communica-
tion is much older than literacy and is at the root
of all reading and writing. To ignore the legacy
of visual art is to deny the root source of all the
academic disciplines, which rely so exclusively on
literacy. Why do we start preschool children on
PICTURE BOOKS?
The earliest written language we know about is
Cuneiform from the Sumerian culture in Mesopo-
tamia, (or possibly early Egyptian) about 34,000
to 3200 BCE (5000 year ago). Cuneiform was
drawn with a wooden stylist on clay tablets (see
image, bottom left).
Bone and ivory tags, pottery vessels and clay seal
impressions bearing hieroglyphs unearthed at
Abydos, Egypt have been dated to between 3400
and 3200 BCE, making them the oldest know ex-
amples of Egyptian writing. The Tags, each mea-
sure 2 by centimeters and containing between
one and four glyphs were discovered by excava-
tors from the German Archaeological Institute in
Cairo in the pre-dynastic ruler Scorpion Is tomb.
For some great information about the earliest
hieroglyphs I recommend an online article by
Marsia Sfakianou.
Drawing of hieroglyphic ivory tle. Original can be
seen at
htp://news.bbc.co.uk/2/hi/science/nature/235724.
stm
another tle is available at
htp://www.homepages.indiana.edu/041301/im-
ages/scorpion.jpg
Lef, Cuneiform tablet image htp://en.wikipedia.
org/wiki/File:Cuneiform_script2.jpg
Library of Congress, public domain
35
The Chauvet Cave is in southern France. It con-
tains mans earliest known cave paintings. It was
discovered in 1994. It is considered one of the
most significant prehistoric art sites in the world.
Cave paintings were being made about 32,000
years ago at Pont DArc, France.
htp://www.culture.gouv.fr/culture/arcnat/chauvet/
en/ source for images
Chauvet Horses, large
htp://en.wikipedia.org/wiki/File:Chauvet_cave,_paintngs.JPG
Charcoal and colored earth pigment paintngs and relief carving from Pont DArc, France.
Paintng from the Chauvet cave, replica in the Brno museum Anthropos. 31,000 years old art, probably Au-
rignacien. The group of horses probably does not picture a herd of them, but some kind of etological study,
showing, from lef to right, calmness, aggression, sleep and grazing.
(2009-05-22)Author, HTO 22 May 2009
Cave hyena paintng found in the Chauvet cave;
now known to be 32,000 year old
htp://commons.wikimedia.org/wiki/File:20,000_
Year_Old_Cave_Paintngs_Hyena.gif
Author, Carla Hufstedler 27 September 2006, 15:25:51
36
Lion-headed fgure
htp://en.wikipedia.org/wiki/File:Lion_man_photo.
jpg Lion_man_photo
Author, Gaura, 2007(2007)
public domain
This lion headed figure, first called the lion man
and later called the lion lady of the Hohlenstein
Stadel Cave, is an ivory sculpture that is the oldest
known zoomorphic (animal-shaped) sculpture in
the world and one of the oldest known sculptures
in general. The sculpture has also been interpret-
ed as anthropomorphic, giving human character-
istics to an animal, although it may have been the
image of a deity. The figurine is determined to be
about 32,000 years old by carbon dating meth-
ods. It was first discovered in 1861 in a cave near
Swabian Alb, Germany.
The Lion Man, Water Bird and Horse Head
sculptures from the Swabia province of Germany
are dated between 35,000 and 40,000 years ago.
See images at http://www.ice-age-art.de/an-
faenge_der_kunst/fels.php
http://archaeology.about.com/od/upperpaleo-
lithic/ss/hohle_fels.htm has horse head, water
bird, and Venus
The 40,000 year old Venus of Hohle Fels, from
Schelklingen, Germany, was discovered in 2008.
(www.thelocal.de). This ivory carving was found
near Schelklingen Germany and is from the begin-
ning of the Upper Paleolithic, which is associated
with the assumed earliest presence of Homo sapi-
ens (Cro-Magnon) in Europe. It is the oldest un-
disputed example of Upper Paleolithic art and fig-
urative prehistoric art in general and is about 2
inches tall.. Near this area in Germany have been
found over 20 other carved artifacts including a
35,000 year old flute carved from a vulture bone.
Because these artifacts are made of organic mate-
rials (bone) they can be easily dated using carbon
dating processes. (largest image at http://john-
frederickwalker.files.wordpress.com/2009/05/
hf_06.jpg found November 4, 2009. If no longer
available, use Venus of Hohle Fels as search term
in image search such as google.com.

The oldest pottery found to date is about 18,000
years old found in a cave at Yuchanyan in Hunan
province in China. By determining the fraction
of a type, or isotope, of carbon in the bone frag-
ments of the site and residual carbon in the clay
body, the specimen were found to be 17,500 to
18,300 years old. The piece has incised decora-
tions on the surface. (tywkiwdbi.blogspot.com)
You can see (and get a personal copy for use in
37
your class) from http://www.hnmuseum.com/
hnmuseum/eng/whatson/exhibition/kg_2.jsp
The oldest art objects found so far are a series
tiny drilled snail shells about 75,000 years old--
that were discovered in a South African cave.
(http://images.livescience.com/images/060622_
jewelry_02.jpg )
This is pretty old and whether or not it is art is
a lively discussion. The age can only be pushed
back further. Long before what we would recog-
nize as culture or civilization our ancestors were
making art. This historical and chronological ap-
proach is intended to demonstrate to those who
resist Art Education as frivolous, non-academic
or just play that art is the basis of all we teach
and completely relevant to our real lives. Most
of what we know about whom we are and where
we came is documented in the arts. Try to imag-
ine history without artworks or literacy without
drawing lines and shapes to make letters and
words or science without visual diagrams to show
us what Science is trying to say.
The oldest writing we have is about 5,000 years
ago and it seems to be inventory lists and legal
documents. Who would have guessed that law-
yers invented literacy? Initially, literacy was a
secret and one had to hire a scribe to write a
document and then hire another one to read
it. Until the 19th century, universal literacy was
not an idea anyone espoused. It is irrational to
believe that the human experience started with
literacy. It is irrational to think that the academic
disciplines of literacy, math, science, history or
social studies can exist without the endemic hu-
man experience in visual communication. Art is
the only preliterate discipline in the school cur-
riculum. We dont have to read or write to do art
but we do have to do art to be able to write and
read. We learn by art, we teach by art, we work
by art, we play by art and we love by art. It there-
fore seems obvious that we need to include a
far-reaching, discipline based authentic art incre-
ment into all subjects at all times and at all levels.
We also need to secure a place in the curriculum
where the arts can be taught as primary and not
just an effective way to teach another subject. Art
is the educational glue that connects all things.
It is the historical and systemic glue of our lives.
The aesthetic life is life. We live by beauty, just
ask any Navajo or Polynesian.
Other examples of prehistoric art:
Egyptan Funerary Stele
htp://en.wikipedia.org/wiki/File:Egyptan_funer-
ary_stela.jpg
Graeco-Roman period hieroglyphs htp://upload.
wikimedia.org/wikipedia/commons/2/25/Egypt_Hi-
eroglyphe4.jpg
38
htp://news.bbc.co.uk/2/hi/science/na-
ture/235724.stm
One of the Earliest Known Realistc Representatons
of a Human Face Circa 23,000 BCE
Venus_de_Brassempouy
htp://upload.wikimedia.org/
wikipedia/commons/2/26/Ve-
nus_de_Brassempouy.jpg
Author, PHGCOM, 2009 pho-
tographed at the Musee
dArcheologie Natonale
Public domain
The Narmer Palete, shown below, also known as
the Great Hierakonpolis Palete or the Palete of
Narmer, is a signifcant Egyptan archeological fnd,
datng from about the 31st century BC, containing
some of the earliest hieroglyphic inscriptons ever
found.
htp://en.wikipedia.org/wiki/File:NarmerPalete_
ROM-gamma.jpg
photo by Captmondo, gamma adjusted to bring out
more detail at lower resolutons
Public domain
Other Good Sources:
htp://en.wikipedia.org/wiki/Prehistoric_art good
source for info and images
htp://www.spiegel.de/fotostrecke/fotost-
recke-22586.html 5 pieces small ivory sculptures
htp://www.spiegel.de/internatonal/zeit-
geist/0,1518,489776,00.html
35,000 year-old art
Timeline htp://www.historyofscience.com/G2I/
tmeline/index.php?category=Art+

39
Elementary Level
Prehistoric Timeline
Objective: Students will demonstrate an un-
derstanding of the long and ancient tradition of
visual art in the human experience by researching
and creating a Timeline that documents visual
arts prehistory and that ends with the introduc-
tion of the first codified written language.
State Core Links: From the 5th grade rainbow
chart use the orange column, Research/Create,
Study, explore, seek, be creative, imagine and
produce.
Materials: Lots of research materials, art sup-
plies to reproduce the preliterate images of our
ancestors.
Sources: Prehistoric Art: the symbolic Journey of
Humankind, by Randall White; The Cambridge
Illustrated History of Prehistoric Art, by Paul G.
Bahn; Prehistoric Art and Civilization, by Denis
Vialou; The Cave Painters: Probing the Mysteries
of the Worlds First Artists, by Gregory Curtis.
Activity: Students need to be introduced to the
long and glorious prehistory tradition in the arts.
Since it is prehistoric, it is only tangently covered
in a history curriculum. Students should organize
in groups based on the medium (cave paintings,
sculpture, and carvings, and pottery) and the time
period and culture. The body of information is
huge and most young students and their schools
do not have access to the full range of informa-
tion. This problem is exacerbated by the ongo-
ing nature of the research into the archeological
record. I was taught as a graduate student in Art
History that the cave paintings at Lascoux and
Altimira were the oldest and that the oldest sculp-
ture was the Venus of Willendorf. Subsequent
finds have made my education out dated and
inaccurate. Learning is a life-long endeavor.
To compensate for the abbreviated nature of the
time line we dont try to hit everything out there,
just a few of the high points. In my class we di-
vide up geographically. Africa, Europe, Asia (India
and China/Japan/Korea), Americas, and Austra-
lia/Oceania are the basic areas. We can divide
each area into smaller areas like North and South
America, Northern and Southern Africa, Mediter-
ranean and Northern Europe, Asia Minor, Eastern
and Western Asia, and all of Southeast Asia in-
cluding the Indonesian archipelago. Groups of 4
to 6 students seem optimal with my classes of 45
or so students 4 times a day. No shortage of bod-
ies here.
An introductory lesson at about third grade on
the nature of a timeline and the chronological
sequence of dates including things like BC and
AD and BCE and CE and why this Christmas will
be the 2009th one, theoretically, is a good way to
start this lesson. Time sequence and chronology
are a little evasive to most third graders but you
can get their attention by explaining that this is
the year 2009 because it is the 2009th Christmas.
A little discussion on the nature of Calendar is
appropriate and how dates get larger as they get
older after the Christian Era and that there are
other calendars used around the world like the
Hebrew, the Chinese, and the Arabic calendars.
Some mention of the Gregorian and Julian Calen-
dars might also be a good idea. The specifics of
How to Teach About
Prehistoric Art
40
dating are not the important thing in this lesson
as the accuracy of most dates is in some doubt.
The idea of pushing back the horizon of the art
world is the agenda.
Try starting with the oldest art your research can
discover and move forward to about 5000 years
ago when the earliest forms of written language
that we know of were introduced. Of course the
timeline doesnt end there, but that becomes a
historical lesson. This is a prehistory lesson. Use
the Internet. What a great library. We have sever-
al terminals in our art room and they are in nearly
constant use on one project or another. I refer to
my laptop as my portable library. The kids get it.
Look for images of ancient art from all of these
cultural and geographic areas because we want to
make our own version of these images. The best
way to actually see an image of anything is to try
to duplicate it in some art medium. We are in the
process of building this timeline but it will take
most of the school year, and we will rotate the
project between all the age groups at our school.
The bulk of the work will be done by 4th, 5th,
and 6th graders, but others will help. When the
images are ready we will write a short didactic
statement to be displayed with the images. The
statement should include approximate dates, lo-
cations, when discovered by whom, a short writ-
ten description of medium and proximity of the
work, and what it might actually look like today.
You may want to include some of the scientific
speculation as to the purpose and meaning of
the images. When this is completed, the images
should be prominently displayed in the class-
room, adding new work as it is finished with the
appropriate dates and in the appropriate position
relative to the other works.
Variations: Try music, dance, and drama time-
line. Try geographically and culturally specific
timelines. Try medium specific timelines (paint-
ing, sculpture, pottery).
Extensions: A wonderful way to extend this
lesson is to have students research and recreate
three-dimensional sculpture and artifacts, includ-
ing pottery, for the prehistoric record. There is
a wealth of artifacts from all over the world. It
might be interesting to see when pre-history
started in different places. Prehistoric means,
Before there was a written record, not before
existence. For example: There is no written lan-
guage in Hawaii. The Hawaiians occupied the is-
lands about 300 AD. The first European to arrive
in Hawaii was James Cook and his expedition on
Feb. 14, 1778. That means for about 1500 years,
Hawaii was a prehistoric culture.
These are the kind of illustratons we use in the
Prehistoric Art Timeline.
by Savannah, 5th grade
by Paige, 5th grade
41
When to Start Teaching Art
WHEN TO TEACH ART:
I have heard it said by skilled and dedicated
educators that art is a thing that cannot be taught
because it is a gift that you are either born with
or not. I believe that they mean that children
are hardwired to engage in personal expression
through body language (dance), sounds (music),
acting out (drama) and scribbling on the bath-
room floor with a red marker (visual art). It is
not that this cannot be taught; it is that the need
to express ourselves this way is already in place.
It is a biological imperative that cannot be taught
because it is already there. It can be untaught,
squelched, and degenerated, but it is difficult to
eradicate. There is always hiding deep within
us THE NEED. It is skill, poignancy, astuteness,
clarity, creative invention, technique, apprecia-
tion, observation, and inclusiveness in the arts
that can and need to be taught. Let us not forget
that TEACHING and LEARNING are not the same
things.
As a veteran of the Elementary Educational
process, I have observed that at about the same
time a childs brain is through growing (not to
be confused with learning or developing), about
9 years old, the childs focus in life moves from
the internal locus to the external locus. That is,
they become more stimulated and motivated by
social awareness and inhibited by social criticism.
Because there is no more brain to be grown, it is
the social animal that rears its beautiful head. If
at this transition in a childs life, the child is ridi-
culed or strongly criticized about his or her art,
the child will close down and frequently never
pick up the gauntlet again. In my workshops with
Elementary teachers I have heard this story many
times by the teachers themselves. Many actually
remember the name of the person who embar-
rassed or criticized them. It is frequently a third
or fourth grade story. They then determined that
they did not possess the gift in art. If we can get
to the students before this crisis in their lives, we
can arm them to persevere through the critical
time and not abandon their passion for artistic
communication.
Here are three strategies to help students with-
stand the negative external locus:
1. If someone says to you about your drawing or
painting, That doesnt look like a horse, then an-
swer, Horse? You got what I was trying to say. I
was trying to say horse with this picture, and you
got it so that makes me a successful artist. Thank
you very much.
2. If someone says about your painting or sculp-
ture, That doesnt look like a horse, then an-
swer, Horse? You thought I found a dead horse
on the road on the way to school and skinned it
and glued it to the paper? No, no, no! This is just
lines, shapes, values, colors, and textures that are
supposed to remind you of a horse, and it obvi-
ously does. There is no horse here!
3. The third strategy is easier than you can imag-
ine. Learn to look at a horse until you can see a
horse and then learn to render accurately what
you see. If you can see it, you can draw it.
All three of these strategies work and will keep
you in the game. By the way, the gift in art is not
SKILL, it is TENACITY and PERSEVERENCE. The
only failure in art is to quit. If you start learn-
ing to make art when you are 5 years old, your
42
artwork looks like a beginner. It looks that way
not because you are a child but because you are
a beginner. If you start to learn about making art
when you are 15, it looks like a beginner, and if
you start at age 25, it will still look like a beginner.
Most adults dont want to make art that looks like
a beginner so they dont start.
43
Why & How to Assess Art
Elementary Level
by Joseph Germaine
Criteria Slips:
Objective: Students will demonstrate an under-
standing of self-assessment by filling out a per-
sonal criteria slip on their finished work of art.
State Core Links: State Core Standards and Ob-
jectives: Standard 2, (Perceiving) The student will
analyze, reflect on, and apply the structures of art.
Rainbow Chart: Use the light yellow column, Ana-
lyze/Integrate, Compare, contrast, distinguish,
examine and incorporate.
Materials: This can work for any visual arts
production assignment. All you need is a quarter
sheet of paper.
Activity: The Criteria Slip can be printed ahead
of time and passed out to students or copied off
the board. The idea is to give students specific
criteria for determining if they are finished with
the project and to evaluate their own perfor-
mance. This can be applied to any project.
This is a criteria slip we used for a project we call,
What did I do this summer? In this drawing and
painting lesson we focus on the figure action ges-
ture. This is a somewhat corny project and has
been run into the ground by teachers for genera-
tions. However it is rather new for the students
and it is about the student. These are the two
important parts for a successful project: new and
about the student. Art is always personal. Notice
also that the assignment is formed as a question
that they are supposed to answer visually. This
lesson is not a complete description of how the
lesson is introduced and modeled. This is just the
assessment part but you will be able to see what
the lesson expected.
WHAT DID I DO THIS SUMMER?
Name:
Title:
Date:
o 1. Pen and ink. Black ballpoint.
o 2. Show an "Action Gesture" of the whole
person. Something you actually "DID"!
o 3. Use five values of light and dark.
o 4. Use five textures of rough and smooth.
o 5. Put yourself in a place by using a horizon
line
o 6. Include four ways of showing near and far.
(overlapping, size, detail, placement0
o 7. Use good coloring techniques:
short strokes, same direction, slowly and
carefully, cover the whole space, no blank
paper showing through, don't rub your
hand where you already colored.
o 8. Mix colors to make your own. Don't let Mr.
Crayola Brand tell what color the sky is.
COMMENTS:
This may seem like a lot of criteria but in this one
5th grade assignment we are reviewing the whole
previous years curriculum in landscape and
figure drawing and coloring. We don't always list
all the elements of each criterion. The class usu-
ally understands the verbiage since we have been
using it since kindergarten.
44
Assessment: I am not sure what assessment
tool we should use on a lesson about assessment
tools. I suppose that if a student engages in the
self-assessment process then he has achieved the
objective.
Frequently we write the criteria on the board and
students make their own sheets. This is the crite-
rion for a Cartoon Storytelling project.

Sources: There are a lot of good sources for
information on assessment in the Fine Arts. Try
the easy one first. On the internet go to the Fine
Arts Education-USOE site, under your teaching as-
signment appropriate heading go to General Re-
sources. Here you will find a series of articles on
several subjects including assessment in several
areas of the Arts. I recommend the one under
Assessment for Learning by Rick Stiggins. He
includes some good assessment rubrics that are
specifically directed to be used by students, teach-
ers, parents, and administrators. There is even an
assessment rubric on how to assess assessment
tools and a rubric on target areas to be assessed.
There is another short article on this site by John
Kuzmich, Jr., Alternative Assessments for Main-
stream Programs and there some articles on
Music. Lets hook up folks.
Variations: The Criteria list can be applied to
younger students but keep it short and specific. A
good criterion for completion with kindergarten
and first grade is to have each student check to
see if they have covered all the paper without any
white paper showing through. Frequently with
first and second grade we use the criteria sheet
to see if they have mixed colors to get their own
color. It can be this simple for older students such
as, Did you use complementary colors? The
point is to focus on the learning objects of the
project and see if students can recognize them
and tell when they have achieved the objective.
Will students try to fudge on it and just fill it out?
Well of course! They are human too. Make sure
they know you will read and evaluate the sheet
also. Remember that when you are driving on the
freeway the only time you think you actually have
to go 65 is when you see a policeman. This seems
to be an unfortunate part of the human condition.
Extensions: This approach can also be used
to have students ask specific critical evaluation
questions such as: Do you like it? Why? What
does it mean? How do you feel about it? Where
did you get the idea? What is the best part of
this artwork? If you do it again, how would you
change it?
45
Throwing Frisbee,
by Spencer, 5th grade
This is Spencers self-evaluaton of his artwork. By the way, it was
framed and exhibited in the front hall gallery at our school.
46
This is Jaxlyns self-portrait
portolio cover.
This is Jaxlyns self-evaluaton of the portolio cover project. By the way, we always store our
rare and precious artwork in interestngly decorated portolios.
47
Assessment Alternatives:
This is not in a lesson format because these are
only some alternative assessment ideas for self-
assessment in the arts. In the previous lesson we
have seen the Criteria Slip, a form of self-assess-
ment. Another form of self-assessment is to have
each student write a self-assessing criticism of his
or her own work (or of others). Im sure you have
all learned a critical model or two at some time
in your education. I use a modified one for young
students that looks like this:
1. Description: with title and artist
2. What was your favorite thing about this
artwork?
3. What was your least favorite thing
about this artwork?
4. What is this artwork about? What does
it mean?
This is a fairly primitive approach to evaluation
and very subjective. It can be used with very
young students. Of course there are more sophis-
ticated critical models available such as Stephen
C. Peppers four-step model that includes: Mecha-
nism, How do I feel about it?, Formism, What does
it look like?, Contextualism, Where did it come
from? (historical, social, political, spiritual) and
Organicism, How do the parts work together? I
also recommend the work of Theodor Adorno,
Critical Models: Interventions and Catchwords,
(2005). This is a reworking of his two semi-
nal works, Interventions: Nine Critical Models,
(1963) and Catchwords: Critical Models II,
(1969). Both of these authors run to the philo-
sophical but then, What causes beauty and what
do we do about it? seems pretty philosophical to
me.
Another quick and functional self-assessment
model is called the KQS model. Students answer
three questions about their work or the work
of other students or the work of famous artists.
1. What is there in this artwork that I should
KEEP doing? 2. What is there in this artwork
that I should QUIT doing? 3. What is there in this
artwork that I havent done that I should START
doing? A form can be used for this evaluation
but I usually just write KQS on the board and the
students understand. It only takes a time or two
for them to get comfortable with self-assessment.
It actually consumes very little time and acts as a
great closure to a project. The first time students
are required to think critically they will rebel; the
second time they will acquiesce, and the third
time they will feel empowered.
In my situation I am constrained to give Pass
(P) or Fail (N) grades exclusively. This is not my
choice, but it is doable. I grade on a quantitative
scale rather than a qualitative scale. That is, I
dont give a scale of points for each project. Rath-
er, I give a full 10 points if the project is complete
(by the criteria slip) by the due date. The phi-
losophy here is that the lessons are deep enough
that some level of learning is inevitable, especially
if they have a completion checklist. My com-
puter, the district, cuts off the passing grade at
64%, so basically everyone passes. There is a %
score accompanying the P or N so those who have
completed all the projects will also get a 100%. I
think of this as a quantitative scale. It seems to
work.
Just in case none of these self-assessment ideas
appeal to your style of teaching, try looking up
the SUNY Fine Arts Assessment Rubric. It uses
a graduated grading scale of Exceeding, Meeting,
Approaching and Not Meeting in the three areas of
Portfolio/Performance, Craftsmanship and Inter-
pretation/Analysis. SUNY is the State University
of New York. Google Geneseo campus website for
a full graph of the rubric. It is very workable and
I have used it in the past. The same rubric can be
used for other subjects and this has the effect of
legitimizing the Arts curriculum.
48
This is Parkers Criteria Slip for his Comic Strip, 5th grade.
This is Parkers pen and ink Comic Strip, 5th grade.
49
WHAT DID I DO THIS SUMMER?
Name:
Title:
Date:
1. Pen and ink. Black ballpoint.
2. Show an "Action Gesture" of the whole person. Something you actually "DID"!
3. Use five values of light and dark.
4. Use five textures of rough and smooth.
5. Put yourself in a place buy using a horizon line
6. Include four ways of showing near and far. (overlapping, size, detail, placement0
7. Use good coloring techniques:
short strokes, same direction, slowly and carefully, cover the whole space, no blank paper
showing through, don't rub your hand where you already colored.
8. Mix colors to make your own. Don't let Mr. Crayola Brand tell what color the sky is.
COMMENTS:
PORTFOLIO COVER:
Name:
Title:
Date:
1. Chose one of five portrait views: front view, profile, up, down, or view.
2. Use "face mapping" proportions
3. Use at least 5 values of light and dark
4. Make a back ground
5. Create a design border
6. Make a nameplate with a border
7. Color is optional
8. Glue it all together on the cover of the portfolio
COMMENTS:
Some Examples of Criteria Sheets for Specific Assignments
50
KQS:
Name:
Project:
Title:
Date:
KEEP:
QUIT:
START:
COMMENTS:
CRITICAL MODEL:
Name:
Date:
DESCRIPTION: with title and artist:
What do you like about it?
What do you dislike about it?
What does it mean? (What is it about?):
Other Comments:
51
Why & How to Teach
from Art to Writing
Elementary Level
by Vicki Gehring
Art helps us identify who we are. Beverly Satch
Mangham
Lessons based on the Elementary Poster sets
Objective: Students will discover things about
themselves and about how they are connected to
the past by studying some reproductions of art
and writing papers on a chosen topic.
Materials: Choose one of the following posters
from the Statewide Art Partnership Elementary
Poster sets: Game of Marbles (UMFA set), Cyrus
Dallin Sculptures, Richards Camp, Holiday Park-
Weber Canyon, Immigrant Train-Away, Away to the
Mountain Dell: The Valley of the Free (all others
SMA set), writing paper, pencils or pens
Lesson:
Discuss the following: What is in the picture?
1. Is the subject of the picture depicting a
historical event? What is that event, or what
period of history is the picture portraying?
2. Describe or tell about the historical event or
period of history.
3. Tell the students the name of the picture
and read the artist biography on the back of
the print and the information about the
artwork. Then ask them if this information
helps them understand more about the
picture.
4. Ask the students to look at the picture
carefully again, and see if they can notice
other things in the picture.
A. What kind of clothes are the people or
person wearing? How is it different
from how we dress today?
B. What are some other things in the
picture that are different compared to
how things are today?
Cyrus E. Dallin, Sacajewea (1915)
Springville Museum of Art
52
5. Discuss the colors the artist has used and
if the picture has a mood, if they can guess
what time of day it is depicting,
6. Continue the discussion about the picture
until the students have explored it well
enough to have a firm understanding of
the time period, historical event, and the
people portrayed in the picture.
Project: Suggested writing topics: (choose the
ones that correspond with the chosen print, and
have the students choose one topic)
Game of Marbles
1. Write short story about whats happening
in this picture.
2. Write a compare and contrast paper about
the lifestyle of the children in the picture
and your lifestyle.

3. Write a story about the boy who looks sad.
4. Write an essay about what you like or dont
like about the painting and what kind of art
you do like. (Be specific)
Cyrus Dallin-sculptures
1. Write a one-page paper on the things about
America that are important to you.
2. Write a one-page paper on why art, such as
these sculptures, are an important way to
keep in touch with the history of our
country.
3. Write a paper on why you think Cyrus Dallin
thought it was an honor to come from Utah.
4. Write a one-page paper on what you like
about Cyrus Dallins sculptures and why.
Richards Camp, Holiday Park-Weber Canyon
1. Write a story about the people in the
painting and what they are doing in this
camp.
2. Write a story about where the people in the
picture came from.
3. Write a one page paper on what we can
learn about history by looking at this
painting.
4. Write a one page paper on why you would
or wouldnt have like to live in this camp.
Immigrant Train-Away, Away to the Mountain Dell:
The Valley of the Free
1. Write a one-page essay on why you would,
or wouldnt have liked to be a pioneer.
2. Write a one-page paper about a real pioneer
in your family, or one you have learned
about.
3. Write a paper on why you think the artist
painted this picture and what he wanted
people looking at it to see.
4. Make up a story about one of the people in
the painting and tell things like where the
person came from and some experiences
he/she had as a pioneer.
Assessment: Does the students writing show
they have an understanding of the work of art?
Are there references to the art in their writing
either directly or by inference? Does their writing
conform to the topic they chose and is it com-
plete? Can you as the teacher tell that the student
has made a connection to the artwork? Assess
whatever writing skills your students should be
demonstrating.
53
How to Use Art as Therapy
Elementary Secondary Level
by Joanne Seal
Abstract Family Portraits
Objective: To allow children to visually express
themselves in abstract (safe) and very personal
ways. Making Thought (and emotion) Visible
is the second section in a book by Betty Edwards,
which I read a few years ago. The book describes
the process by which children can draw and
reveal what they perceive is going on inside them.
This process can also be cathartic. The activity
assumes the following ideas: 1, that all humans
have subconscious knowing activity that the
conscious mind may be unaware and 2, that there
are archetypical meanings to shapes, colors,
proximity and mark making, which we all share.
Family portraits can be decoded by adults
using simple archetype concepts and by verbal-
izing what is seen in each picture. Insights can
be gained by child and adult facilitators by verbal
readings of the picture portraits with the child.
Activities that allow the subconscious to speak
can greatly help upset children deal with un-
wanted changes and conditions in their lives or
validate peaceful and happy conditions.
Materials: Paper, white drawing, usually 9x12
and colored media such as oil pastel sets, colored
pencils, markers, or crayons. It is important that
children have access to many colors. 8 to 12 is
best.
Activity: Drawing a family portrait without
people. The teacher will draw some simple geo-
metric ( straight lines and corners and angles)
and biomorphic shapes ( rounded forms) on the
board and get the children to name as many as
they can. The students will begin to think of a
shape or combination of shapes that represent
themselves, and then think of shapes that can
represent their parents, siblings, and pets. After
distribution of materials, students are told that
they can draw their family using only shapes and
colors and marks. They begin with a one-inch
border all around the paper. The border serves
a twofold purpose: first for identification, and
second, as a visual barrier. There is only one rule:
they cannot draw faces or anything that can be
recognized. Do not give students any instruction
on color or shape symbolism. Shape and color
application is highly personal. When students are
finished, have them fill out a quick assessment of
their picture on a separate, small piece of paper
and attach it to the back of the work.
54
Assessment: Possible questions for assessment.
1. Did you draw a border?
2. Are all the people in your family
represented with simple shapes?
3. Is anything recognizable?
4. Did you fill the whole piece of paper,
within the border?
5. Did you use a wide variety of colors ?
6. Did you include yourself?
7. Did you sign your name ?
Pin up student pictures as they are completed
on a wall, and when most of them are finished,
gather the students around and begin the debrief-
ing. Ask for volunteers to come up and talk about
their family portraits. Most are willing to share
their families with the other students. This as-
sessment part could take more than one class to
complete. Dont let it go too long. It is not neces-
sary to have all the children speak. Ask the follow-
ing questions:
1. Ask: which shape is you?
2. Ask: which shapes represent Mom and Dad?
3. Which shapes are bothers and sisters and
pets?
Decoding: A teacher can begin the process of de-
coding a childs drawing by asking simple ques-
tions ( above) and allowing the child to respond.
The teacher next asks a few why questions.
Patterns begin to immerge that are common to all
the children ( archetypes). The patterns fall into
4 categories:
1. shape choices
2. proximity
3. color choices
4. mark making
1. Shape choices: Squares and triangles are usu-
ally representative of healthy masculine per-
sons. They are stable and dependable. Rounded,
biomorphic shapes are usually feminine shapes
suggesting comfort and nourishment and life.
Some shapes might reflect both masculine and
feminine parts, which is healthy and normal.
Small shapes suggest less importance in family
structure and large shapes suggest power and
importance.

2. Proximity: The child will usually put his shape
in the center of the picture; therefore, at the
center of the family. This is to be expected. The
proximity or closeness of the other shapes around
his shape accurately describe the level of close-
ness the child feels to members of his family and
within the family. Usually there will be lines con-
necting family members, loose lines, tight heavy
lines, or broken, dotted lines. All the connecting
lines speak loudly of the childs perception of
the ties within his family. If a family member is
estranged, the shape representing that person
will be off in a corner.usually upper or lower
left. Dead loved ones sometimes show up in
a drawing, and the shapes representing them
often will also be off, but usually in the upper or
lower right corners. If the shape of a dead family
member is in close proximity to the child, then it
could mean the death is recent and the child is in
the process of dealing with it. If another shape
is touching, or engulfing the childs shape, that
could be indicative of too much or unwanted at-
tention from someone, too protective, etc. Isolat-
ed shapes with no connections represent people
who are isolated, from the childs perception.
Shapes that are below the child represent those
who the child feels somewhat superior too. When
the shapes are above the child, it means those are
the persons the child looks up too, or that have
power over the child. Shapes on level with the
child are those that are on his level.
3. Color choices: Red and black are angry, hostile
colors and some of the shapes may have an abun-
dance of these colors. Red and black also repre-
sent evil and or pain. Healthy feminine colors
tend to be pastels of pink, blues, violets, yellows,
and greensthe colors are soft and light. Healthy
masculine colors are browns, blues and greens.
Spiritual colors are light and mostly blues and yel-
lows and white. Depression colors are grey, black,
and dark blues. Energetic colors are orange, reds,
yellowsthe warm colors. Calm, quiet colors are
the cool ones, blues, grays, greens and violets.
If a little bit of red shows up in a few shapes, that
can be considered normal, but an abundance
55
of red in any shape definitely means anger and
hostility. Red also can represent sexual feelings
or activity.
4. Mark making: The marks or lines children
make with their colored tools also speak about
perceived emotions within the family. Fast, sharp,
jagged lines with black and red are violent and
angry marks. If these marks go outside of the
childs shape lines or outside of a margin line
then the person thus represented may be angry
and hostile and possibly out of control at times.
Lines that are smooth and regular and horizontal
are calm.
Sources; Drawing on the Artist Within by Betty
Edwards 1986, Simon and Shuster. Esp. chapters
5 10.
Variations; Analog drawings using word
prompts, Abstract self-portraits, handwriting
exercises that focus on line quality. (Drawing on
the Artist Within by Betty Edwards chapter 6,
Making Telling Marks and chapter 7, Drawing
out Insight.
Extensions: painting the analog drawings, the
family portraits or abstract self- portraits, As-
sembledge constructs with found objects. Fabric
scraps cut and stitched to represent family mem-
bers or self.

56
57
Why & How to Teach
Aesthetics
Upper ElementarySecondary Level
by Elicia Gray
Painter or Pachyderm
Who Can Make Art?
Objectives:
Students will read puzzles dealing
with forgery, child art, or animal art.
Students will formulate opinions con-
cerning forgery, child art, and animal
art.
Students will create original artworks
based on criteria from their specific
puzzle
Students will debate and defend opin-
ions concerning forgery, child art, and
animal art.
Students will work as a team in order
to formulate a solid defense.
Students will read, comprehend, and
answer key questions pertaining to
forgery, child art, or animal art.
Students will present their findings to the class in
a group setting.
State Core Links
Standard 2: Students will find meaning by analyz-
ing, criticizing, and evaluating works of art. Stan-
dard 3: Students will create meaning in art.
Standard 4: Students will find meaning in works
of art through settings and other modes of learn-
ing.
Materials
Four Aesthetic Puzzles, based on artistic creation,
Postcard images that will be simple to forge,
Large sheets of paperone per team, Small
sheets of paperone per team, Oil pastels, Candy
for rewards.
Activity
1. Divide students into small groups. Each group
will be given the following items: One large piece
of paper (for the artwork), One small piece of
paper (to record ideas for a debate), A pile of oil
pastels (to create the artwork), and an aesthetic
puzzle based on forgery, child art, or animal art.
2. When students are situated, the teacher will ex-
Elephant paintng
htp://hearthunger.com/2008/01/
58
an elephant at the Phoenix Zoo. Students are
asked to imagine that they are Rubys art dealer,
and would like to sell some of the paintings Ruby
has produced. Students must compose argu-
ments that would defend Ruby and her artwork.
3. When students understand the process of be-
coming a character in a puzzle, they will be given
a different puzzle to discuss as a group. Students
are given 15 minutes to complete the 2 tasks
outlined in the puzzle. Task One: create an origi-
nal artwork based on the criteria of the puzzle
(on large sheet.) Task Two: students must
answer the questions provided in
order to create a powerful ar-
gument for their case
(write answers on
a small sheet)
4. When students
have completed the tasks as outlined,
they will explain their case to the class, present
their artwork, and introduce their arguments.
When each side has presented its stance, it will be
given a few minutes to debate with an opponent.
After both sides of the argument have been dis-
cussed, students will award the strongest argu-
ments with applause, and the teacher will reward
them with candy.
Assessment:
Student dialogue during the discussion and group
work will be carefully monitored. Students will
hand in written responses to Task Two and artis-
tic responses to Task One. They will be assessed
according to a rubric that will include points for
clarity of thought, persuasive arguments, and
completion of the work assigned.
Sources:
Puzzles About Art, An Aesthetics Casebook by
Margaret P. Battin, John Fisher, Ronald Moore and
Anita Silvers
Variations:
Teachers may choose to have a class discussion
rather that breaking students into small groups.
Group One:
Contemporary artist Sherrie Levine is well known
for her photographic works. She is an image
appropriator, because she photographs the work
of other artists and changes it in some way to be-
come her own. When studying the work of Edward
Weston, Levine decided she would simply photo-
graph Westons photos and exhibit these photos as
her own. Levines photos were indistinguishable
from those of Edward Weston.
Who is truly the artist here? Can Sherrie Levines
works be considered art? What should be worth
more, the forgery or the original?
Task 1. Create a simple forgery of the postcard you
have been given. You may use any medium avail-
able.
Task 2. You are Sherrie Levines agent. You must
convince a series of prominent museums to purchase
Levines photographs. How will you convince the
museum that they must own these pieces? What are
they worth? Why are they important?
htp://en.wikipedia.org/wiki/File:Adams_The_
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Aesthetic Puzzles (Excerpts from Puzzles about Art,
An Aesthetic Casebook and Deseret News)
Extension:
Have students create their own aesthetic puzzle.
59
Group Two
Modern technology has made it possible to repli-
cate paintings even down to molecular details. This
means that an exact copy of virtually any painting
could be produced. A small manufacturing company
has decided to apply for a permit to produce replicas
of the Mona Lisa and 10 other well-known works of
art. They have three ways in which they can proceed.
1create only one replica of each artwork. These
replicas would be stored in an underground vault and
only used if the original was destroyed unexpectedly.
2proceed to create 100 replicas of each artwork,
selling them to major museums and private collec-
tors world wide, or
3produce unlimited replicas of the work, selling
them in department store outlets for $14.95 each.
How should the company proceed? Should any
replicas be made?
Task 1. Create a simple forgery of the postcard you
have been given. You may use any medium avail-
able.
Task 2. You are the president of the small manufac-
turing company. You must decide how to proceed.
Will you choose option one, two, or three, and why?
What impact will each of these choices make on the
art world?
Group Three
Rhythm of the Trees, by Carly Johnson was one
of the 150 paintings chosen from more than 1,000
works submitted for the show at the City Art Gal-
lery. The Manchester Academy of Fine arts chose
this abstract watercolor to hang, unaware that it was
painted by a 4-year old. Adcademy secretary Vera
Lowe said a buyer in Ireland bought the painting for
$420 after seeing a photograph in a newspaper.
Can children produce art? Would the painting have
been more valuable if an adult had painted it? Who
is the artistthe four year old, or her mother who
entered the piece?
Task 1. Create a simple forgery of the postcard you
have been given. You may use any medium avail-
able.
Task 2. You are the president of the Manchester
Academy of Fine Arts. You must defend your choice
to have Carly Johnsons artwork included in the
show. How will you convince viewers and museum
staff that Carly Johnsons work has value?
htp://en.wikipedia.org/wiki/File:Mona_Lisa.jpg
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60
A paintng by the Chimpanzee, Congo
htp://en.wikipedia.org/wiki/File:Chimpanzee_con-
go_paintng.jpg
Group Four
The Chimpanzee Painter
Betsy the Chimpanzee is given some paints and
some paper; with them she creates various products,
some of which might be called paintings. Even if
Betsys works are not masterpieces, they are undeni-
ably interesting and appealing in their own way.
Can animals create art? How does artists intent af-
fect the value of this artwork?
Task 1. Create a simple forgery of the postcard you
have been given. You may use any medium avail-
able.
Task 2. You are Betsys best friend. You come to
visit her at the zoo every weekend. You have no-
ticed that Betsys home could use some updating, so
you decide you would like to earn money to make a
better space for her. You must convince the general
public that they should buy Betsys artwork in order
to improve her living conditions. How will you mar-
ket her work? How will you convince people that
Betsy is an artist?
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61
Why & How to Teach Art
When You Dont Have Time
Dont think you have time to teach art? Try some
of the following lessons, designed to be taught in
10-15 minutes. Not only will your students learn
art, theyll also get a refreshing change of pace as
well as learn transferable skills that will improve
their overall performance and refine the
quality of their lives.
62
63
Why & How to Teach That
Art is a Kind of Thinking
Elementary Level
by Joseph Germaine
Some Quick but Significant Lessons
Hand, Chair, Self Portrait, Abstract Feelings
Objective: Students will demonstrate an un-
derstanding of different ways to get the image in
your mind before you start drawing by rendering
(without specific drawing instruction) an image
from a live subject, from memory, from imagina-
tion and from emotional feelings.
State Core Links: These lessons are naturally
about the elements line and shape as well as
about the principle proportion, but they also can
be tied to other specific elements and principles
the class is studying.
Materials: pencil, paper, and insight
Activity: This unit is made up of four different
short lessons on how to get the idea (mental im-
age) to draw or paint or sculpt in art. This same
approach could also be applied to dance, music
or drama. To conserve space and time we will in-
clude all four lessons in one, but you should break
them up to fit into your own curriculum schedule.
Sometimes, in our busy schedule, there is a short
window in which a quick drawing exercise can be
inserted. These are quick lessons both in their
introduction by the teacher and in their execution
by the students.
The four sources of images for artist that we will
focus on are: 1) from life, 2) from memory, 3) from
imagination and 4) from emotions or feelings. We
will match the four sources of ideas with the four
motifs available in visual art: portrait, still life,
landscape, and design. We define design as lines,
shapes, values, colors, and textures that dont
make a picture of something else.
DRAWING FROM LIFE: (hand portrait) State
Core: Standard 1(making) Objective 1 b. Observe
objects in detail and portray them with greater
accuracy.
James M. Rees, Positon
permission of the artst
64
The first is a kind of figure drawing. We will use
a live nude model to practice looking to see. Our
live model will be our own hand. We do this as
an exercise rather than an in-depth project. Tell
the students to hold up their hand and create a
gesture and then to look at your hand until you
can see it. When you can see your hand, draw
what you see. Notice that we didnt say, draw
your hand. This is an exercise in looking to see
to develop the students abilities of observation,
which are important skills in visual art. With-
out any other instruction, have students draw
what they see. Suggest that students look care-
fully with their eyes to see with their mind. See-
ing means to understand. Most young students
will draw an outline of their hand that looks
somewhat like a glove, so before you start, have
students hold up their hands and see if there is
a black line around their hand. There isnt. Let
each student invent his or her own solution to
this problematic conundrum. This is a quick
exercise that should not take more than about 15
minutes. When the drawings are finished, have
students pair up to evaluate their drawings. Ask
if their partners can see anything in the hand
that was left out of the drawing. Give students a
chance to make any additions. Later we can take
our time and work on a finished work of art in
drawing, charcoal, watercolor, paint, or clay sculp-
ture that uses the live-modeled hand.
A Nice Place to Think, by Kaden, 5th Grade
Everything is OK, hand portrait by Kaizah,
5th grade
Which Way? hand portrait by Mat, 5th Grade
65
DRAWING FROM MEMORY: (chair still life) State
Core: Standard 1 (making) Objective 1 a. Differ-
entiate between foreground, middle ground and
background in the production of artwork.
Have students think of their homes. Have them
think of a chair in their houses. Choose just one
chair. Remember how it looks. Remind students
that a chair occupies space; this means that one
side is closer to you than the other. Also remind
students that the chair must be somewhere
rather than just floating in space. Now have stu-
dents draw from memory a specific chair. To put
it in a place, all one has to do is put a horizon line
behind it. Not under it. Remind students that if
an object occupies space it must also have shad-
ows and cast shadows of some sort. Remember
the shadows. When the chair is completed (just
take a few minutes) have students team up and
describe the chair to each other and tell the class
where they remember the chair from. Let other
students critique the work and give each student
time to make adjustments. Remember that if you
draw lightly, you can make lots of changes with-
out erasing.
DRAWING FROM IMAGINATION: (imaginary
landscape) State Core: Standard 2 (perceiving)
Objective 2 Create works of art using elements
and principles.
Have students think of a place they have never
been. This could be a place they have heard about
but never seen in pictures or movies or on TV.
This could be a place they have read about but
not seen pictures of. This could be a place they
totally made up in their dreams, daydreams, or
just in their mind, but have never actually seen.
An Old Folding Chair from Church, by Isaiah,
5th grade
My Inner Brain Landscape
imaginary landscape by Zac, 5th grade
On the Moon
imaginary landscape by Jake, 5th grade
66
This should be an outdoor place so it will be a
landscape. Without instructing students in the
elements of landscape and near and far, have
students do a quick drawing of the place they
imagine. When the drawing is finished have stu-
dents choose partners and tell the partner about
the place they imagine. Give them a chance to
change the drawing after they have talked about
it. Did their imaginary place become more clearly
imagined after talking about it?
DRAWING FROM EMOTIONS OR FEELINGS: (ab-
stract design) State Core: Standard 3 (expressing)
Objective 1. b. Explore the meanings in nonrepre-
sentational art.
There are two separate exercises that can be
done with the idea of drawing from a feeling.
The first is to think of a feeling like excited, sur-
prised, curious, confused, tired, anxious, irritated,
pleased, gratified, and so on, but not happy, sad,
and mad. When you have decided on a feeling,
write it down and then use a pencil or a black pen
to draw lines, shapes, values, and textures that
remind you of the feeling you chose. This should
be a composition design of the feeling not just one
shape or one line. When finished, let students
show a partner how the separate parts of the de-
sign come together to represent a feeling.
Science Land
imaginary landscape by Carter, 5th grade
The other way to do this exercise is to have
students draw a picture of the only person in
the world they can never look at. This would
be themselves. By the way, this idea intrigues
students. But it is true; we can never look at
ourselves. We can see mirrors and pictures but
neither is actually oneself. Therefore, the im-
age we draw is of how we feel that we look. Give
students about 15 minuets and then have them
discuss their work with a neighbor.
Notice that we do a lot of discussing and visiting
with friends and neighbors. Art is a social phe-
nomenon and should be carried on in the midst of
a dialogue. It might even be a good description of
visual art, A VISUAL DIALOGUE.
Assessment: These projects are designed to
be quick studies and exercises and should be
self- assessing. The discussion described in each
exercise might be the most important part. If you
want to grade these projects it should be yes or
no, students either engaged or they didnt.
Confused
Abstract feelings by Maddie, 5th grade
67
Variations: Obviously other subject matter could
be assigned or chosen and other mediums could
be used, but the important thing is to learn about
more than one source to get ideas in your head.
Other variations can be to turn these lessons into
longer, more finished exhibition-quality work.
Extensions: These lessons are designed to be
quick and not labor intensive, but of course some
students will push it further. I let them save this
kind of project to work on between projects when
they are waiting for the next one. Notice that
these are all done in value rendering because
they are designed as drawing lessons. They can
be drawn with pencil or pen. To extend these
lessons, have students apply color. Have stu-
dents work in colored pencil or watercolor or
colored ballpoint pens. Dont overlook colored
ballpoint pen as an interesting medium. I am not
recommending marker pens or crayon. These
are difficult and awkward art mediums. That is
the reason so few famous artists chose crayon or
marker pens as their medium of choice. There is
a wonderful felt tip pen made by Prismacolor, but
it is still difficult in these projects.
Hypnotzing
abstract feelings by Connor, 5th grade
Shocked abstract feelings by Kylee, 5th grade
68
Energetc abstract feelings by Megan, 5th grade Excited abstract feelings by Jayden, 5th grade
69
Elementary Level
by Joseph Germaine
Contour drawing with texture
Objective: Students will demonstrate an under-
standing of blind contour drawing and texture
fills by making a blind contour drawing of a class-
mate and then finding interesting shapes in it to
fill in with invented textures.
State Core Links: State Core: Standard 2 (per-
ceiving) Objective 2.a. Use contour lines to indi-
cate the form of objects. Rainbow Chart, use the
first examples in the violet, blue, and green col-
umns for 5th grade. The first examples in Iden-
tify, Experience Explore, Contextualize Build
Skills, Practice are all blind contour drawings.
See also the 3rd grade Rainbow Chart, top of the
violet, blue and green columns, lessons on inside
and outside edges and contours.
Materials: ball point pens and paper
Sources: A must for all drawing students: The
Natural Way To Draw, (1941 by Kimon Nicolaides
or if you cant find it, try Drawing On The Right
Side Of The Brain, by Betty Edwards.
Activity: This lesson is generally done in two
parts. The contour drawing is one part and the
texture fill is another. The blind contour is a fun
and quick lesson that we do very often to fill in
small gaps of time. Have students use a black
ballpoint pen. Without looking at their paper,
have them draw the contours they can find in
their neighbors face. Contours are edges. They
can be around the outside edge of the face or
around the inside edges of the eyes, nose, and
mouth, and edges can be found as wrinkles and
folds and as the edge of shadows and highlights.
There are always shadows on the human face
even if they are hard to find. Use your eyes to
trace the contour edges and make your pen follow
on paper, what your eyes are seeing. If you can
see it, you can draw it. The easiest way to im-
prove your drawing skills is to improve your see-
ing skills. Make the drawing large. Fill the paper.
The second quick lesson here is to take the fin-
ished contour drawing and find interesting spaces
to color in or fill in with textures. There is an in-
teresting charm about blind contours because one
must let go of the need to control and just flow
with the process. As a result these almost-cubist,
relaxed drawings have a wonderfully lyrical qual-
ity. By carefully thinking about the shapes one
Why & How to Teach
Blind Contour Drawing
Profle view of Mr. Germaine by Va, 5th grade
70
has inadvertently made and filling them in with
invented textures or color or both, the students
will create very appealing finished products. I
have found it to be one of my students favorite
projects. Make sure they give credit to their mod-
el by having the name on the work. They should
also sign their own name as the artist.
These are two very quick and easy projects that
can be repeated many times without getting
students rebelliously bored. These projects can
also be worked on while other class members are
working on major projects because they take very
little instruction and even less repeated instruc-
tion. Students will get good practice in learning
to see what they are looking at and become in-
timately familiar with the construction and fea-
tures of the human face. Let students go with this
one and be inventive. You might be surprised.
Assessment: The reward or punishment in this
project is the project itself. The fun of doing it is
the reward and the regret for not doing it is the
punishment. By 5th grade, students should be
71
quite adept at self-evaluation and since this is an
often-repeated project ,each student has a win-
dow of improvement available.
Extensions: To change this lesson from blind
contour drawing, let students look. Warn them
that every time they take their eye off of the
model they lose the flow of the line. The beauty
of blind contours is the lyrical flow of the unob-
served line. The not so blind contour drawing
takes the pressure off but helps students avoid
focusing on the line they are drawing rather than
focusing on the line in their model that they are
observing and trying to identify and understand.
Extend this project by having students not do
a frontal face contour. Try profile, view, and
looking up and looking down.
Another extension to this lesson is to have stu-
dents tape a ruler to the end of a sharpie or
marker pen and then to do a quick contour draw-
ing while standing up. This whole effort is to get
students to loosen up. Have students hold the
far end of the ruler so they cannot exercise any
control. The lines will immediately become more
fluid and evocative.
Variations: The blind contour can be done with
other models than the human face. Have students
tape down their paper and do a blind contour of
their other hand. Try having students do quick
blind contours of the objects on their desk or of
a prepared still life. Variations of this project can
be done in black and white or complementary
colors or textures. This project can also be done
in timed (5 or 2 or 1 minute) quarter-page win-
dows. We call the quarter-page windows, think-
ing spaces. Another way to use the blind contour
exercise is to photocopy an interesting blind
contour and then print it four times on a single
sheet and each drawing can be decorated differ-
ently. This can be somewhat reminiscent of Andy
Warhols four image pop art. Also try printing
on watercolor paper and have students use dif-
ferent color theory schemes to paint the works.
Possible color schemes could be warm colors,
view of Emily by Jessica, 5th grade
Profle/3/4 view of Dustyn by Spencer, 5th grade
72
cool colors, neutral colors, primary or secondary
or intermediate colors, complementary colors,
monochromatic colors, or analogous colors. Look
up wikipedia.com color theory.
view of Mr. Germaine by Tanner, 5th grade
73
Why & How to Teach
Hand Design
Elementary Level
by Joseph Germaine
Objective: Students will demonstrate an under-
standing of fore ground and back ground (interior
and exterior) by tracing an image of their hand
and decoration the interior of the hand.
State Core Links: 5th grade Rainbow Chart: Ele-
ments of Art, page 4, Implied Texture, also Unity
on page 2. 3rd grade Rainbow Chart: Elements of
Art, page 1 Contour line, Line design, Organic line,
Structural line and Repetition. Also in the Blue
column page 1 (Explore and contextualize), cre-
ate line designs showing overlapping, depth and
proportion.
Materials: Ballpoint pens, paper and hands.
Sources: Use a number of cultural design books
for ideas.
Activity: This is designed to be a filler lesson for
students who finish other projects quickly. Have
students trace around their hand and arm on a
piece of paper using a black ballpoint pen. Make
sure they are not just tracing an unattached hand
floating in the middle of the paper. Help students
find an interesting gesture for the hand and an
interesting place for the arm and hand. Students
should slow down and take a whole 5 seconds to
trace their hand. If students are not reminded
they will rapidly trace a loose contour of their
hand that ends up looking like five hot dogs at-
tached to a hamburger. They will do the hand
symbol rather that a hand. Let the arm run off the
paper. A border is optional.
After getting the hand and arm on the page, it is
time to decorate the interior of the hand form. I
use colored ballpoint pens, red, blue, and black.
Show students that a red circle drawn on white
paper is actually a white circle unless you color
it in. A line around a shape does not color the
shape, so students must take the time to color
in the shapes and designs. We define design as:
Lines, Shapes, Values, Colors, and Textures that
dont make a picture of something else.
This is supposed to be a quick lesson to fit in-be-
tween longer, more aggressive lessons. Some stu-
dents will spend a millisecond on this project and
want to do something else. This is a good project
for that because it is easy to find something else
for the student to do. I tell them, If you ask me if
you are finished, that is the evidence that you are
not, and I will always find something else for you
to do. If your artwork is truly finished then you
will know it.
Extensions: Try using more than one hand trac-
ing. Maybe have students use a neighbors hand
and each of the students decorates one hand.
Maybe they could use more than two hands. Use
a highly decorated border, or put a geometric
shape like a circle or square around and behind
the hand. This is a good lesson for very young
students to learn about overlapping.
Variations: Have students choose a cultural
tradition in design. I recommend Oceania (try
finding Fijian designs), African, Native American,
Australian Aborigines, Celtic, and Arabic tradi-
tional designs. There are many, many sources
online and a lot of inexpensive paperback books.
Try the ones with the CD-Rom to print out cop-
74
ies for students to work from. You can also have
students decorate their hand using specific stylis-
tic design motifs such as Art Nouveau, Art Deco,
Pointillism or artists such as Joan Miro, Paul Klee,
Gustav Klimt, Henri Matisse, or Jackson Pollock.
Celtc Knot hand design by Grace, 5th grade
Itchy Nails hand design by Bronson 4th grade
75
Secondary Version: As the following examples show, a similar lesson can be done by students of any
age.
These three drawings are by students from the Gospel High School, Suva, Fiji; teacher, Lisa Mills.
Honeybee Creatons
76
77
Why & How to Teach Monogram
Elementary Level
by Joseph Germaine
Objective: Students will demonstrate an under-
standing of Unity in composition and design
by creating a well-composed design using their
initials or the letters of their name.
Materials: Pencil, pen, paper, and a name
Activity: Show students some examples of Mono-
gram by famous artists and former students.
Have students do four fast designs, one with one
letter, one with initials of their whole name, one
with all the letters of their name, and one with
a pattern made up a single letter or initials or
whole name.
This is the lesson. We call it a thinking lesson or
an exercise. It seldom takes more than 15 min-
utes for everyone to get the four ideas quickly and
loosely drawn. It is also ok to limit students to 15
minuets by the clock. For some students the time
limitation causes mental stasis and anxiety while
for other students an open-ended project encour-
ages lack of focus. Make adjustments.
Assessment: Have students pick the best one
of their ideas and present it to their work group
or to the class. Students can explain their idea
and why they like it. For teacher assessment,
assess this on four-part scale. Give credit for as
many ideas that get recorded out of the four basic
concepts. Remember there is another side to the
paper ,and students may invent completely differ-
ent ways of creating monograms. Give them the
room and the credit.
Extensions: After students have created an idea
of a monogram, you can extend this lesson and
have the students complete a finished monogram
project. Try using it for the cover of their port-
folio. A Monogram is a kind of abstract self-por-
trait.
Albrecht Durers Monogram, from Young
Hare htp://upload.wikimedia.org/wikipedia/
commons/f/f4/Durer_Young_Hare.jpg
Monogram by Va, 5th grade
78
Variations: Students can create monograms
(one design) out of a word or words. Try design-
ing a monogram of the word monogram or
design or art.

Monogram by Mat, 5th grade.
Sometmes the monogram can be very elaborate.
Becca, 5th grade
Sometmes the monogram can be simple with one
leter. Paige, 5th grade.
Sometmes a monogram can be of the whole word.
This is the poster we use when we do
our monogram exhibiton.
79
Why & How to Teach Value
Landscapes
Elementary Level
by Joseph Germaine
Objective: Students will demonstrate an under-
standing of the overlapping nature of the out-
door scenic landscapes by producing a generic
landscape with at least 4 overlapping geographic
features.
State Core: Third grade Rainbow Chart: page 2
Elements of Art, Texture and page 1 Elements of
Art, Contour line, Line design, Organic line, Struc-
tural line, and Repetition line. 5th grade Rainbow
Chart: page 5 Elements of Art, Implied Textures
and page 4 Elements of Art, Value (shading) using
pen & ink techniques.
Materials: Use either black ballpoint pens or
black medium-tip felt pens.
Sources: Creating Textured Landscapes With Pen
and Ink, by Claudia Nice; Andrea Cochran: Land-
scapes, by Mary Myers; Landscape Meditations,
by Elizabeth Mowry;
Any and or all landscape photographs from old
calendars.
Activity: Have a folder of photographic land-
scapes (from calendars) at each workstation. Edit
the photos ahead of time to see that they have the
overlapping features this project requires. Stu-
dents should look through these images briefly to
see how the landscape falls away into the distance
visually by using the technique of overlapping
spaces. Collect the photo images so students have
to work from memory and imagination. To help
students in their thinking suggest at least four
habitats to choose from. Habitats might include
Deserts, Mountains, Plains, or Sea Shores. Of
course there are many others to choose.
Students should then draw the silhouette of the
landscape features such as ridgelines, mountain
profiles, rolling hills, and rocky outcroppings.
Students should then choose a value and a tex-
ture to fill in the shape of the feature. Notice we
are not asking for any detail, just the overlapping
landscape features. Textures can include parallel
lines of various qualities and any other textural
device the student can invent.
Assessment: Criteria for completion: four reced-
ing landscape features, four different texture solu-
tions, four different values of light and dark, and
filling the whole space.
Extensions: This project could be preceded with
a short lesson on inventing textures or filling out
Gary E. Smith, Point of the Mountain (1973)
Springville Museum of Art
80
value scales. After this project is complete, color
can be added with colored pencils or watercolor.
Some good lessons on color theory could work
here.
Variations: This project could be done with still
life objects or simple abstract shapes.
These are teacher-produced examples. It is always
good to do the project with your students and to
show them what you are doing.
Remember that texture is about rough and smooth.
No texture is the ultmate smooth texture and no
value is the ultmate light value.
These examples were done with Sharpie felt tp
pens.

These are examples of textures that create diferent
values.
The following four images are handouts I use to get
students thinking, not to copy.
81
.
These examples are from a project called Invent a
Texture.
Drawing below,
Islands value landscape by Nathan, 5th grade
82
Sunrise value landscape by Tanya, 3rd grade.
The Wasatch Mountains value landscape by Nick, 5th grade.
More student
examples:
83
Why & How to Teach Art History
Art History Spotlights
We should be as eager for its [arts] companion-
ship as we are eager for chairs to sit upon or for
food to sustain our lives, for it has as important a
mission in shaping our character and in conduc-
ing to our happiness as anything that we term
necessities. John Hafen
Art History Spotlights: The idea for these les-
sons came from a request for some art lessons
that could be done in short time segments. The
lesson materials contain information about the
artist and the artists artworks, copies of pho-
tographs that relate to the artist, and images of
each of the artists artworks. The idea is that the
teacher makes a brief presentation about the art-
ist, then class or each student writes a summary
of important/interesting facts about the artist,
and then the materials are used to create a bul-
letin board. Even though the initial presentation
is brief, the summary and visual images will serve
to remind the students over the time the bulletin
board is left up. The teacher can also review parts
of the information with the class over the next
few days. Using this process, teachers can help
students develop a store of knowledge about indi-
vidual artists and about art in general.
A suggestion for a simple (but optional) produc-
tion assignment is included for each artist.
Objectives: Students will learn about important
Utah artists through short presentations, infor-
mation on bulletin boards, and by writing a class
or individual summary of the facts.
Optional Objective: Students will increase their
understanding of a Utah artist by creating an art-
work that relates to the artists own work.
Literacy: Students will practice summarizing and
writing complete sentences. (You may add what-
ever additional writing skills the class is presently
working on.)
Utah State Visual Arts Rainbow chart: Use
specific objectives from the Analyze & Integrate
section (yellow) for the art history sections. The
art production can be targeted at any specific ele-
ment or principle section (white).
Lee Bennion in her studio
photograph used by permission
84
Materials:
Information on one of the listed artists (The post-
er backs for the 4 artists are included at the end
of the lesson. A few additional bits are included in
the lesson sections.
A poster or reproduction of 1 or more artworks
by the artist (all the artists are included in the
SMA Elementary Poster Set)
Images from the CD about that artist
Large piece of writing paper, or individual pieces
for each student and pencils
Anything else that will help create an interesting
bulletin board display
Artists:
Lee Udall Bennion, Snow Queen: Portrait of Adah
Cyrus E. Dallin, Paul Revere, Portrait of John
Hancock, Dallin w/ Massasoit, Sacajawea
Louise Farnsworth, Capitol from North Salt Lake
John Hafen, The Mountain Stream

A variety of images are included for each artist:
choose whichever ones you think will be most
interesting to your students.
Lee Udall Bennion
Images:
Lee Bennion Photograph
Lee and Joe Bennion Rafting
Artworks:
First Love
Horses
Joe at his wheel
Self at 51
Self in Studio
Sketch of a Boy
Snow Queen
Additional Info:
Loves riding horsescurrently has two
Goes rafting with her husband and daughters
Paints mostly people but also animals and some
landscapes
Has an Expressionist style
Paints people and things she cares about
Art Production: Make a portrait of someone you
care about, which expresses something about the
person.
Cyrus E. Dallin
Images
--young Cyrus E.
Dallin
-Side view photo of
Cyrus E. Dallin
-Lee Greene
Richards oil sketch
of Dallin
-Lee Greene
Richards Portrait
of Dallin
Cyrus E. Dallin
Elementary School
A very large photo of the Cyrus E. Dallin Museum
is available at http://www.panoramio.com/pho-
to/3074928
Dallins Artworks:
Appeal to the Great
Spirit
John Hancock
Massasoit
Dallin with
Massasoit
The Statue of
Moroni
Paul Revere two
versions)
Sacajewea
Olympic Bowman
League, National
Archery Association
Additional interesting information:
Cyrus Dallin has an elementary school named
after him.
Dallin has his own museum in addition to lots of
public monuments and many works owned by the
Springville Musuem of Art
At the 1904 Summer Olympics in St. Louis, Mis-
souri, Dallin competed in archery, winning the
85
bronze medal in the team competition. He fin-
ished ninth in the Double American round and
12th in the Double York round.
Art Production: Make a clay sculpture of an ani-
mal or a persons head
Louise Richards Farnsworth
Photograph
Lee Greene Richards
(her cousin) painting
of her
Artworks:
Capitol From North
Salt Lake
Hay Stacks
Mountain Landscape
Springtime
Storm Clouds in the
Tetons
Art Production: Make a landscape using comple-
mentary colors
John Hafen
Images:
Photograph of John and Thora Hafen
John Hafen in his painting studio
John Hafen painting in a field
John Hafen postcard
Hafen Quote
Images of artworks:
Indian Summer
Hollyhocks
Springville, My Mountain Home
Sketch of the Valley
Springville Pasture
Charles Smiths portrait of Hafen
Mahonri Youngs portrait of Hafen
Art Production: Make a painting of a place you
love using paint, colored pencils, or crayons.
Assessment: For younger students, assess the
overall understanding and learning of the class
about the individual artists by asking who, what,
and when questions as well as questions about
the students reactions to the information and to
the artworks. You may wish to choose a few art
terms to learn for each artist such as oil painting,
pastel, sketch, etc. as well as terms such as Im-
pressionist, Expressionist. When most or all of the
class seems to understand at an appropriate level,
move on to another artist.
86
If you wish to use more specific assessments, see
the lesson on assessing art in this packet.
If you choose to complete the art production part
of the lessons, set up criteria as shown in the les-
son on assessing art.
The Artist
Lee Udall Bennion (1956- ) Spring City, Utah
Born March 17, 1956, in Merced California,
Lee Bennion moved to Utah in 1974 to study
art at Brigham Young University. In 1976, she
married ceramicist Joseph Bennion and moved
to the rural setting of Spring City in Sanpete
County, Utah. Today she has three daughters
and is energetically involved in both church and
community activities in the family-oriented life of
Spring City.
In 1983, Lee returned to Brigham Young
University where she earned a Master of Fine Arts
in painting. She has received numerous honors
and awards from the Art Community, is a frequent
participant in presentations and workshops
for artists and educators, and has been the
featured subject of several articles in national art
publications, including Southwest Art.
Poster Backs for the four artists
Lees commitment to family is reflected in the
subject matter of many of her paintings. Her
husband Joe believes the objects Lee sees with
her eyes are transferred as visual information
through the conduit of her soul. Lee Bennions
distinctive style, with its pensive, elongated
figures, is not so much portraiture as her own
special harmony between subject, emotional
atmosphere, and viewer. She says of her work,
Although I primarily paint the figure,
portraiture is not my main concern. My
painting deals with form, color, and feelings
foremost. Often a likeness of my model is
also found in my paintings, and I enjoy this
when it happens. My figures are often slightly
distorted, never quite perfect, but hopefully
still reflect the warmth and goodness that I feel
exists within them. I am most pleased when
these feelings reach the viewer, and some
kind of dialogue occurs that goes beyond the
recognition of the subject.
LEE UDALL BENNION (1956- ) Spring City
Snow Queen: Portrait of Adah 1992
oil on canvas, 48" x 36" (121.9 x 91.4 cm)
Gift from Eric Laurentsen, Arizona 1995.061
The Art
Redheaded Adah Bennion, the youngest of three
children of Joseph and Lee Bennion of Spring City,
87
is often the subject of her mothers paintings.
This picture depicts the six year old in her
pajamas standing in a window casement, with
cutout paper snowflakes on the glass panes. In
her left hand, Adah holds a troll doll, her hand
covering its face. All the viewer sees is the dolls
legs and bright red-orange hair.
Typical of Lee Bennions work is the composition
which concentrates upon the essential
componentsin this case, the window and
figure. Another feature of Bennions work is the
elongated figure, whose position she arranges to
create an effective design. In this oil painting we
see Adah gazing impishly at the viewer, while her
pink-stockinged foot is wedged on the side of the
window casing.
Although a bright, engaging portrait of her
daughter, this painting, like Bennions other work,
has layers of meaning and references. There is a
visual play on words in the paper snowflakes on
the inside of the window and the real snowflakes
outside. The troll doll is a reference to time and
a tie to Lees own childhood, when the dolls were
first popular. Bennion also says that at the time
of the painting, when Adah was young, Lees life
primarily revolved around her family and home,
and she was inside much of the time. Thus,
subconsciously, she painted the interior scene to
represent her life, and the window to represent
the future changes and possibilities.
As with most of Lees work, Snow Queens
subject looks out at the viewer with an unusually
direct gaze, not only conveying Adahs personality,
but also allowing Lee, as the painter, to engage the
viewer through that gaze.
Cyrus E. Dallin
Paul Revere, Portrait of John Hancock,
Massasoit, and Sacajawea
The Artist Cyrus E. Dallin (1861 -1944)
Springville, Utah
A Romantic-Realist, Cyrus Dallin was born in
Springville, Utah, in 1861. Two circumstances
of his early life in the western wilderness
profoundly influenced him; the proximity of the
log cabin where he was born to the lofty Wasatch
Mountains and his familiarity with the Indians
in their native haunts. The first awakened and
fostered in him a love for the magnificence of
form; the second furnished him with an unfailing
source of material for his creative work.
At the age of 18, Dallin traveled to Boston to begin
his art studies. In 1888, he went to Paris, where
he remained until 1890, studying at the Ecole
des Beaux Arts and at the Acadmie Julian under
Henri Chapu. In 1890, Dallin returned to America
and moved to Massachusetts. He remained in the
East for the rest of his life, returning to Utah only
for short visits.
In 1883, Dallin began work on a model of a
statue of Paul Revere which he submitted to
a competition for a commission to produce a
monumental statue of Paul Revere, for downtown
Boston. Though Dallin won the competition,
he had to create five different models before
88
the Commission approved the final version in
1899. It took another 40 years to get the bronze
monument erected on the Paul Revere Mall near
Old North Church.
Native Americans provided the subject matter for
many of Cyrus Dallins statues such as Massasoit
(1920) and Sacajawea (1915). He also is well
known for his portrait statues such as Portrait of
John Hancock (1896).
Cyrus Dallin received many medals and honors
both in America and in Europe. Among his many
awards are a gold medal from the American Art
Association of New York in 1888, a first class
medal in 1903 from the Chicago Exposition, and
a gold medal in 1904 at the St. Louis Exposition.
In 1909 he received a gold medal from the Paris
Salon, an honor, which until then, had been
conferred on only six American sculptors.
In 1943, at the age of 82, Dallin died at his home
in Arlington Heights, Massachusetts. The sculptor
is often remembered for the words he spoke on
his final trip west in 1942, I have received two
college degrees . . . besides medals galore, but my
greatest honor of all is that I came from Utah.
The Art
CYRUS EDWIN DALLIN (1861-1944) Springville
Paul Revere 1899
bronze, 37" x 32-5/8" x 18-1/8" (94 x 83.8 x 46
cm)
Gift from Utah American Revolution Bicentennial
Comm. 1976.002
Portrait of John Hancock 1896
bronze, 32-3/4" x 13-1/8" x 9-1/2" (83.4 x 33.2 x
24.0 cm)
Gift from Utah American Revolution Bicentennial
Comm. 1976.003
Photo of Cyrus E. Dallin with Massasoit 1920
bronze 9-1/2 high
Sacajawea 1915
bronze, 36-3/4" x 11-1/2" x 22" (93.4 x 29.1 x
55.0 cm)
Gift from the 1941 Springville Seventh Grade, by
exchange 1995.009
Cyrus E. Dallin usually sculpted two types of
subjects: Epic of the Indian and Patriotic
Heros. The four statues depicted in this poster
show two of each kind. Dallins ability to portray
horse and rider is displayed at its best in his
piece Paul Revere (1899). Here Dallin shows
the silversmith from Boston riding at breakneck
speed to warn his countrymen that the British
are coming!
In Portrait of John Hancock (1896), the first signer
of the Declaration of Independence, the figure is
depicted standing with a crow-quill pen in one
hand and the Declaration in the other. The artist
has represented Hancock as a valiant leader at the
very moment of signing one of the worlds most
famous documents.
In the photo of Massasoit (1920), the artist can
be seen sculpting the clay model for this famous
statue, which was cast in bronze and placed near
Plymouth Rock in Massachusetts. Massasoit
was a Native American who befriended the
Pilgrim settlers upon their arrival in the New
World. Unlike painted portraits, where the
subject is almost never larger than life, in outdoor
monuments, sculpture is necessarily heroic in
scale.
89
Dallins Sacajawea (1915) nobly depicts the
Native American guide of the Lewis and Clark
Expedition, pointing the direction they should
go. She is seen both as a brave and strong leader
of her people and as a mother. Sacajawea carries
her child, Pomp, in a cradleboard on her back.
The tender babys chubby cheeks sag as he
sleeps, adding a sense of realism to an otherwise
idealized representation.
Louise Richards Farnsworth, Capitol from
North Salt Lake
The Artist
Louise Richards Farnsworth (1878-1969) Salt
Lake City, Utah
Utah native Louise R. Farnsworth was born in
1878 to Joseph and Louise Richards. She grew
up in Salt Lake City, Utah, but received much
of her artistic training in Paris and at the Art
Students League in New York. Her cousin, Utah
artist Lee Greene Richards, also greatly influenced
Farnsworths artistic development through his
use of bright color and loose, free application of
paint.
A Figurative-Expressionist, Farnsworths own
investigation of brilliant, fauvist color brought
her significant success in Paris, where her work
was admitted into the Paris Salon. This honor,
while prestigious in the International Art World,
did not assure her success in Utah. In fact, in her
native state, she met with less than overwhelming
appreciation. One of the possible reasons for
this negative reception is that in Utah and much
of the United States, art was generally viewed as
a mans territory. It was quite uncommon for a
woman from Utah to study art at all, let alone for
her to travel to Paris to do so.
Additionally, Farnsworth took a non-traditional
approach to painting. She portrayed Utah
landscapes in a passionate, bright, and
expressionistic way gleaned from her studies in
Paris. This unique approach was a surprise to
many of her fellow Utahns.
Farnsworth never put on a major exhibition in
Utah, nor did she associate with any other Utah
artists with the exception of her cousin, Lee
Greene Richards. She found more acceptance
in New York, where she put on her first solo
exhibition in 1934 at the Montross Gallery, with
a second solo exhibition following at the same
gallery in 1938.
Louise Farnsworth died in 1969, an expatriate of
her native state but a pioneer in color and style .
LOUISE RICHARDS FARNSWORTH (1878-1969)
SLC
Capitol from North Salt Lake 1935
oil on canvas, 15" x 22" (38.3 x 56.1 cm)
Gift from Lund-Wassmer Collection 1986.134
The Art
Farnsworth was a cousin and pupil of the noted
landscape and portrait painter, Lee Greene
90
Richards, of Salt Lake City. Farnsworth and
Mabel Frazer were Utahs first female Modern
artists. Having studied both in New York and
Paris, Farnsworth developed a fauvist approach:
pure, bold colors, combined with simple handling,
which resulted in rough brushstrokes, thick
outlines, and a loose application of paint. These
characteristics establish her as a Modern artist.
The raw color of her vivid landscapes is applied in
aggresive but rhythmic brushstrokes, which lend
themselves to an expressionistic focus on emotion
and a depiction of the landscape of her inner self.
Capitol from North Salt Lake demonstrates
the artists tendency to utilize two sets of
complimentary colors, blue with orange and
violet with yellow. We see the capitol building
and Salt Lake skyline in silhouette against a
foreground of industrial buildings, rail yards,
and smokestacks, with the Wasatch Mountains
as background. Together they form a powerful
image that defies the small size of the picture
itself.
John Hafen
The Mountain Stream
The Artist John C. Hafen (18561910)
Springville Utah/ Indiana
John Hafen was born in 1856 in Scherzingen,
Switzerland. His family, converts to the LDS faith,
came to the United States when Hafen was six
years old, determined to join the Saints in Utah.
On the way, they spent 12 days in Winter Quar-
ters, Nebraska, and Hafens two-year-old brother
died there. They made the rest of the journey by
ox team. After reaching Utah, the Hafens settled
first in Payson and then after two other moves,
established themselves in Salt Lake City in 1868.
John was very interested in art from a young age
and became one of the youngest and earliest
students at the Twentieth Ward Academy or
Seminary, in Salt Lake City, a school that in-
cluded drawing instruction in its lessons. During
the next ten years, Hafen was taught by George
Ottinger and Dan Weggeland, two early Utah art-
ists who not only became friends with the young
Hafen, but also encouraged him to seek tradition-
al training outside Utah.
In 1881, a group of young artists, including Hafen,
founded the Utah Art Association, which later
became the Utah Art Institute. The Associations
purpose was to produce exhibitions and provide
art instruction. The initial exhibit was the first
time artists in Utah had organized and directed
their own show. Over the next nine years, Hafen
continued to paint and draw and exhibit when
possible, including at George A. Meears Sample
Roomhe was a whisky wholesalerwhere
space was available for local artists to display
their work, free of charge.
In 1890, Hafen helped convince LDS church
authorities to sponsor the French Art Mission,
an opportunity to study at the Acadmie Julian in
Paris. The trip also was made possible for several
other young Utah artistsJ. B. Fairbanks, Lorus
Pratt, and Edwin Evans. The artists studies in
France were subsidized by the LDS church so the
artists could improve their skills and paint mu-
rals and paintings in the LDS temples upon their
return to Utah.
Hafens studies in Paris had a vital impact on his
work; like many other young artists of the time,
he switched his interest from academic studio
work to landscape painting from nature. Espous-
ing his new view, Hafen wrote, Cease to look for
mechanical effect or minute finish, for individual
91
leaves, blades of grass, or aped imitation of things,
but look for smell, for soul, for feeling, for the
beautiful in line and color.
Back in Utah by 1892, Hafen began work on the
murals for the Salt Lake Temple. Although Hafen
did the most work, Pratt, Fairbanks, Evans, and
Dan Weggeland all contributed their Paris-honed
skills.
The next year, the Society of Utah Artists was re-
established with Hafen serving as vice president.
The societys exhibits were well received, with
many people willing to pay the entrance fees. Al-
though Hafens paintings from the middle 1890s
to about 1907 are now considered masterpieces
of Utah art, he wasnt able to support his fast-
growing family on what he made from his work.
Consequently, he held various jobs and at times
received support from the Church in exchange
for paintings and drawings, which now make up
the impressive Hafen collection at the Museum of
Church History and Art in Salt Lake City.
Hafen taught at the Brigham Young Academy and
eventually settled in Springville with his wife
and ten children. Originally, the family lived with
the Myron Crandall Jr. family because the Hafens
couldnt afford to pay rent. Later, Hafen traded
a painting for a hilly section of Crandalls land.
Alberto O. Treganza, a close friend of the Hafens,
designed their home in the Swiss chalet style.
The building was paid for by sales of paintings
and the bartering of paintings to a local doctor
who traded the paintings for work his destitute
patients did on the Hafen home. To cover one
bare cement wall, Hafen painted a mural of hol-
lyhocks and attached it to the wall. After Hafens
death, the canvas was removed, mounted, and
framed and is now owned by the Springville Mu-
seum of Art. The Hafen home in Springville still
stands today.

While in Springville, his interest in art education
led Hafen to donate this painting, The Mountain
Stream, to the Springville High School and to en-
courage other artists (including his friend, Cyrus
Dallin) to donate artwork. This art collection
grew and eventually necessitated a building to
house and display the art: the collection became
the Springville Museum of Art.
Although Hafen made frequent painting and sell-
ing trips across the country, he lived in extreme
poverty until he moved to Indiana late in his life.
There he was accepted into a group of regional
impressionist artists and at last began to achieve
success as an artist, including the award of a
prestigious commission to paint the governors
portrait. He lived in an attractive cottage over-
looking a beautiful valley, surrounded by friends.
However, just as he began to realize his life-long
dream of providing for his family through sales of
his art, Hafen contracted pneumonia and died in
1910.
Ironically, John Hafen is now considered the most
appealing of the early Utah stylists, and was called
Utahs greatest artist by Alice Merrill Horne, an
early Utah art activist. He, of all the early Utah
artists, best communicated the poetic essence of
the local scenes of nature.
The Art
JOHN HAFEN (18561910) Springville Utah/
Indiana
Mountain Stream (1903) oil on canvas, 26 x 23
Gift from the artist
The painting, The Mountain Stream, is typical of
the paintings Horne was referring to. It shows
a wooded glade with a small stream tumbling
92
over stony ridges in miniature waterfalls. The
composition is strong: The white trunks of the
aspen trees in the middleground are set off by
the staccato black markings where limbs have
broken off or died. The light enters above the
trees, highlighting the sharp green grasses and
white flowers, and focusing on the frothy stream
near the center of the painting. The brightness is
balanced and contained by the darker maple tree,
the shaded shrubs, and the shadowed section of
stream in the foreground.
The technique is painterly, with leaves, flowers,
and grasses merely indicated. Instead, Hafen has
created the soul of a picture-perfect spot in the
Utah mountains. As with the best literature, the
painting leaves enough of the detail for the viewer
to fill in that the scene becomes personal, it takes
on the memories or imagination of the viewer.
93
Elementary and Secondary Level
by Diane Asay
Following are some brief
activities that can be used to
integrate visual arts into other
curricular areas. Most of these
ideas are taken from the text
Creating Meaning Through Lit-
erature and the Arts by Claudia
E. Cornett, 2
nd
edition. The
suggested images are from the
Utah State Office of Education
school poster series. Any other
applicable images can be sub-
stituted for these activities.
Science: Step into an Art-
work Tell students to think
like scientists and tell or write
their observations as they
look at a piece of art (e.g., a
landscape). Focus on how the
artwork might have been made
and the content (Creating Meaning, p. 218) Op-
tion: use all five senses in your observations. Sug-
gested images: Sunrise, North Rim Grand Canyon
by M. P. Frazier (Elementary), Lizard Relay by C. B.
Van Kempen (Middle), The Guest by S. Davis (High
School).
Social Studies: Update Art Do a modern-day
version of an artists work, one that reflects the
current time rather than the time in which it was
created. Change the background, objects, or dress
within the work. (Creating Meaning, p. 219) Tell
what changes they would make. Suggested im-
ages: Handcart Pioneers First View of Salt Lake
Valley by C.C.A. Christensen (Elementary), Dream-
ing of Zion by L. G. Richards (Middle), Da Winnah
by M. M. Young (High School).
Language Arts: Talking Art Each writes some-
thing a person in the artwork might be saying on
a speech bubble. Bubbles are displayed around
the art. (Creating Meaning, p. 220). Suggested im-
ages: Entertaining Favorite Ladies II by J. L. Clarke
(Elementary), Twice Told Tales by A. D. Shaw
(Middle), Horse Traders by E. J. Bird (High School)
Carel Brest van Kempen, Lizard Relay: Jaguarundi with Green Iguanas and
Banded Basilisks (1991)
Springville Museum of Art
How to Integrate the Arts in
Other Areas of the Curriculum
94
Math: I Spy Find all the math in any piece
of art. List shapes (geometric or organic),
patterns, types of lines, use of symmetry,
proportions, color mixtures (e.g., one part
red and three parts yellow), depiction of
space or perspective. (Creating Meaning, p.
223). Suggested images: Chelsea VI by D.
P. Olsen (Elementary), Abstract Configura-
tion by R. Jonas (Middle), Over Three Billion
Served by A. B. Darais (High School).
Drama: Storytelling Ask students to create sto-
ries about an artwork or several pieces (e.g., an
abstract work and a landscape). Set up characters,
setting, and a problem for a good story. (Creating
Meaning, p. 394). Suggested images: Chelsea VI
by D. P. Olsen w/Cockscomb, near Teasdale by V. D.
Snow (Elementary), Abstract Configuration by R.
Jonas w/Snow Canyon by R. L. Marshall (Middle),
Symbols of the Orient by C. Harding w/The Guest
by S. Davis (High School)
History: Blind Date Choose two portraits and
dialogue what the conversation might be like on
their blind date. Also establish the setting (e.g.,
where they would go of their date, what would
they eat, what movie might they see, what music
might be playing the background). Also determine
if they would have a second date. Why or why not.
Choosing divergent images makes this assign-
ment more interesting. Suggested images: Facto-
ry Worker by M. M. Young (Elementary), Dreaming
of Zion by L. G. Richards (Middle), I Have a Head-
ache This Big by W. Kimball (High School).
Dance: Art in Motion Show artwork with physi-
cal motion in it. Discuss how motion is shown and
why a particular step is sometimes frozen by
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the artist (e.g., which part of a sneeze would you
depict?) Do as a dance with movements before
and after. Freeze-move-freeze-move-freeze se-
quence. (Creating Meaning, p. 401). Suggested im-
ages: Snow Queen by L. U. Bennion (Elementary),
Dreaming of Zion by L. G. Richards (Middle), Da
Winnah by M. M. Young (High School).
Music: Finding Musical Elements in Art After
teaching the elements of music, use an artwork
to ask students to find these same elements. For
example, folk art and folk music can be compared.
Find rhythm in art, texture, tempo, style aspects,
and dynamics (areas that are louder or softer).
(Creating Meaning, p. 401). Suggested images:
Youthful Games by G. E. Smith (Elementary), Most-
ly Flowers by L. J. Carter (Middle), Storm Spirits on
Horizon #6 by L. A. Miller (High School).
Donald P. Olsen, Chelsea VI (1980)
Springville Museum of Art
95
Once Upon a Teacher: Story Celebration for Classrooms & Beyond
Presented by
Rachel Hedman (801) 870-5799 info@rachelhedman.com www.rachelhedman.com
PO Box 160631 Clearfield, UT 84016
Objectives:
1. Entertain all your sensessight, smell, touch, sound and tastethrough stories
2. Enchant your learners from elementary to high school with the love of literacy
3. Empower yourself with games and activities that are easily adaptable to your curriculum
Questions for You:
Who am I as a Storyteller? Who am I as a Storyteacher?
What kinds of stories do I love?
Where have I told stories for my class? Where would I like to tell stories for my class?
When have I told stories? When do I plan on telling stories?
Why do I tell stories?
How am I different from any other Storyteacher? How do I share stories?
Some Thoughts to Get You Started:
Style--Dramatic, Conversational, Solemn, Didactic, Animated, Intense, Bold, Peaceful, Humorous, Seri-
ous, Natural, Formal, Informal, Stand-up, Sit-down
Use--Props, Musical Instruments, Accents, Juggling, Gestures, Expressions, Voices, Puppets, Song, Po-
etry, Rhyme, Dance, Multimedia, Participation, Chants
Story Types--Folktales, Fairy Tales, Historical, Scary/Ghost Stories, Jump Stories, Personal, Original,
Tall Tales, Trickster Tales, Healing Stories, Creation or Natural Stories, Pourquoi Stories, Quest Stories,
Cowboy Poetry, Impromptu, Fantasy, Spiritual, Wisdom Tales, Fables, Myths, Legends
Places/Groups
Schools (Elementary, Middle & High)
Colleges/Universities
Libraries
Museums
Work/Corporations
Family Reunions
Festivals (Storytelling, Music, etc.)
Prisons
Churches
Why & How to Teach
Storytelling
Hospitals
Nursing Homes
Day Care Centers
Scouts (Cub, Boy & Girl)
Associations
Women Groups
Men Groups
Clubs/Guilds
Shelters
96
Audience Types
Preschoolers
Elementary kids
Middle schoolers
Youth
Teenagers
High schoolers
College students
Higher education students
Young families
Mature families
Young adults
Middle-aged adults
Older adults
Senior citizens
Women
Men
Children
Toddlers
Reserve Rachel as your storyteller today (801) 870-5799 info@rachelhedman.com
2009 Storytelling Adventures with Rachel Hedman, www.rachelhedman.com
97
Storytelling Activities to Easily Adapt to Any Culture:
1. Your House vs. Their House (can also be applied to Neighborhoods)
Take a blank piece of paper and draw your house as if someone tore off the roof and a.
looked inside.
Choose a partner and give a tour of the house. b.
Tell about moments or incidents that happened in different places in the house. c.
After this warm-up, draw a home from another culture or time. For example, an ancient d.
Greek home would share these qualities--
Usually consisted of 2-3 rooms built around open air courtyard i.
Built from stone, wood, or clay bricks ii.
Larger homes had kitchen, bathing room, mens dining room, womens sitting iii.
area
Life centered around courtyard to tell stories, relax, chat, sew, cook iv.
Give your partner a tour of this Greek home as if they lived there. e.
Noun Nonsense 1.
Find a story from another culture and read it to yourself. Upon the second reading of a.
the story, highlight any nouns within the story.
Expand the current story by adding more social, political, geographical, religious, or b.
economical details to the highlighted nouns.
Mixed-Up Mayhem 2.
Set aside a bowl for each of the following categories or create your own: Status, God of a.
Choice, Daily Activity, Place, and Object. Note that these reflect social, political, religious,
geographical and economical areas.
On slips of paper, write a word and place in the appropriate bowl. For a Greek game, b.
here are ideas of what you might put in each bowl
StatusRich, Middle Class, Poor, Slave i.
God of ChoiceZeus, Hera, Athena, Hephaestus, Ares ii.
Daily ActivityFarming, Sailing, Hunting, Wrestling, Attending Wedding, Run- iii.
ning Household, Going to School
PlaceAthens, Sparta, Mediterranean Sea iv.
ObjectLyre, Flute, Petasos (broad-rimmed hat), Metal Headband, Tunic, Hair- v.
pins, Rattle, Little Clay Animals, Yo-yo, Terra-cotta Dolls, Pet Goat, Pet Mice
Pull a paper from each of the bowls. Create individual or group stories that connect c.
each of the items drawn. Be prepared for stories to go in any direction as long as all
words are used.
Sayings in the Pocket 3.
Gather proverbs from the country and/or create sayings that could have been said dur- a.
ing that time period at home, work, school, etc.
Take your copy of these sayings and cut them up so that there is one saying on each slip b.
of paper.
Create the setting for the story by suggesting people, a place, and a crazy problem. Have c.
two or more people act out and create the story from the suggestions. When someone
rings a bell, have one person pull a slip of paper, read the saying, and have the story
twist in another direction.
***Be familiar with what the sayings mean before playing the game.
Tips for Learning and Telling Stories:
1. Choose stories that are tellable--
Find ones with few characters, clear storyline, good first sentence (clear, concise, intriguing),
plenty of action, builds to a climax and conclusion, satisfying ending
98
2. Memorize only the first and last sentences and the sequence of events--
Recalling the story word-for-word sets you up for disaster
3. Envision your characters--
Imagine eye color, hair color, the way they walk, how they dress, their height and weight, the
sound of their voice
4. Loosen your voice and body before you go on stage
5. Pause and take a deep breath before beginning . . .relax
6. Maintain eye contact
7. Continue smoothly with the story even if you flub something--
Dont apologize as chances are that your listeners wont catch the mistake anyway
8. Wait a few moments after you end your story to enjoy applause--
Your audience needs to be released from the story
Learning a Story in Just One Hour:
1. Find a quiet place to read through your story two or three times. Concentrate.
2. Explore your story. Break it into key elements in an outline or a picture storyboard. Note any
words, phrases, chants or refrains that you love.
3. Tell the story to yourself without using the road map of the story. After you tell the story, check
your road map (outline or storyboard) to be sure you didnt leave anything out. Retell the story
including anything you left out.
4. Make the story your own by mixing your style and attitude. Check yourself. . .did you leave any-
thing out?
5. Tell the story by adding details to the character(s) and to the place(s).
6. Tell the tale through again without stopping. Force yourself to improvise if you run into a glitch.
7. Reflect. Where did you need improvement in remembering the story?
8. Relax. You now deserve some chocolate.
99
Storytelling Online Resources:
1. National Storytelling Network
http://www.storynet.org
2. Youth, Educators, and Storytellers Alliance
http://www.yesalliance.org
3. Professional Storyteller social networking site
http://professionalstoryteller.ning.com
4. Storyteller.net
http://www.storyteller.net
5. Utah Storytelling Guild
http://www.utahstorytellingguild.org
Storytelling for your Students:
1. Youth Tall Tale Contest (www.utahstorytellingguild.org)
Students from Kindergarten to High School are invited to create a tall tale that places them or
an imaginary friend as the hero in a pioneer or present day period with references to histori-
cal and exaggerated elements. Performances are held at the Gale Center of History and Culture
in South Jordan. All participants receive certificate though grand prize is a family pass to the
Timpanogos Storytelling Festival among other items. Contact Rachel Hedman at info@rachel-
hedman.com for more details.
2. Timpanogos Storytelling Festival (www.timpfest.org)
The Alpine School District has youth storytelling festivals and units focused on the art. Yet,
any district or class or student is welcome to audition to be one of the 25 youth tellers (chosen
among thousands) featured with the national storytellers on stage.
***Conference/workshops also offer re-certification credit for teachers
3. Weber State University Storytelling Festival (www.weber.edu/storytelling/)
Children from three school districts participate in a variety of storytelling events prior to the
festival. From these events, approximately 70 students are selected to tell stories for the event.
Every session begins with one or two youth tellers. All students are welcome to audition.
4. National Youth Storytelling Showcase (www.nationalyouthstorytellingshowcase.org)
Program involves thousands of youth sending videotapes to state representatives to be judged.
The top five tellers of each state are forwarded to Tennessee where the top 20 youth tellers
are invited to Pigeon Forge to showcase at the Smoky Mountain Storytelling Festival. A grand
torchbearer and a torchbearer for each of the three age groups and the tandem category is cho-
sen. All kids from local, regional, and national levels are winners.
5. Teller-in-Residence Programs (grants available)
Schedule a teller for 1-8-week program on literacy and/or communication skills.
100
Storytelling in Education? YES!
A Statement Concerning the Importance of Storytelling in Education
Presented by The Youth, Educators, and Storytellers Alliance (YES!) August 1, 2006
A Special Interest Group of the National Storytelling Network
Since the human race began, people have told stories to each other, to pass on family lore, values and
beliefs, common history and heritage, to teach factual and conceptual information, to entertain, and to
form bonds of friendship. Amidst the bustle of our visually-oriented, technologically-enhanced, multitasking,
competitive world where we share information through text messaging, sound bytes, cell phones, and disks that
we burn, we need to be reminded of our humanity. We pride ourselves as a nation of doers, but more and more
we find ourselves in the position of observers as we watch others perform in movies, in rock concerts, or on
television.
Storytelling helps students be active not only in presenting but also in focused listening and reacting,
enhancing the vital skills of communication. Storytelling is an ancient art that strengthens and enhances
skills that children need to acquire to function in todays world. As adults, we work in groups, sharing ideas and
building upon them. Students practice the same skills, often working collaboratively in cooperative groups.
In all academic areas, storytelling enlivens the delivery of curriculum, accelerates and enhances cur-
riculum learning, and engages learners. It encourages students to think about issues, and it can also deliver
emotional and factual content beyond a childs vocabulary or reading ability. Storytelling helps students stretch
and expand their thinking. Each state has learning standards that are supported by storytelling and storylisten-
ing. We know that storytelling produces enthusiastic and engaged learners; furthermore, qualitative and quan-
titative research studies show that storytelling can improve academic performance. Through storytelling:
Connections and understandings are formed about and between the past, present, and future
Horizons are broadened
Understanding of and empathy towards other races and cultures is increased
Auditory processing skills and listening skills are supported and practiced
Visualization skills are expanded as children form pictures in their minds
Sensory imaging is heightened as all senses are elicited: tasting, touching, smelling, hearing, and feel-
ing
Order is brought to students worlds through use of thinking skills
Decision-making skills are discerned
Memory is enhanced and attention spans are stretched
Fear of public speaking is reduced
Writing skills are strengthened as students examine the structure of a story
Characters, events, and settings are brought to life
New vocabulary emerges
Cultural literacy is conveyed
Difficult scientific or mathematical concepts are introduced, explained and explored
Students learn core academic skills including math and science as well as language arts skills
Factual and conceptual curriculum material is effectively and efficiently taught
Storytelling is an art, a tool, a device, a gateway to the past and a portal to the future that supports the
present. Our true voices come alive when we share stories. Members of the YES! Alliance, along with other
members of our parent organization, the National Storytelling Network, will continue to bring love of story, the
excitement of storytelling and the practicalities of using storytelling in education, in classrooms and in commu-
nity work, to our fellow educators.
This statement was prepared by the Youth, Educators and Storytellers Alliance of the National Storytell-
ing Network. To learn more about the activities and resources of the YES! Alliance, please visit our website at
http://www.yesalliance.org.
101
marilyn_berrett@byu.edu
No time to teach dance? Want to teach dance but dont know where to start?

Our workshop goal is to help you gain practical knowledge and skill for guiding
children to dance in lively, imaginative and educational ways. This includes learn-
ing about dance and how to teach dance as a traditional and creative art form.
Tonight you will leave with new ways to teach dance in your classrooms.
Why teach dance to your students? o
What is the dance content that children should learn? o
How is dance most effectively taught? o
The Why, What and How to
Teach Dance Workshop
Evening for Educators Packet Contents:
What, How and Why to Teach Dance?
Creative Dance Unit Plan
Creative Dance Foundations Lesson Plan
Zemir Atik Dance Brief
Handouts Given in the November 11 Dance Workshop
List of Dance Resources
Four Universal Learning Principles and Best Practices Packet
Brain Dance
Addtional Lesson Plans
102
The Why, What & How Dance Menu
Why teach dance?:
higher order thinking & problem solving -
personal expression & relevance -
creative, artistic & aesthetic experiences -
culturally enriching -
physically engaging as it builds skill -
connects students to the world -
social skills, team work and cooperation -
arts, language, math and physical literacy -
What to teach?: Creative Dance
How to teach it: o
use ideas modeled on videos like - Dance is B.E.S.T. and Dee Wintertons Moving to
Learn
use expert lessons -
use best teaching practices -
guide movement exploration using dance concepts and language (elements of -
dance)
side coach your students as they move then challenge them with descriptive feed- -
back help them increase skill
use a drum to start and stop action -
use good music like Eric Chappelles - Contrast and Continuum
make it fun, meaningful, expressive and artistic -
connect with students identity and interests -
integrate with other curriculum -
see live performances analyze and discuss -
What to teach?: Folk & Social Dance
How: o
use resources and videos like Laraine Miner, Michael Hambin, Phyllis Weikart & -
Sonna Longden
teach the steps call ahead - say and do -
give context, history, culture etc. -
connect to social studies, other curriculum & life -
see live performances analyze and discuss -
103
DANCE ELEMENTS ARE B.E.S.T. UNIT PLAN
By the end of the 10 lesson dance unit K-6
th
grade students will be able to demonstrate increased dance lit-
eracy; showing understanding and skill in speaking, writing, and moving while using the elements of dance
- body, energy space and time.
WEEK ONE:
Lesson 1. My body and its place in space lay the foundation for dance class expectations and work-
ing rules. The students will demonstrate ability to move fully in self and general space. They will show
understanding of the difference between axial and locomotor movement.

VOCABULARY Self Space, General Space, Axial (bend, stretch, curve, bounce, turn, kick fick etc.)
Locomotor (walk, run, leap, hop, jump, skip, gallop, slide)
Lesson 2. Body as the instrument - understand principles of safe warm-up and skill building of the
body. The students will show understanding of a full body warm-up and strategies that increase movement
skills in dance. They will apply knowledge by creating their own warm-up sequence using principles such
as agility, balance, strength, fexibility or endurance.
VOCABULARY warm-up, agility balance, strength, fexibility, endurance
WEEK TWO:
Lesson 1. Degrees of Energy The students will explore moving with contrasting force such as
strong and light, bound and free, tight and loose.

VOCABULARY strong, light, bound, free, tight, loose
Lesson 2. Qualities of Energy - The students will show understanding of the qualities of energy,
sustain, percussive, suspend, collapse, and vibrate.

VOCABULARY sustain, percussive, suspend, collapse, vibrate
WEEK THREE:
Lesson 1. Shape and Pathway The students will explore shape and pathway, and create sequences
using body shapes that correspond to pathways curve, straight, and zig-zag.

VOCABULARY shape, pathway, curve, straight, zig-zag
Lesson 2. Size and Levels - The students will show understanding of the spatial concepts of size
and level.

VOCABULARY size, level, high, middle, low
WEEK FOUR:
Lesson 1. Speed The students will move in various speeds with clarity and accuracy.
104
DANCE ELEMENTS ARE B.E.S.T. UNIT PLAN
By the end of the 10 lesson dance unit K-6
th
grade students will be able to demonstrate increased
dance literacy; showing understanding and skill in speaking, writing, and moving while using the ele-
ments of dance - body, energy space and time.
WEEK ONE:
Lesson 1. My body and its place in space lay the foundation for dance class expectations and
working rules. The students will demonstrate ability to move fully in self and general space.
They will show understanding of the difference between axial and locomotor movement.

VOCABULARY Self Space, General Space, Axial (bend, stretch, curve, bounce, turn, kick flick etc.)
Locomotor (walk, run, leap, hop, jump, skip, gallop, slide)
Lesson 2. Body as the instrument - understand principles of safe warm-up and skill building
of the body. The students will show understanding of a full body warm-up and strategies that
increase movement skills in dance. They will apply knowledge by creating their own warm-up
sequence using principles such as agility, balance, strength, flexibility or endurance.
VOCABULARY warm-up, agility balance, strength, flexibility, endurance
WEEK TWO:
Lesson 1. Degrees of Energy The students will explore moving with contrasting force such as
strong and light, bound and free, tight and loose.

VOCABULARY strong, light, bound, free, tight, loose
Lesson 2. Qualities of Energy - The students will show understanding of the qualities of
energy, sustain, percussive, suspend, collapse, and vibrate.

VOCABULARY sustain, percussive, suspend, collapse, vibrate
WEEK THREE:
Lesson 1. Shape and Pathway The students will explore shape and pathway, and create
sequences using body shapes that correspond to pathways curve, straight, and zig-zag.

VOCABULARY shape, pathway, curve, straight, zig-zag
Lesson 2. Size and Levels - The students will show understanding of the spatial concepts of
size and level.

VOCABULARY size, level, high, middle, low
105
WEEK FOUR:
Lesson 1. Speed The students will move in various speeds with clarity and accuracy.
VOCABULARY speed, slow, medium, fast
Lesson 2. Beat and Accent The students will clap and move to with accuracy to steady beats
found in both and 4/4 time. They will explore accent in music and movement.
VOCABULARY beat, accent, time, 4/4 time
WEEK FIVE:
Lesson 1. Note Value Lesson Part A. The students will explore and move to whole, half,
quarter, and eighth notes as well as recognize and demonstrate understanding of their
corresponding musical symbols. They will compose and dance to note value patterns.
VOCABULARY note value, rest, whole note (and its musical symbols) half note (and its musical symbols) quarter note
(and its musical symbols) eight note (and its musical symbols)
Lesson 2. Note Value Lesson Part B. The students will explore and move to whole, half,
quarter, and eighth notes as well as recognize and demonstrate understanding of the
corresponding musical symbols. They will compose and dance to note value patterns.

Teacher informal and formal assessments should be ongoing in each lesson and inform
subsequent lessons.
Assessments could include:
- Teacher observation and descriptive feedback (formative and summative
verbal and rubric based)
- Peer observation and descriptive feedback (formativeverbal and rubric
based)
- Student self-assessment of dance elements understanding in both verbal and
written responses (journal entries, rubrics, etc.)
- Paper and pencil written assessments of terms and vocabulary (summative)
- Performance written responses, descriptions, interpretations and analyses
106
CREATIVE DANCE FOUNDATIONS
Lesson I - The Moving Body Needs a Safe Place in Space
Marilyn Berrett
marilyn_berrett@byu.edu
801-422-3346
Grade: K-6
Lesson Focus: Developing kinesthetic body awareness and a safe working space by demonstrating
personal and general space. The material in this lesson provides foundational ways of working when
beginning a unit of study in creative dance.
Lesson Length: Two 30-40 minute sessions [This lesson can and should be repeated with slight varia-
tions two times in a row. On the first day limit student choices and emphasize personal kinesthetic con-
trol. Repeat the lesson activities on the second day but move more quickly through the first two sections
giving more time to the creating/performing small group activities.]
State and National Standards Simplified:
Creative dance lessons involve multiple dance standards simultaneously. In this lesson students will
very actively engage in these universal learning principles that relate to all dance standards:
Experience/Identify o
Explore/Investigate o
Create/Perform o
Connect/Analyze o
Lesson Objective: Students will demonstrate understanding of their body as an instrument for ex-
pression. They will show the ability to move safely and freely in place and through space during a
creative dance experience.
Lesson Concepts:
Personal or self-space o
Shared or general space o
Body as the instrument of expression o
Body parts o
Basic body movements o
In place
Place to place
Classroom Set-up/Materials
1. Open space in school preferably gym, cafeteria, or vestibule classrooms can work if desks are
pushed aside
2. Drum and beater
3. CD player and music optional
4. 4 Posters: Self-Space is Personal Space- General Space is Shared Space
Axial Movements and Locomotor Movements
5. White board and dry erase markers to write axial and locomotor words
Resources: Eric Chappells Music for Creative Dance Contrast and Continuum I
& Madagascar Movie Sound Track
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Instructional Procedures:
EXPERIENCE/IDENTIFY
1. In this class you are going to make up your own movements and pay attention to the feeling of
those movements. Lets try a few movements to learn how to do that. Move your arms and hands with
your eyes closed or lowered. Without looking raise your hand, tighten it into a fist, shake it, and bring
it down slowly until your hand is resting on your lap. Now open your eyes. How did you know what
movements you just did? You felt them. Feeling movement activates your kinesthetic intelligence or
movement sense. Your brain and muscles connect through nerves. Attending to the feeling of move-
ment is one thing that separates creative dance from every day movement. [To cultivate this ability,
periodically ask them to stop and feel what their bodies are doing. Lowered or closed eyes may help]
2. Self-Space is the space your own body takes up when you stay in one place. In that place you can
touch the space all around you, down low, up high, in front, behind or beside. It is like being inside a
giant bubble. You can leave your spot and move through space to another place. When I give the sig-
nal to go, and you are moving around, your personal bubble will travel with you. As you move through
the shared space be careful not move too close to someone elses bubble. Dancers can move quickly
through the space without bumping into the people around them. Being in control of your body can be
very exciting. Everyone read and say, Self-Space. When I ask you to find a PERFECT SPOT I am asking
you to find a place where your self-space or bubble is in your own EMPTY SPACE. [Signal the students
to stand and scatter with a drum beat followed by quiet steady drumming. As every one moves side coach
by saying,] You should be away from people, walls, and objects. When you get to your perfect spot
stretch out into the biggest shape possible and hold perfectly still. [When the class is scattered equally,
direct them to jump up and down or tap their foot as they say, This is a perfect spot or I claim this
place]
EXPLORE/INVESTIGATE
3. Kinesthetic Activation and Warm-up
Staying in your self-space, explore how your whole body can shrink, rise, twist, turn, and bal-
ance. Reach different body parts to the edges of your personal space. Touch the outer edges of your
space bubble in all levels and directions. Move as if you are painting your space bubble. Try brushing
the edges with your back. Try your foot with a long sweeping stroke. Use other body parts head,
elbow or side. [Stop students occasionally in still shapes. Ask them to hold their shape and feel the sensa-
tion of muscles, skin and bones. Direct them to notice what body parts feel stretched, or those that feel
bent.]
4. Basic Body Movements in place are called Axial Movements. Read and say Axial Movements.
[Direct the students to explore several of the following movements, emphasizing the feeling as they move.
Introduce each one separately, providing clear beginning and ending signals.]
Fill your bubble with movement as you explore many different ways to:
Stretch*
Stretch [with different body parts and on different levels high, middle and low]
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Bend
Stretch and bend
Twist*
Twist [upper body then lower body-then body parts separately]
Flop
Shake*
Shake and flop
Bend, stretch and curve [both high and low]
Shake and stop [repeat several times on a signal]
Sink*
Sink and rise
Balance*
Toss arms and hands
Toss one leg at a time
Undulate or make waves
Bounce
[Five or six axial movements might be enough to explore on the first lesson. *Recommended]
IDENTIFY
5. Everyone read and say General Space. When you move and share space we call it General Space.
You can do a lot of different Locomotor Movements. Read and say, Locomotor Movements. [Re-
mind the students how to move their self-space bubble through the space. Encourage them to look for
and move into the biggest empty spaces they can find.]
EXPLORE/INVESTIGATE
6. Notice where you spot is so you can come back to it. Slowly and silently walk away from your per-
sonal space through the shared or general space keeping your self-space bubble around you. Dont
let it pop by bumping into anything or anyone. Return to your spot and hold a shape in a concen-
trated stillness. Now try moving through more of the general space at a faster pace with locomotor
movements:
Jog [forward, backward, slow, fast]
Walk
Run and leap [if space is limited do in small groups]
Hop (up and down on one foot)
Jump (landing on both feet)
Skip
Gallop
Skitter [sideways, forward, in circles, on hands and feet or just feet]
Roll
Crawl
[At first introduce these movements one at a time, returning to the same spot and holding a shape.
Always give clear starting and stopping instructions and signals. Two to four locomotor movements
might be enough to explore on the first lesson]
CREATE/PERFORM
7. Return to original self-space and hold Divide class into two groups As and Bs. Next you will be
109
staying and going from your own spot. One group will move through space with their own choices
of locomotor movements while the other group does interesting still shapes in place. Repeat re-
versing roles.
8. Do a simple group sequence. The pattern might be:
As go Bs stay
Bs go As stay
All go All stay All go, Freeze!

Create a class sequence together using a time pattern. By raise of hand, someone choose a locomo- 9.
tor step we could all do for 8 counts. Try it for 8 then hold in a shape for 8. Repeat one or two
times. Now lets choose an axial movement to do for 8 counts that we could do instead of a still
shape. Alternate with locomotor. Working together build a longer sequence that is appropriately
challenging for the groups abilities.
The progression might look like this:
8 beats walking , 8 beats holding in place
8 beats walking, 8 beats shaking

8 beats jumping (through space), 8 beats holding in place
8 beats jumping, 8 beats stretching
8 beats skipping 8 beats holding in place
8 beats skipping, 8 beats bending and stretching
8 beats any kind of locomotor, 8 beats of any kind of axial
8 beats any kind of locomotor, 8 beats of any axial
10. Sharing and Closure: Half the class at a time watches the other as they perform any of the
previous dances. Guide watching with appropriate audience behaviors and specific concept questions.
Finish with a cool-down - one body part at a time relaxation or standing calf stretch.
[On the second day review all of the activities above and add small group choreography.] Divide class
into groups of 2, 3 or 4 (depending on cooperative learning interaction skills). Give them similar
movement problems to solve using locomotor movement through general space alternating with axial
movements and still shapes in self space. As students are working with their partners (duets, trios,
quartets) have them create a form that equally shares the choices such as:
Duets, trios or quartets might do variations on an AB pattern:
Shape - A B A B - Shape (A = Locomotor B = Axial)
[Each partner chooses one locomotor, one axial, all collaborate on the beginning and ending shapes]
Others might do a hybrid pattern like:
Shape A B C A B C Shape
[Partner 1 chooses a locomotor, partner 2 chooses an axial and partner 3 combines an axial with a loco-
motor (i.e. skipping and twisting) all collaborate on beginning and ending shapes]
110
Sharing: Each group performs their choreography for the rest of the class. Play music and plan to
have three groups start in the performing space holding shapes until it is their turn to dance and hold-
ing after they finish until all three groups are done. Audience should watch with appropriate audience
behaviors and specific concept questions to which they respond in discussion or writing.
ASSESSMENT: Have students discuss or write how they feel about the decisions they made, how well
they remembered their sequences, or how committed they were as they showed their dances. Ask
them to identify the locomotor steps and axial actions of others then respond to other group sequenc-
es. Ask student to describe what captured them as they watched.
Extensions:
1. VISUAL ART: Have students create colorful abstract designs of the pathways they created on the
floor in their dances.
2. MUSIC: Have students create a song or chant using the axial and locomotor words that describe
their dances. Have the students dance to different genres of music and analyze the ones that work
best for their artistic choices.
3. DRAMA: Have the students select dramatic gestures (axial movement) and locomotor actions that
portray emotions or a story. Have them perform their movement as a story using a Narrative
Dance form.
4. LANGUAGE ARTS: Have the students find the verbs in any selected reading, categorize the words
into axial or locomotor movements and create word walls, poetry, original stories or new dances
from their discovered words. (See example Acrostic Poem below)
7. SCIENCE: Study the human skeleton and joints, or the nerve or muscle systems that allow the
body to move and dance in an amazing variety of ways.
8. MATH: Point out how patterns are used in both math and dance sequences like ABAB etc.
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ACTIVITY & MUSIC SEQUENCE
Introductions: Establish learning climate
EXPERIENCE/IDENTIFY
Sensing Movement
Identify & Claim Self-space - DRUM
EXPLORE/INVESTIGATE
Kinesthetic Activator & Warm-up:
Axial Dance Words Track 15
Explore: Place - Self Space Track 3
IDENTIFY:
Read and Say General Space (see, say, then do)
Explore: Place-to-Place Shared Space - Track 2, 7
Build Skill: Locomotor - Track 2, 7 & DRUM
CREATE/PERFORM
Group Dance Eight Count Patterns DRUM
Create Small Group Dances (2
nd
Day) - Music
CONNECT/ANALYZE: Review & Discuss
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Israel Zemer Atik
Many Jewish Dances were and still are important to everyday religious and community life. Zemer
Atik is characterized by a feeling of gratitude and connection to others. This dance can be danced
in a single closed circle, single serpentine line, in several smaller lines or even in pairs. This version
was choreographed by Rivka Sturman in 1958 and is included in Susanne Davis BYU Rhythm and
Dance Manual (p 96). Phyllis Weikart demonstrates this dance on her Beginning Folk Dances DVD
Series #2.
Beverley Taylor Sorenson
BYU A.R.T.S. Partnership
What and How when Teaching Dance
or
Integrating Social Studies while
Creating Cultural Connections and Community in Dance
marilyn_berrett@byu.edu
Pronunciation: zeh-mehr ah-TEEK Time Signature: 4/4
Formation: Single circle facing CCW Music: Zemer Atik (Rhythmically Moving
IVtrack #7)
Position: Left hand on own L shoulder-palm up
R hand stretched fwd touching
neighbors L hand
Footwork: All start R
Measure: Say and do: Notes:
Intro:
Walk, walk, walk, walk Walk lightly and smoothly 1
Step clap-clap step clap Body twists before snaps 2
Walk, walk, walk, walk 3
Step clap-clap step clap 4
Walk, walk, walk, walk 5
Step clap-clap step clap 6
Walk, walk, walk, walk 7
Step clap-clap step face cntr Call ahead to face the center 8
Step snap step snap Arms high for snaps 9
Back, back, back, back Lower arms smoothly 10
Step, snap, step, snap 11
Back, back, back, back 12
Step, snap, step, snap 13
Back, back, back, back 14
Step, snap, step, snap 15
Back, back, back, back Repeat from the beginning 16
118
After dancing the whole 16 measure sequence twice, consider breaking into lines that serpentine in
curving pathways around the space. Smaller and smaller lines can be introduced with each repetition
until pairs are dancing with alternating leaders each time. Discover personal connections and mean-
ing. Discuss the meaning of the gestures in the dance. Ask questions like, Why might these people
want to express these ideas? What movements or ideas might best illustrate who we are and what
we value or believe as a group? How would you start working on your dance?
119
Helpful Tips and Information
about Why & How to
Teach the Arts
Interested in upping high school graduation rates? Check out the roles the arts play in increasing
graduation rates:
A Report by
The Center for Arts Education
October 2009
Staying in School
Arts Education and New York City
High School Graduation Rates
www.caenyc.org/Staying-in-School/Arts-and-Graduation-Report
For questions about the Status of Arts Education in Utah Survey for Elementary/Secondary Principals,
please contact Alyssa Hickman Grove agrove@utah.gov
120
121
Drawing: At the Heart of the Studio Experience
Children, at any stage, are more involved with the process than the product. Encourage the exploration
of media and provide ample time for experimentation. Help children express visual information by
asking questions (accretion), but refrain from imposing pre-conceived outcomes, e.g., Tell me about
your drawing rather than Is that your house? This not only helps the child develop descriptive lan-
guage skills but it rewards the childs creative efforts. Note: the bullets are numbered, not to establish
a hierarchy, but to aid in discussion.
The Manipulative (Mark-making) Stage (ages 2-5)
Children work quickly and spontaneously, often making 1.
marks that are placed randomly and overlap with no depic-
tion of space.
Children work best with markers, pencils, and crayons, but 2.
any media that makes a mark is acceptable, e.g., a stick in
wet sand, a house paintbrush dipped in water on a side-
walk.
Children enjoy repeating a mark and later will enclose the 3.
mark/line to create shapes.
Later in this stage children will name their marks and their 4.
subject matter is often related to their immediate life expe-
riences and associations, e.g., me and my family.
Initially objects are created with one mark or line but later 5.
objects are formed by uniting a variety of shapes, e.g., a
circle for the head, a triangle for the body and lines for legs.
Objects or details are not drawn to scale and those objects 6.
with the strongest emotional appeal are often displayed
proportionally larger, e.g., head is larger than the body and
myself or parent is larger than other people.
Symbol-making Stage (ages 6-10)
Initially subject matter is derived from their imagina- 1.
tion with later works displaying influences of visual
culture, e.g., movies or TV characters, or vicarious expe-
riences, e.g., a recent trip to a dinosaur museum.
Children often develop schemas, e.g., a lollipop tree 2.
shape, the sun in the corner of the format. Educators
can help children recall the facts and features of de-
picted objects through accretion, e.g., Does your house
have bushes in front of it? or by direct observation.
Initially children will depict objects as floating and 3.
unrelated. In the later part of this stage children will
organize their drawings by lining up objects along a
baseline. Often a skyline is also used within a drawing.
Help the child by having them observe real-life situa-
tions, e.g., the sky goes down to the ground and objects
overlap, and by exploring varying viewpoints, e.g., a birds eye view.
A Two-Year-Olds Drawing of
Her Mother
A Ten-Year-Olds Drawing
of a Landscape
122
Realism Stage (ages 11-12)
Children become more critical of their art efforts and 1.
are eager to learn how to depict objects in a realistic
manner. This is an ideal time to introduce perspective,
value studies, and other drawing techniques such as
rendering textures, figure drawing or facial features.
Subject matter is often derived from real life experi- 2.
ences or concerns. Art making often becomes an outlet
for emotional and physical stress. Educators should
promote themes for art making that involved the social
and emotional concerns of the student.
Children should be able to master techniques, e.g., 3.
adding values to a circle to make it appear as a three-
dimensional object and to complete processes, e.g.,
printmaking, or brainstorming, sketching and compos-
ing an artwork.
Children should continue to explore and experiment 4.
with various media and art forms. In addition to skill
development the child should be encouraged to de-
velop expressive qualities, e.g., what mood or emotion
does a thick, black line portray?
Children can be taught to recognize and transfer com 5.
positional/design elements of art by observing master
works. Art making that combines various elements such
as line, value and space with principles such as emphasis,unity and variety will help the child to
understand the relationship of the parts to the whole.
Appropriate Motivators:
Explore a wide variety of media and formats. Children 1.
should use large formats that involve the whole arm
and hand in making marks.
Choose themes or subject matters that relate to the 2.
childs experience.
Encourage individual expression/creativity. Do not 3.
promote pre-conceived ideas, i.e., coloring books or
pattern work.
While there are some specific skill-building techniques 4.
that should be learned such as creating a value scale
or blending colors, promote the application of the skill
within a larger context, e.g., use of low-keyed values to
produce a specific mood or feeling within the artwork.
Younger children should be encouraged to describe their art making experience. Children should 5.
be made aware of the potential of art to create meaning or tell a story. Older children should be
encouraged to take an abstract concept such as freedom or happiness and render the concept in a
concrete, expressive art form.
Help the child to create a visual record of the experiences and images they have encountered. Pro- 6.
mote sketchbooks and portfolios.
There is little merit in encouraging children of any age to make art with photographic accu- 7.
racy; rather help the child make a distinction between working for a realistic rendering and the
A Twelve-Year-Olds Stll-Life Value
Drawing
htp://www.westbourneschool.com/pho-
tos/ChildrenPaintng.jpg
123
development of skills to heighten their visual
acuity. Often creativity is blocked when too much
emphasis is placed on technique and skill.
Promote a variety of direct observations/ac- 8.
curacy activities with imagination, free-flowing
activities. As an educator you should be able to
distinguish the need and purpose for both.
Provide a stress-free environment for art mak- 9.
ing. Promote the pleasurable nature of self-ex-
pression and the mastery of certain skills.
Promote the nature of successful art making 10.
while allowing for the option of re-doing or cor-
recting an artwork too. Failure is permanent if
children are not allowed to try again.
Provide art-making experiences that exer- 11.
cise the imaginative powers and memories of
children with the skills of concentration and
expression. Encourage the child to brainstorm,
envision and produce.
Help the child to develop the vocabulary and 12.
skills necessary to succeed within their visual
culture. Encourage critical thinking, problem-
solving and evaluation/judgment skills learned
from art making so they can thrive in the con-
sumer, media-saturated world.
Promote direct observation when available. 13.
Children can observe contour (edges), details
and structures easier when viewing an actual
landscape, object or figure.
Encourage the students to move away from 14.
visual clichs to a fresh regard for subjects they
may have lived with but never truly examined.
Reinforce the art skills that promote eye-hand 15.
coordination. Allow the children to warm-up
with sketches, brainstorming, etc. prior to be-
ginning a big project. Most skills, when taught
as individual techniques, should be put into the
broader concept of art as a process.
From the 2009 All-State High School Art Show
Springville Museum of Art
124
125
One of the most valuable attributes an individual can possess is creativity. Creativity has often been
associated with the ability to produce original artworks; but that is only one manifestation. The ability
to problem-solve and think creatively can be learned and developed. Following are some general ap-
proaches to foster creativity by generating ideas:
Fluency: Develop a large quantity of ideas. Use phrases such as: How many ways . ..? or List all
the possible . . . Brainstorm, look for alternative solutions, list attributes or possibilities, ask a variety
of appropriate questions, utilize synonyms, and accept the possibility of more than one right answer.
After students have generated their own ideas use group dynamics to foster more ideas or solutions.
In art: create several sketches or thumbnails; use a realistic, abstract and non-objective approach; try
impossible solutions and techniques (i.e., adding water to oil pastels); transform an ordinary object
into a monument, symbol or logo; give an object an imaginary function or characteristic (i.e., a rain-
bow that snows); imagine the image in varying styles, timeframes, cultures, and media; project how
various artists would portray it; view it from varying viewpoints (i.e., a child, an adult, a foreigner).
Flexibility: Develop a wide variety of ideas. Use phrases such as How/What else . . .? or What
other kind . . .? View ideas in different ways or shift from one thought category to another. Recon-
sider the viewpoint by minifying or magnifying the problem, adapt the idea to alternative situations
or timeframes, and interpret the information in a variety of ways. Consider different perspectives or
viewpoints; create preposterous hybrids or cross links (i.e., a skateboard and an alligator)
In art: change the image (add another object, magnify part of the image, multiply or repeat an object,
reverse the object, erase or dissolve part of the image, substitute one object for another, exaggerate,
minimize or distort the image, show more that one viewpoint at the same time such as the top and
side, fragment or split the image, change the background, setting or center of interest); design your
artwork as a triptych with a before and after image; change it to another art form (i.e., print to sculp-
ture
Originality: Develop individualistic, unique, unusual, different or new ideas. Use phrases such as
What unusual way . . ? or Come up with your very own . . . Reverse the question/answer process,
relate unconnected information, compare unlike objects, and promote stream of thought, daydream-
ing or unconscious thinking; transfer aspects from one item to another; note characteristics and then
list the opposites; believe you are creative; be alert to problems, spot challenges and design solutions;
transform ideas into action; use humor; foster curiosity and questioning attitude; get outside the
box.
Why & How to Teach
and Develop Creativity
126
In art: transfer the object to a different setting, subject matter, or media; combine two or more media
or approaches (such as realistic and abstract); rearrange old ideas into new relationships; appropriate
ideas from art history and put into contemporary settings or take a current issue and put it back into
history, use visual puns, oxymorons or unusual combinations (i.e., hot dog, military intelligence, float-
ing walrus); transform one object into another (metamorphosis); imbue inanimate objects or animals
with human characteristics; doodle; make photocopies of the image, cut them up and rearrange them;
abstract the image; change it to an impossible setting; emphasize different elements or principles.
Elaboration: Enrich existing ideas. Use phrases such as What else . . .? or Give all the details . . .
Refine, expand with details, embellish, enhance a common object or idea by adding interesting details
or extending its dimensions or setting. Expand on a concept by telling who, what, when, where, why or
how. Forecast all possibilities or outcomes. Describe it to someone who is not present. Use web design
to expand options or promote completeness.
In art: intensify or add detail; expand the image into a three-dimensional form; portray it in photo-
realistic manner; write elaborate artists statements or didactic labels; make connections with other
artworks.
127
Visual Art Tools
As there are numerous media choices in art this is an overview of some basic visual art media:
Pencils-Most pencil leads are a combination of graphite and clay. Art pencils are classified by their
hardness. The letter designates hardness (H) or softness (B) and the number indicates the degree of
hardness or softness. Pencils range from 9H (extremely hard) to 8B (extremely soft). One of the most
universal pencils is an HB that combines hard and soft leads and can be dark or light depending on
amount of pressure given. Pure graphite has a shining metallic quality and even at its darkest is not a
true black.
Charcoal, ink, conte crayon- Charcoal comes in two formats, compressed and vine. Vine is available
in stick only and compressed is available in pencil, stick or powdered. Compressed is less brittle and
finer. Charcoal pencils come in black or white and in five degrees of hardness: HB, 2B, 4B, 6B, and 8B.
Conte crayon (drawing crayons) are similar to charcoal but are finer and come in numerous colors and
hard nesses such as HB, B, and 2B. They also come in pencil or square sticks. Black drawing ink (India
ink) is available in waterproof and soluble. Both types can be thinned with water. Inks are translucent
Paint Type Characteristics Clean-up Cost Brushes
Watercolor Usually transparent, can be
reconstituted w/water so there
is not much waste. Dries lighter.
Great for blending colors. Difficult
to correct mistakes. Requires WC
paper.
Cleans and thins with
water. Should be
exhibited under glass
because it is not per-
manent. Some colors
stain.
Relatively inexpensive, al-
though the paper is costly,
usually need at least 70#
weight paper.
Soft, flexible
of synthetic
or natural
bristles
Oil Can be transparent or opaque.
Takes several days to dry which
makes it great for blending and
numerous techniques. Once it is
dried unable to reconstitute. Can
be used on various supports, usu-
ally canvas.
Solvents or mineral
spirits are used to thin
or clean up. Dried
paints are very per-
manent but usually
requires varnish to pro-
tect from scratches
Relatively expensive,
although oil pastels can
be used an introductory
media. Solvents are also
dangerous and hazardous.
Stiffer bris-
tle brushes
usually
made of nat-
ural fibers.
Acrylic Usually transparent. Dries quickly
and adheres to most surfaces.
Usually has a glossy, plastic effect.
Bright, clear colors.
Thins with water and
cleans with soap and
water. Dried paints are
permanent but varnish
will protect surface.
Heavy bodied (tubed)
paints are relatively expen-
sive but can be purchased
in a liquid format. Mediums
can thin. thicken or slow
drying time
Synthetic
brushes
Tempera, and
gouache
(designer
colors)
Opaque unless mixed with acrylic
gel and then they are transpar-
ent. Usually dries darker. Surface
is matte and paint dries quickly.
Good for blending colors.
Cleans and thins with
water. Should be
sprayed with fixative
to make surface more
durable,
Relatively inexpensive
and comes in a powder
or liquid form. Temperas
cannot be reconstituted but
gouache can.
Soft, flexible
of synthetic
or natural
bristles
Alkyd and
Water-
miscible oils
Similar to oils but dries faster, usu-
ally within 24 hours. Should follow
fat-over-lean rules and faster dry-
ing layers before slower drying.
Cleaned and thinned
with water but water-
mixable linseed oil will
make more transparent
and luminous.
Similar in cost to oils, but
less expensive to use be-
cause no need to use vari-
ous mediums and solvents
Same as
acrylic and/
or oil
128
or opaque and come in a variety of colors.
Paint-Most paints are classified according to the ratio of pigment to binder. There are usually student,
artist or professional grade paints and the prices accelerate accordingly.
Brushes-Most brushes can be used for varying painting media. Generally you need a variety of types,
sizes (#8-#12 for larger areas, #3-#4 for detail) and stiffness. Round brushes can carry a lot of paint
and come to a fine point. Filberts have a flattened ferrule and are curved at the tip in a soft U-shape.
Filberts are versatile because you can use the flat of the brush, the tip or the side. Riggers, liners,
or script brushes usually come in smaller sizes (#1-#2/0) have long bristles and hold a lot of paint.
Spotters are even smaller (#0-#18/0) with only a few hairs. They dont hold much paint but require
maximum control. A wash brush is usually large, wide and flat. They are good for covering large areas
129
Art Terms:
Additive
Advancing
Acrylic
Aesthetics
Abstract
Appropriate
Assemblage
Asymmetry
Brush
Bas Relief
Batik
Canvas
Cast
Cast shadow
Center of Interest
Coil
Core shadow
Chalk
Charcoal
Clay
Complementary
Composition
Concept
Content
Contour
Criticism
Crosshatch
Brayer
Easel
Edition
Emotion
Eraser
Exhibition
Express
Feeling
Figure
Focus
Foreshortening
Frame
Function
Genre
Gesture
Gloss
Gradation
Graphic
Graphite
Highlight
Horizon line
Ideas
Imitate
Ink
Intent
In-the-round
Landscape
Mass
Matboard
Matte
Media
Model
Mold
Monochromatic
Neutral
Non-objective
Oil paint
Palette
Pastels
Pen
Pencil
Perspective
Pinch
Plate
Portrait
Portraiture
Process
Proportion
Purpose
Ratio
Realistic
Receding
Scale
Shade
Shadow
Size
Slab
Still Life
Stone
Story Board
Subject Matter
Subtractive
Symbols
Symmetry
Triadic
Technique
3-D
Vanishing point
Varnish
Watercolor
Processes:
Brainstorm
Visualize
Sketch
Compose
Block-in
Modify
Adapt
Refine
Exhibit
Etch
Crave
Create
Print
Paint
Glaze
Wash
Draw
Art Forms:
Painting
Drawing
Sculpture
Ceramics
Photography
Textiles
Architecture
Graphic Design
Illustration
New Media
Printmaking
Jewelry
Collage
Stain glass
Fresco
Mosaic
Elements:
Line
Horizontal
Vertical
Diagonal
Straight
Jagged
Thin
Thick
Bold
Fine
Shape
Geometric
Natural
Color
Intensity
Chroma
Dull
Bright
Temperature
Warm
Cool
Red
Yellow
Blue
Green
Orange
Purple
Turquoise
Black
White
Gray
Violet
Yellow Orange
Blue Green
Red Violet
Value
Light
Mid-tone
Dark
Space
Aerial
Linear
Vast
Intimate
Closed
Crowded
Empty
Deep
Shallow
Form
Flat
Round
Cut-out
Texture
Implied
Actual
Fuzzy
Rough
Smooth
Soft
Wavy
Gritty
Shining
Bumpy
Principles:
Balance
Repetition
Rhythm
Emphasis
Unity
Variety
Movement
Styles:
Prehistoric
Ancient Near East
Aegean
Egyptian
Greek
Roman
Early Christian
Byzantine
Middle Ages
Romanesque
Gothic
Renaissance
Mannerism
Art-related words for a Word Wall
Some terms are useful for elementary and others would be more useful at the secondary level. Use just
in the classroom or have students make copies to take home. Include examples, if desired.
130
Baroque
Rococo
Neo-Classicism
Romanticism
Realism
Impressionism
Expressionism
Modern
Post Modern
Artists: *
Giotto
Van Eyck
da Vinci
Michelangelo
Rueben
El Greco
Watteau
David
Goya
Courbet
Monet
Manet
Cezanne
Van Gogh
Gauguin
Munch
Kandinsky
Wyeth
Gehring
Cassatt
OKeeffe
Frankenthaler
Kahlo
Rivera
Ringgold
Nevelson
Warhol
Matisse
Bearden
Sargent
Kruger
Hokusia
Koons
Lange
Oldenburg
Peto
Pollack
Rauschenberg
Audubon
Basquit
Eakins
Jimenez
Botero
Gentileschi
Kollwitz
* The artists listed here are some of the artists
with unusual names that students will need help
pronouncing. You can also include any artists you
are using.
Some teachers choose to use what is an Ameri-
canized pronunciation, for example, Kthe Koll-
witz, would be said like Kathy Kollwitz. Secondary
teachers may want to teach students a pronuncia-
tion that is at least close to how the name would
be said in the artists language. In this case, her
name would be prounced: ketu klvits. You can
find the prounciation of various artists names at
the following website:
http://dictionary.infoplease.com
131








































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135
command windows mac notes
cut/delete (to clip-
board)
control+x command+x
select whatever you
want and cut it! will
copy whatever you cut
to the clipboard to put
somewhere else.
copy (to clipboard) control+c command+c
select something and
copy it. leaves it there
but creates a copy on
the clipboard for use
elsewhere.
paste from clipboard control+v command+v paste the last item cop-
ied to the clipboard.
undo last action control+z command+z
undo whatever you
just did. in some ap-
plications you can undo
several steps back, in
others only one.
save control+s command+s
save the document or
file you are currently
working on. if you learn
only one keystroke
learn this one and use it
a lot so you dont loose
work!
save as control+shift+a command+shift+a
save a copy of whatever
you are working on and
give it a different name.
select all control+a command+a
select all/everything.
exactly how this works
will depend on the ap-
plication you are work-
ing in.
open control+o command+o
open an existing docu-
ment in the application
you are working in.
new control+n command+shift+n
create a new file, docu-
ment, web browser
window, new whatev-
er you are working in.
The following is a Windows vs Mac list of common keystrokes used to Save, Cut, Copy, Paste and Undo.
These commands make it possible to copy items from websites.
How to Legally Copy Images for Classroom Use
136
Once you have captured images, webpages, text, or anything you are interested in sharing with your
students, you will need to edit/crop what you have captured. The following is top ten list of Open-
Source Programs and Freeware for Photo Editing software. To access more information about any of
these programs visit the web links for each program.
1 - GIMP
http://www.gimp.org/features/
2 - ImageForge
http://www.cursorarts.com/ca_imw_b.html
3 - Paint.NET
http://www.brighthub.com/multimedia/photography/reviews/12262.aspx
4 - PhotoFiltre
http://www.brighthub.com/multimedia/photography/reviews/11968.aspx
5 - PhotoPlus 6
http://www.freeserifsoftware.com/software/PhotoPlus/key_features.asp
6 - Photoscape
http://www.brighthub.com/multimedia/photography/reviews/12263.aspx
7 - Picasa
http://picasa.google.com/mac/
8 - Picnik
http://www.picnik.com/
9 - Pixia
http://www.brighthub.com/multimedia/photography/reviews/12278.aspx
10 - VCW VicMans Photo Editor
http://www.brighthub.com/multimedia/photography/reviews/12274.aspx
Read more: http://www.brighthub.com/multimedia/photography/articles/4488.
aspx#ixzz0WL3EHFIX
Other useful programs that might be of interest:
Jing
Instantly Captures Images and Records Video
Poladroid
Create High Resolution Polaroid-like Pictures from Digital Photos
Xee
Lightweight, Fast and Convenient Image Viewer and Browser
FrameByFrame
Stop Motion Movie Creator for Mac
Free Programs for Editing Material Captured from the Web
137
Utah Arts Council
Arts Education Program Grants
Artist in Residence
Arts Education Projects
Teacher Initiated Projects
ALL APPLICATIONS ARE DUE MARCH 1 of every year. UAC
is changing to an on-line application. PLEASE call and well help!
Artist in Residence:
The Artist in Residence Grant provides schools and organizations with the opportunity to have an art-
ist come to their site for at least 40 hours, and more if there are available matching funds. The hours
can be condensed over a two week period, averaging 4 hours a day; or the site might invite an in-state
artist to come to the site two hours a week for several months until the 40 hours are deplete. The
grantee/sponsor, selects the artistic discipline of choice and the artist from the Utah Arts Councils
Artist Roster ( http://www.NowPlayingUtah.org ). The grantee/sponsor plans the residency with the
artist and the grantee/sponsor applies by March 1 to the UAC/AE program for an Artist in Residence
Grant to be implemented the following fiscal year (July 1/June 30). The grantee/sponsor pays for
part of the artists salary through matching funds submitted to UAC/AE. UAC/AE pays the remain-
der of the artists salary, and provides funds for artist preparation time, travel, lodging and per diem.
The grantee/sponsor also pays for any instructional materials, such as, paint and particleboard for a
mural. First time grantee/sponsors pay for 50% of the artists salary. Second and third year grantee/
sponsors pay for 65% of the artists salary. Fourth year and beyond, grantee/sponsors pay 70% of the
artists salary. In all cases, regardless of number of years as a successful grantee/sponsor, the UAC/AE
pays all remaining salary, preparation time costs, lodging, travel and per diem.
Arts Education Projects:
Arts Education Project grants provide funds to schools and organizations to do more complex projects
than the artist-in-residence. Projects may combine more than one discipline, integrate artistic disci-
plines into other core subject areas, stress professional development for staff and teachers, facilitate
participant created site-specific permanent work, etc. It is strongly suggested that grantee/sponsors
apply in the residency area for at least one or two years before applying for an arts education proj-
ect. Funds primarily are used to pay an artist or artists and/or artistic companies for their services in
implementing the project. A small portion of the funds may be used for consumable supplies neces-
sary for the project. PLEASE see the grant guidelines for a list of components that UAC/AE is unable to
fund.
Teacher Initiated Projects:
TIP grants provide teachers with $500 to pursue their own advancement in a particular artistic disci-
pline through one-on-one instruction with an artist. Teachers may also use the funds to pursue other
opportunities for professional development as long as it supports the artistic development of the
teacher as artist and/or teacher as arts educator.
For on-site technical assistance, brainstorming about your programs and exploring arts
education ideas for ALL grant applications, call Jean - 801.320.9794 or email Jean at jirwin@
arts.utah.gov
138
NATIONAL and STATE ARTS EDUCATION WEBSITES
UTAH ARTS COUNCIL (state arts agency)
www.arts.utah.gov
www.artseducationutah.org
For grants, technical assistance and information about professional development for teachers
UTAH STATE OFFICE OF EDUCATION DIVISION OF FINE ARTS
www.schools.utah.gov/curr/FineArt
For fine arts core curriculum and teacher guides, curriculum maps, resources for
teachers in dance, music, theatre and visual arts.
National Endowment for the Arts
Arts Learning grants, due dates, applications, and other information.
http://arts.endow.gov
The Arts Education Partnership (Council of Chief State School Officers, National Endowment
for the Arts and National Assembly of States Arts Agencies) A primary source for research and
advocacy materials that can be downloaded and shared. (currently in transition)
www.aep-arts.org/
Americans for the Arts (AFTA) is the leading association in America for local arts organizations.
They have an electronic arts education newsletter that often includes new and obscure funding
for artists and teachers.
http://www.artsusa.org/
The Kennedy Center ARTSEDGE terrific arts education lesson plans and instructional resourc-
es in dance, music, theatre and visual arts and multi-disciplinary resources. Also has a terrific
list of links to other resources in all of the disciplines.
http://artsedge.kennedy-center.org/
Music Educators National Conference (MENC) (for educators)
http://www.menc.org
National Arts Education Association (NAEA)
http://www.naea-reston.org
National Dance Education Organization (NDEO)
http://www.ndeo.org
American Alliance for Theatre Education (AATE)
http://www.aate.com
National Gallery of Art
http://www.nga.gov/education
139
The Getty Museum
Teacher resources, lesson plans.
http://www.getty.edu/education/for_teachers/building_lessons/guide
The Metropolitan Museum of Art (NY)
Art history timelines
http://www.metmuseum.org/toah/?HomePageLink=toah_l
CRAYOLA DREAMMAKERS
http://www.crayola.com/products/splash/dreammakers/
Utahs own Mary Wells is the representative for Crayola and she also provides FREE
workshops for teachers/students. Mary can be reached
marysart@hotmail.com
Utah Book Arts Program
Highly qualified artists from the Utah Calligraphic Artists come to schools and offer
free workshops to schools in the book arts. Contact
Book Arts Outreach becky.thomas@utah.edu
Utah PTA arts education grants ($500 maximum) for units in good standing (paid dues and
submitted by-laws and membership fees)
http://www.utahpta.org/artseducationgrant.htm
Mr . Hollands Opus Foundation
Mr. Hollands Opus Foundation - A non-profit organization dedicated to promoting music
through donation of musical instruments to young musicians.
To apply for a grant.go to
http://www.mhopus.org
The Dana Foundation - Arts Education
Information regarding grants procedures and deadlines for arts education grants ... To learn
more about current and former Dana arts education grants and ...
www.dana.org/artseducation
Partners in Excellenc e
Through the MetLife Foundation Partners in Arts Education Program, the Guild distributes
best-practices guides, makes grants and produces training ...
nationalguild.org/programs/partner

TeachersCount > Im a Teacher > Grants
Grants. For the Classroom. Art. Character Grants. General Grants ... Search for the
latest classroom and teacher grants or sign up for the monthly Grant ...
www.teacherscount.org/teacher/grants.shtml

Teacher Grants : Other
The Fund for Teachers makes direct grants to teachers for summer learning ... requests for
grants from nonprofit organizations that focus on art, literacy, ...
www.teachersnetwork.org/Grants/grants_other.htm

140
Target - Grants For Teachers
Grants For Teachers. Biz Startup Funding. Grants For Teachers ... Target support for the
arts includes grants to make art exhibitions, ...
www.grantsalert.com/gsft
UAC.AE.10.09
Key Arts Education Websites
(click on sites below)
National Endowment for the Arts
To direct link every arts council/commission website and staff directories in the U.S. and terri-
tories including arts education managers: Home page: www.arts.endow.gov
To link to your states arts agency:
www.arts.endow.gov/partner/state/SAA_RAO_list.html
The Arts Education Partnership (Council of Chief State School Officers, National Endowment
for the Arts and National Assembly of States Arts Agencies) One of the primary sources for arts
education research and advocacy materials that can be downloaded, copies and passed out to
teachers, administrators, policy makers:
http://www.aep-arts.org/
Americans for the Arts (AFTA) is the leading association in America for local arts organizations.
They have a national arts education advocacy campaign underway and are currently inviting
individuals to respond to NCLB by advocating for the arts. There executive director, Bob Lynch
spoke at the NPTAs arts luncheon in Phoenix. Their arts education person is John Abodeely.
AFTA http://www.artsusa.org/
To have input about No Child Left Behind and the arts:

http://capwiz.com/artsusa/issues/alert/?alertid=8912656&type=ML.
For information about the new National PTA Reflections categories, Utah has a 10- year history
with that in dance, theatre and film video. Utah PTAs current chair is Patsy Chandler (she was
at the Phoenix session). The Utah Arts Council and Utah PTA also started PTAs own arts educa-
tion grant program for grants to schools with local units in good standing.
Utah PTAs website is: www.utahpta.org
141
Professional Outreach Programs in the Schools
Statement of Purpose
Professional Arts education groups provide opportunities for students to develop and use the knowl-
edge, skills, and understanding specified in the Utah Fine Arts Core Curriculum.
Introduction to POPS
The cultural richness of the state of Utah allows valuable and otherwise unattainable educational op-
portunities in the arts for students and teachers. These instructional services are driven by the core
curriculum and assume the forms of inservice for teachers, workshops for students and teachers, edu-
cator modeling, peer tutoring with teachers, integration of the arts, performances, and enhanced arts
instruction and applications.
Objectives
1. Enhance State Fine Arts core curriculum instruction through school visits and in-depth educational
services
2. Collaborate with USOE, each other, and the school community in designing, implementing, and
continuously evaluating these professional services relative to the desired outcomes for students and
teachers.
3. Offer services to all forty districts in a balanced and comprehensive way within each discipline over
a three-year period including every school within a reasonable time frame through coordination and
planning with sister organizations in the respective disciplines.
POPS Organizations and Programs
BALLET WEST
Ballet West is committed to providing quality educational programs that allow teachers and students
of all ages to experience the joy and magic of live ballet regardless of financial or geographical barriers.
I CAN DO: This program, an acronym for Inspiring Children About Not Dropping Out, offers fifth-grade
students a hands-on dance experience with a six-month residency and a year-end performance, as
well as opportunities for further training and involvement.
Ballet West for Children: Designed for all levels of Elementary and Secondary students, this program
affords students the experience of a fully-produced ballet performance in a theatrical setting.
Ballet West In-Theatre Performances: This lecture demonstration is designed to give elementary
school audiences an introduction to the art of ballet as well as address key dance core curriculum and
life skills concepts.
First Look: This program provides High School students the opportunity to attend full-length ballets
and Repertory programs, with discussion held throughout to enhance the learning experience.
For more information contact:
Peter Christie
50 W. 200 S., Salt Lake City, UT 84101
Phone: (801) 323-6911
E-mail: pchristie@balletwest.org
www.balletwest.org
142
REPERTORY DANCE THEATER
RDT has over 40 years of experience developing and performing AIE activities. We feel that it is impor-
tant to offer activities that serve individuals, schools, districts and communities and develop commu-
nity partnerships that can share resources, ideas, facilities, and funding to meet the educational needs
of Utahs students and teachers.
Performances: Students are inspired by seeing professional excellence that offers a unique perspec-
tive of the world

Movement Classes: Students experience the joy of moving, creating, experimenting, achieving and
growing

In-Service Workshops: Teachers develop skills to use movement as a tool to enhance learning.

In-Depth Residencies: Students/teachers and administrators gain skills to help them integrate dance
into the life of the school and expand learning possibilities.
For more information contact:
Linda C. Smith
P. O. Box 510427, SLC, UT 84151-0427
Phone: (801) 534-1000
E-mail: rdt@rdtutah.org
www.repertorydance.org
RIRIE-WOODBURY DANCE COMPANY
Step Lively: Six two-week residency programs in elementary schools consisting of: a lecture dem-
onstration and a student performance for the whole school, core classes for students, a parent-child
evening, and a visit to a fully produced show at the Capitol Theatre, all offered by Company dancers.
Single lecture demonstrations are available.
Step Up: A pre-professional program for high school students considering dance as a career or major.
It meets bi-monthly for 3 hours on Saturdays.
Step Out: Choreography by Company dancers for high school dance companies, consisting of at least
15 hours of choreography to produce a dance work to be used on the high school concert
Move-It Summer Workshop Series: 2-Day Young dancer workshops for high school or middle school
students, 1-Week Teacher Development Workshop, 3-Week Workshop for Aspiring Professional Danc-
ers
Rural Touring: Tours to rural communities organized with two other modern dance companies to
cover the state every three to four years.
Infinity: Free teacher workshops aligned with Capitol Theatre performance.
Step, Hop, Jump: Classes for young children.
For more information contact:
Shirley Ririe & Gigi Arrington
138 W. Broadway, Salt Lake City, UT 84101
Phone: (801) 297-4241
E-mail: shirley@ririewoodbury.com
gigiarrington@yahoo.com
www.ririewoodbury.com
143
SPRINGVILLE MUSEUM OF ART
As the host of the StateWide Art Partnership, the Springville Museum of Art enthusiastically supports
art education by providing varied resources and educational materials, both in-house and throughout
the state of Utah, for teachers and students alike.
Evenings for Educators: Held at various locations in the state throughout the school year, featuring
keynote speakers and hands-on workshops to help teachers integrate art into their curriculum. Les-
son plan packets and USOE recertification credit are also available.
Art Talks: Certified art educators visit schools throughout Utah and provide workshops for students
and teachers of all grades.
All-State High School Show: This annual juried exhibition displays over pieces from high school ju-
niors and seniors in every school district in the state. Entrants may receive scholarships, cash prizes,
and an invaluable opportunity to display their work in a professional museum environment.
Portfolio Day: University and College representatives from across the state and beyond are invited to
come to the Museum to meet with High School seniors to discuss their portfolios and scholarship op-
portunities.
Museum Tours: The Museum offers docent-led tours for groups of up to 60 people visiting the Mu-
seum; our docents are expertly trained and can tailor a tour to your groups needs.
For more information contact:
Virgil Jacobsen & Jessica Weiss
126 E. 400 S., Springville, UT 84663
Phone: (801) 489-2727
Email: vjacobsen@smofa.org
jweiss@smofa.org
www.smofa.org
TANNER DANCE
The Tanner Dance Program, a seventy-two-year-old, nationally and internationally respected arts
organization, is an auxiliary of the College of Fine Arts at the University of Utah and member of the
Youth Arts Division, a coordinating body representing all university arts programsacademic and
professionalthat provide youth arts education and professional development.
Professional Development: Tanner Dance offers a variety of professional development delivery mod-
els that are proven to have a profound impact on the ways educators teach. Workshop options vary in
length from a week long to a full year, in addition to an Infinity Model workshop.
Performances: The Visions of Children program, presented to an entire elementary school, is de-
signed to introduce students and teachers to the elements of dance. In addition, special School Mati-
nees are held at the Capitol Theatre and throughout the state during the school year.
School Residencies: Schools with a firm commitment to arts in education may participate in the Side-
144
by-Side Dance Residency Program. Tanner Dance also offers a variety of short-term in-school residen-
cies as well.
For more information contact:
Mary Ann Lee & Rebecca Meadows
1901 E South Campus Dr., Rm 1215, Salt Lake City, UT 84112
Phone: (801) 581-7370 or 585-9111
E-mail: MaryAnn.Lee@m.cc.utah.edu
rebecca.meadows@utah.edu
www.tannerdance.utah.edu
UTAH FESTIVAL OPERA COMPANY
When can students dress like monkeys and sing like them too? When they are performing an origi-
nal opera they created themselves! Teachers across the state of Utah have found a unique tool to use
throughout an entire school year to bring unity, self discovery and enthusiasm for learning in their
classrooms. Utilizing the Utah Festival Opera Companys Opera by Children program students them-
selves lead the imaginative development of their arts project; writing, drawing, singing, acting and
dancing their way through the creation of a new opera work while directing their own learning not
only in all the art forms but also in language arts, social studies, science, math, reading and in life skills
development.
For more information contact:
Susan Ames & Pam Gee
59 S. 100 W., Logan, UT 84321
Susan: (435) 750-0300 xt118
Pam: (435) 750-0300 xt126
E-mail: opera@ufoc.org
Susan: ames@ufoc.org
www.ufoc.org
UTAH MUSEUM OF FINE ARTS
The UMFA offers a variety of programs and tours aimed at sparking curiosity and creativity for stu-
dents of all ages. We hope you and your students join us today and dive into a wonderful world of art
and adventure!
Art-in-a-Box: An outreach program that gives the Utah Museum of Fine Arts an opportunity to of-
fer visual arts education training to teachers and the resources to transform their classrooms into art
studios and provide students with hands-on art-making opportunities.
pARTners: the Salt Lake City School District supports this art appreciation program for all fourth-
grade students. The program includes two class visits to the Museum each year, and two curricula
related, in-classroom presentations by Museum Docents.
Teacher Resource Center: loans museum objects, reproductions, DVDs and videos, free of charge, to
educators for use in school settings.
For more information contact:
Megan Hallet
145
410 Campus Center Drive, SLC, UT 84112-0350
Phone: (801) 585-7190
E-mail: mhallett@umfa.utah.edu
www.umfa.utah.edu
UTAH OPERA
Utah Opera invites people of all ages to explore and share the emotion and expressiveness of opera
its music, drama, dance and visual arts.
Music! Words! Opera!: Teachers attend a week-long summer workshop, and then guide their stu-
dents through a year-long process of creating and producing and original opera.
Opera-tunities: Secondary high school students attend final dress rehearsals of all mainstage operas
in the Capitol Theatre.
Introduction-to-Opera Assemblies: Utah Opera offers three different assemblies with demonstra-
tions of arias and scenes by professional opera artists.
For more information contact:
Paula Fowler & Beverly Hawkins
336 N 400 W, SLC, UT 84103
Paula : (801) 869-9090
Beverly : (801) 869-9092
pfowler@utahsymphonyopera.org
bhawkins@utahsymphonyopera.org
www.utahsymphony.org
UTAH SHAKESPEAREAN FESTIVAL

Shakespeare Competition: a two day event where students perform Shakespeare monologues, duo
scenes, ensemble scenes and dance pieces which are coached and adjudicated by professionals.

Shakespeare-in-the-Schools Touring Productions and Workshops:
The Festival presents a fully-mounted production of a Shakespeare play for schools throughout the
state of Utah.
Shakespearience: The Festival provides opportunities for students to attend performances of plays
within the Summer and Fall season. a backstage tour workshops are also provided for the students.

Bards B-day Bash: Held over two days, the Festival provides elementary students with the opportu-
nity to celebrate Shakespeares Birthday by presenting their own scenes, observe other schools per-
formances, dance the maypole, attend improvisation and text workshops and have cake with Queen
Elizabeth.
Playmakers and Playmakers Performances: The Festival teaches theatre to students ages 6 - 18
through a series of performances and workshops which vary in length from two week to eight week
sessions.

146
Theatre Methods for the Classroom: The Fes-
tival provides workshops and in-services for
educators. Teachers are given teaching strategies
that incorporate creative dramatics within their
curriculum.
Elementary Shakespeare Showcase: Elementary
school groups that have successfully performed
Shakespeares plays at their school are selected
and invited to perform on the stages of the festi-
val during the summer season.
For more information contact:
Michael Bahr
351 West Center
Cedar City, UT 84720-2498
Phone: (435) 865-8333
E-mail: bahr@bard.org
www.bard.org
UTAH SYMPHONY
Utah Symphony invites people of all ages to ex-
plore and share the emotion and expressiveness
of symphonic music.
Performance Opportunities: Salute to Youth
gives select students the opportunity to perform
as soloists with the Utah Symphony, while the
All-Star Evening gives high school students the
opportunity to perform side-by-side and as solo-
ists with the Utah Symphony. A high school choir
performs in the December family concert wach
year.
Concerts: Fifth graders are invited to hear the
Symphony perform in Abravanel Hall, while con-
certs held throughout the state give students the
opportunity to experience a professional sym-
phony performance. On Autism Night, the Utah
Symphony and Utah Opera performs for autistic
children and their families in the Capitol Theatre.
Music Outreach: The Utah Symphony Guild
gives free violin lessons to interested students.
The Youth Guild gives students performance,
education and service opportunities. Teacher
workshops give teachers skills they can take back
to their classrooms.
For more information contact:
Paula Fowler & Beverly Hawkins
336 N 400 W, SLC, UT 84103
Paula : (801) 869-9090
Beverly : (801) 869-9092
pfowler@utahsymphonyopera.org
bhawkins@utahsymphonyopera.org
www.utahsymphony.org