Teachers' and Mothers' Perceptions of Using Creative Arts to Develop Children's Potential for ...

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Teachers' and Mothers' Perceptions of Using Creative Arts to
Develop Children's Potential for Critical Thinking
Author
Nilson, Caroline, Fetherstone, Catherine, McMurray, Anne
Published
2013
Journal Title
The International Journal of Arts Education
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VOLUME 7 ISSUE 1
The International Journal of
Arts Education
__________________________________________________________________________
Teachers’ and Mothers’ Perceptions of
Using Creative Arts to Develop
Children’s Potential for Critical
Thinking
CAROLINE NILSON, CATHERINE FETHERSTON AND ANNE MCMURRAY
ArTsInsocIETy.com
THE INTERNATIONAL JOURNAL OF ARTS EDUCATION
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Teachers’ and Mothers’ Perceptions of Using
Creative Arts to Develop Children’s Potential
for Critical Thinking
CarolineNilson,MurdochUniversity,WesternAustralia,Australia
CatherineFetherston,MurdochUniversity,WesternAustralia,Australia
AnneMcMurray,GriffithUniversity,Queensland,Australia
Abstract:Usingaqualitativenaturalistic,interpretivedesign,thisstudysoughttoinvestigate
theimpactofchildren’sparticipationinacreativeartsprojectonthedevelopmentofcritical
thinking dispositions. Focus groups and individual interviews were undertaken to identify
mothers’ and teachers’ perceptions of children’s critical thinking development in the context
ofcreatinganartpiece.Datawereanalysedusingathematicanalysis.Thefindingsrevealed
thatcreativeartsparticipationwasabletoexcitechildren’simaginationandmobilisecreativity
leadingtoanincreasedawarenessofselfandothers,includingtheenvironmentaroundthem.
Teachersbelievedchildrenrequiredmoretimeforfreeplaytodeveloptheirimagination,while
mothers perceived that time and curriculum constraints reduced children’s opportunities for
integrationofartsintotheirotherstudies.Thesefindingshaveimportantimplicationsforthe
developmentoffutureeducationcurriculainadditiontothedevelopmentofcollaborativeini-
tiativesbetweenschoolsandcommunityorganisations.
Keywords:CreativeArts,CriticalThinking,BarrierstoCreativity,MobilisationofImagination,
CommunityConnectionandEngagement
INTRODUCTION
Theconceptofcriticalthinkingisderivedfromthethreebasicanalyticaldimensionsof
logic,criteriaandpragmatism,fromwhichachildcandeveloppreciseintellectualand
emotionaljudgment.Inpractice,criticalthinkingistheabilitytoassesstheauthenticity,
accuracy,and/orworthofknowledgeclaimsandargumentsthroughcareful,precise,
persistentandobjectiveanalysisofanyknowledgeclaimorbelief(Ennis1991,1996).
Criticalthinkingdispositionsdevelopthroughartasstudentsengageintheactofdeveloping
unique,individualisedsolutionstosolvingaestheticproblems(Eisner1998).Therefore,aesthetics
and learning are inexorably linked to how we perceive and make decisions about the world
aroundus(Dewey1934;Eisner1985;Read1943).
Analysisofalltypesofknowledgerequirescriticalthinking.Educationismultidimensional
andfostersthedevelopmentofknowledgeandunderstandinginarangeofdisciplinesthatcan
befurtherenhancedwheninfusedwiththearts(Deasyetal.2002;Richmond2009;Robinson
2009; Smithrim and Upitis 2005). Art fulfils the psychological need for sense, imagination,
feeling, spontaneity, language judgment and self–awareness (Efland 2004; Richmond 2009;
Reid1985).Theaimofthispaperistoreportonastudythatidentifiedcriticalthinkingdispos-
itionsandabilitiesinacohortofprimaryschoolagedchildren,havingbeenexposedtoacre-
ativeartsactivity.Itisbasedonthecontentionthattheartscandevelopstrengthsincritical
thinking(Efland1990,1996,2004;Eisner1985;LowenfeldandBrittain1970)andisdistinct
TheInternationalJournalofArtsEducation
Volume7,Issue1,2013,http://artsinsociety.com/,ISSNISSNPending
©CommonGround,CarolineNilson,CatherineFetherston,AnneMcMurray,AllRightsReserved,
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THEINTERNATIONALJOURNALOFARTSEDUCATION
from other literature in the field, which has focused predominantly on the development of
criticalthinkinginsecondaryandtertiaryagedstudents.Thefindings,derivedfromanatural-
istic,interpretivestudymethod,areissuesofreal–worldsignificance,whichwillappealtopolicy
makers, and planners concerned with future education curriculum and the development of
community–generatedartsactivities.Thepaperwillprovideabackgroundtotherelevanceof
thestudyanddiscussbrieflythemethodologicalapproachincludingsampleandaccess,data
collectionandanalysis,inadditiontoprovidinganoverviewofhowthetheoreticalframework
guidedthestudy.Anindepthdiscussionisprovidedalongsidethefindings,andissupported
byselecteddata.Thepaperconcludeswithrecommendationsforimplicationsandfurtherre-
search.
Background
ExpansionoftheartsinschoolshasbeenrecommendedbytheAustralianCurriculum,Assess-
mentandReportingAuthority(2011)(ACARA),indicatingagreaterawarenessoftheroleof
arts in children’s cognitive development. This national initiative also reflects the widespread
understandingthatcognitiveskillsdevelopintheearlyyearsconcurrentwiththedevelopment
ofotherskillssuchasmobility,emotionandcommunication(Vygotsky1962).However,despite
thepolicycommitmenttoincreaseartseducationinAustralianschoolcurriculathepositioning
oftheartswithinschoolsiscurrentlyvariablewithsomechildrenreceivinglittleexposurein
thisarea.Theimpactofexposingyoungchildrentocreativeartsandthesubsequentdevelopment
of critical thinking dispositions and attributes, along with the environments that nurture
aptitudesandattitudestowardcriticalthinkingisanunderresearchedarea.Understandingthe
mechanismsofhowcreativeartsimpactonthecultural,socialandeconomicaspectsofcom-
munitylifeisofcriticalimportancetopolicymakersandplanners,schoolsandtertiaryeducation
institutionsandcommunityartsorganisations.Consequentlytheauthors’aimwastoexplore
mothers’andteachers’perspectivesofthedevelopmentofcriticalthinkinginagroupofyoung
schoolchildren,aged8–9yearsold,participatingintheMandurahStretchFestival(Festival)
inWesternAustralia,managedbytheCityofMandurah(City).
Methodology
Asaninterpretivestudy,theresearchwasdesignedtoidentifyandinterpretperceptionsand
meaningsarisingfromartsactivitiesinthecontextofchildren’scriticalthinkingdevelopment.
The study was guided by the Super–Streamlined Concept of Critical Thinking Framework
(SSCCTF)(Ennis2010),whichwasusedinthestudytoassistwiththeinterpretationofrelevant
literature,linkthestudytopreviousknowledge,developthesemi–structuredinterviewquestions,
reference the findings and validate the significance of the research. The SSCCTF frames an
analysisofdecision–makingprocessesandcharacterdispositionsandabilitiesrequired“todecide
whattobelieveordo”,andtoidentifythedispositionsandabilitiesoftheidealcriticalthinker
(Ennis1991,6).Theaimwastoexploreparticipants’viewsonthechildren’suseofimagination,
decision–makingandproblemsolvingastheydevelopedandreflectedontheirartandshared
theirideaswithothers.
TheSampleandAccess
Following approval from Murdoch University Human Research Ethics Committee and the
WesternAustralianDepartmentofEducationEvaluationandAccountabilityOffice,thethree
primaryschools(oneprivateandtwogovernment)andanIndependentArtGroup(IAG)par-
ticipatingintheFestivalwereapproachedtorecruittheparticipantsforthestudy.Eachschool
wasassignedanartist–in–residencebytheCity,withtheaimofengagingthestudents,teachers
andartistsinacreativepartnership.Thesampleconsistedofvoluntaryparticipantscomprising
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NILSON:TEACHERS’ANDMOTHERS’PERCEPTIONSOFUSINGCREATIVEARTSTODEVELOPCHILDREN’SPOTENTIALFOR
CRITICALTHINKING
bothteachersandartists–inresidenceinvolvedinfacilitatingthestudents’artworkdevelopment
andmothersofthechildreninvolvedintheartprojects.
DataCollection
Theresearchquestionexploredthroughthefocusgroupandinterviewdiscussionwas:How
doescreativeartinfluencethedevelopmentofcriticalthinkinginacohortofchildrenbetween
eightandnineyears,livinginthePeelregion?Dataconsistedoffirsthandobservationsand
teachers’andmothers’self–reportedperceptionsregardingchildren’scriticalthinkingdevelop-
mentthroughthecreativeartsexperience.Focusgroupswereconductedtoencouragegenuine
discussion among participants (McLafferty 2004), whilst providing an opportunity to probe
foropinionsorattitudesatadeeperlevel.Unstructuredobservationsinthiscontextpermitted
the co–construction of knowledge between researcher and the participants (Mulhall 2003).
EachschoolandtheIAGcontributedanindividualcreativeartpiecetodisplayattheFestival
inlinewiththe2010theme‘LifestylesandImagination’.Theartpiecesweredisplayedinthe
City’sMallandthePerformingArtsCentreanddepictedhistoricalfeaturesofthecitysuchas
theSontoyBallroom,theMandurahMovieTheatreandtheSmartStreetMall,whichwasthe
city’shubduringthe1950’s.AdditionalindicatorsofartsactivitiesincludedaDVDofvideo
footageandstillphotographscontributedbyoneprivateschoolandletterswrittenbystudents
fromoneofthegovernmentschools.
DatafromtwofocusgroupsandfourindividualinterviewsweregatheredinJune2010,at
theendoftheFestival.Onegroupconsistedoftwofulltimeteachersandoneartist–in–residence
whohadbeeninvolvedindirectingtheartactivityandtheotheroffivemothersofthechildren
participatinginthecreativeartactivity.Afurtherfourindividualinterviewswereconducted
withtwoteachersandtwomotherswhowereunabletoattendthefocusgroups.Discussions
exploredtheirperceptionsaboutthedevelopment,displayandengagementgeneratedbythe
artactivities,withparticulardispositionsandabilitiesthatwerelinkedtocriticalthinking.
DataAnalysis
Interpretive analysis of the data was implemented using the computer–based program, Ar-
tichoke™ (Fetherston 2007). Both the video and audio files were entered into the database.
The framework of familiarization, identifying a thematic framework, indexing, charting,
mapping and interpretation was followed (Srivastava and Thomson 2009). Familiarisation
withthedatawasachievedinArtichoke™Analyseandbyfrequentlylisteningtothetape–re-
cordedinterviewsandwatchingthevideofootage.Recurrence,repetitionandforcefulnesswere
thethreepointsofreferenceusedtoidentifythemes(Overcash2004).Datawereindexedusing
thecodesapplicationinArtichoke™bysifting,highlightingandsortingoutquotesandmaking
comparisons to represent relationships between levels of coding in the analysis (King and
Horricks 2010). Charting, mapping and interpreting were conducted by taking quotes from
theiroriginalcontextandrearrangingthemunderthenewlydevelopedthematicframework.
FindingsandDiscussion
Themes and sub–themes generated from the analysis are presented in Table 1. Supporting
evidence in the form of verbatim quotes from interviews and letters written by students is
presentedbelow.
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THEINTERNATIONALJOURNALOFARTSEDUCATION
Table1:ThemesandSub–ThemesGeneratedfromTeachers’andMothers’Perceptionsof
Children’sCreativeArtsExperiences
Themes Sub–Themes
1. • Constrainingfactorslimitingthecreativeartsexperienceinthe
Environmentalfactorsin- home.
fluencingchildren’scre- • Limitedtimeallocationforcreativeartsinschoolprograms.
ativity • Thelackofcreativeartsexpertinstructionacrossthespanof
theschoolcurriculum.
• Fundingrestrictionsintheeducationalenvironment.
2. • Beinggiven“permission”byteachers.
Processesinmobilising • Factorsmobilisingchildren’screativity.
children’screativity • Providingchildrenwithcreativeartsopportunitiesoutsideof
thelimitedschoolprograms.
• Strategiesinworkingwithchildrentoexcitetheirimagination.
3. • Childrenbecomingawareofthemselvesthroughcreativity.
Childrengrowing • Childrenextendingtheirawarenesstoothersandtheenviron-
throughtheexperienceof mentaroundthem.
creativearts
4. • Connectingthecreativeprocesstoothersubjects.
Childrendevelopingcon- • Childrenconfidentlytalkingabouttheconstructionoftheirwork
fidence anddefendingtheirchoices.
• Visibleindicatorsofproblemsolvinginthedevelopmentoftheir
work.
• Perseveringwiththetasktoobtainthedesiredresultsandeffects.
5. • Takingprideinthecontributiontheyhavetooffertoacom-
Children’screativitycon- munityevent.
tributingtocommunity • Feelingasenseofbelongingandconnectiontothecommunity
vibrancy throughart.
EnvironmentalFactorsInfluencingChildren’sCreativity
Teacherswereconcernedthatmanypre–primaryandprimaryagedchildrentoday,appearto
notreadilydisplayimaginativedispositionsthatwouldenablethemtogenerateoriginalideas
orthoughts.Theirperceptionssuggestthatinitiallythechildrenarepassivetopursuingpurpose,
problem solving, decision–making and imaginative processes. The teachers explained this
passivityonthebasisthatchildrenintheirearlyyearsarenotbeingexposedtoenoughfree–play
inboththeirhomesandpre–primaryeducationsettings:
Ireallythinkthatplayisabigpartofit…it’stheirplayathome.Alotofthattalkingand
creativeplayandfindingoutthosethings...there’snotthatkindoflearninganymore…
thereisnotthatkindofoutlettojustgodownthestreetorfindabitofbushorsomething
likethatandplay…it’squitestructured…they’llgotosomeone’shomeormightbeinfront
oftheplaystation.It’snotthesameanymore,justeasyimagination…youhavetodragit
outofthemalotmore.Ithinkthatbeforewhentherewasafreestructureofplayitwas
easier(T3).
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NILSON:TEACHERS’ANDMOTHERS’PERCEPTIONSOFUSINGCREATIVEARTSTODEVELOPCHILDREN’SPOTENTIALFOR
CRITICALTHINKING
Teacherscommentedthateducationinpre–primaryandearlyprimaryfocusesonformaledu-
cation,ratherthanallowingchildrentodevelopattributesofcreativityandimagination:
Play has been taken away in pre–primary, breaking away from the traditional teaching
andthat’swhereyougetthesekidscominginthathavealreadystartedformallearning
andtheyshouldreallystillbeplaying…stillbeusingtheirimagination…andthat’swhere
it’s wrong…I really disagree with it…I don’t think it helps the children socially…they
haven’tdevelopedthatbackground…Idon’tthinkteacherswereeveraskedwhetherchildren
shouldstartformallearningearlier.Ispoketosomeofthekindyteachersearlierthisyear
andtheyalsofeelthatthereisnotenoughtimetofreeplay(T1).
Thisfindingisimportantinrelationtootherresearch(BoddyandCartmel2011),whichhas
foundthatchildren’screativeplayisfundamentalinthedevelopmentofpersonalpower,and
if this is cultivated in early life, they are more likely to have self–initiating behaviours and a
capacityforinventivenesswhenadults.
Mothersperceivedthatcurriculumandtimerestraintsoncreativeartsactivitiesreducedthe
children’s experiences to enable full engagement in thoughtful and reflective practices. They
alsobelievedthatartsactivitiesweresupportedinthepre–primaryandearlyprimaryyearsand
thenforgottenuntilthesecondaryyearswheretheartswereelective,butonlytothoseconsidered
tohaveability:
Youknowthatsaying…apicturepaintsathousandwords…it’strueandthat’swhatthe
kindykidsarelearning…picturesmainlyandthat’showtheylearn…theyexperience…they
talkandsoon…whyisthatnotfollowedthroughtothehigherlevels…they’velostitalong
the way, it’s a real shame…I wonder what has happened to that link from lower
levels…some brains need it, they see things differently...it hasn’t been followed thro-
ugh…theyarenotgivingitthesameattentionasMaths,English,Sport(M1).
Ihopetheymaximisetheuseofit(creativearts)eventually…noteverychildissportyor
anacademic…artisanotheravenueforthechildrenorallofthemtoexpressthemselves
indifferentwaysandI’mjustsoforit(M1).
Mothersalsobelievedthatartsinthecurriculumwerejust‘fillers’inrelationtotheacademic
subjectsandthattheproductoftheartworkappearedtobemoreimportantthantheprocess:
Theyaretaughtfromanearlyage…theyhaveportfoliosthattheyhavetotakehome…the
teacherkeepssayinghowimportantitisthattheymustlookfantastic…Ithinkthechildren
looseabitoftheirowninterpretation…theteachersays‘it’sgoingintoyourportfolio,it’s
gottolookgood’…theirowninterpretationislost(M4).
Theproductapproachwasofmajorconcernasbothteachersandmothersproposedthatthe
childrenbypassedtheprocess,onlytoproducearesultthatpleasessomeoneelse.Thisemerged
fromdiscussionsregardingtheirperceptionsofthechildren’sdecision–makingandrepresentation
skills:
Therewasanactivitythatourchildrendidinpre–primaryanditstandsoutinmyhead
foraparticularreason…theteachergotthemtodrawaself–portrait…andtheycouldn’t
doit,alotofthemwerestickfiguresetcetera…someteacherscan’tdrawmuchbetterthan
thatbecausenoonehastaughtthemhowtodoit(M8).
Thesefindingsaresupportedbyothers(McArdieandPiscitelli2002;Orbeck2004)whosuggest
that most teachers do not have the skills base to teach the foundation of art practice and
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THEINTERNATIONALJOURNALOFARTSEDUCATION
thereforesticktowhattheyrefertoasthe‘bagoftricks’whichproducesmanypiecesof‘multiple
sameness’foundonclassroomwalls:
Itcomesdowntotheteachers...someteachersarenotarty,sotheydon’tliketoteachit…if
youhaveachildwhohashadafewteachersthataren’tartyanddon’tparticularlylikeit
then they are more inclined to not understand it as much or get exposed to it as much
(M4).
IthasbeenacknowledgedthatwhiletheartshasbeenidentifiedinAustraliaasoneofthekey
eightlearningareas,particularlyinprimaryschool,generalistbeginning–teachersstruggleto
provideeffectiveartseducationduetopoorartsbackgrounds(Dinham2007).
Bothgroupsofparticipantsdecriedthelowprioritygiventofundingforthearts,includingthe
lackofpurposebuiltfacilitieswithappropriatefacilitatorsandfundingforprojects.Inequity
inaffordabilityofcommunitycreativeartsprogramswasalsoreported:
Thereisnofunding…veryfewschoolshavegotspecialisedartteachers…veryfewschools
haveevengotawetareawheretheycandoartwork…youknow…I’vehadtogooutinto
the yard and do it…and sometimes there has been no running water and we’ve had to
bucketit(T5).
She(daughter)wasalsopartofanother(extracurricular)artclass…itisalovelyfeelgood
group…it’s a wonderful community thing…interestingly enough it’s probably the same
typeofchildrenthataredoingit…ifyouwanttotalkaboutsocioeconomicgroupsthat
aredoingit…it’sprobablythat…becauseitisabout$120aterm,sothat’sanotherissue
thatlimitsthearts…limitspeoplefromaccessingit(M7).
ThissupportscommentsmadebySirKenRobinson(2009)whohasreportedhisdistressabout
thehierarchaleducationsystemthatpositionsmathematicsandscienceatthetopandartsand
thehumanitiesatthebottomoftheprioritylist.However,extracurricularprogramsareexpens-
iveandpossiblyoutofreachformanyAustralianfamilies,despiterecognitionoftheirvalue
inchildren’smotivation,self–discovery,contextandmeaningfullearning.
ProcessesinMobilisingChildren’sCreativity
Teachers reported not only a passiveness in the children, but an initial reluctance to display
autonomytodeveloptheirownideas.Thesechildrenrequired‘permission’tobegintousetheir
imaginationsandthinkfreely:
Theysaythattheyhavetodoabrowncow,theyhavetodoablackandwhitezebra,they
can’tdoapurplezebra…notinallcases…buttheysaytomethattheyarenotallowedto
do this and they are not allowed to do that and so when they come here and especially
whentheyfirststartandtheyareverytimidtoreallyexpress,totakethechanceofusing
thatdifferentcolourbecausetheyarescaredI’mgoingtotellthemoff…Achildwillcome
up and say ‘am I allowed to do this…could I cut this, this way?’…I say…’you can do
anythingyouwant…thatisyourartwork…youaretheartist…thiscomesfromyou…this
comes from inside’…’Oh!’…they say…’I won’t get in trouble?’…that’s the big one…’I
won’tgetintrouble?’…It’sgivingthempermission(T4).
Thefindingssuggestthatwhenchildrenoperateinconvergent(restrictive)thinkingenvironments,
wheretheyaretaughttoconformtospecificideas,theywilloften‘shutdown’toprotecttheir
creativeintegrity.Inparticular,thefindingssuggestthatchildren’screativeimpulsesaresquashed
byrejection,criticism,failureorpressuretoconform:
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NILSON:TEACHERS’ANDMOTHERS’PERCEPTIONSOFUSINGCREATIVEARTSTODEVELOPCHILDREN’SPOTENTIALFOR
CRITICALTHINKING
The children are caught in a box…they can’t get out and do what they really want to
do…orbewhotheyare…orhavetheemotionsthattheyreallywanttohaveandbeex-
pressive…theythinkthatpeoplewilllaughatthem…theydon’tthinkitlooksright…and
thenafterawhile…ittakesquitealotoftimeforthemtoletgo…Itellthem…’youare
allowedtoexpressyourself,youareallowedtododifferentthings’…theyjusthavetokeep
checking…theyask…’canweputabelton,canweputaheadbandon,woulditbealright
ifwehadasticklikethis’…Ialwayssay‘Yes!’…Iftheymakeamistake,Itellthemtoalways
‘useyourmistakes,useyourmistakestoyouradvantage’(T4).
It’stheexpectationthattheparentswantbut…that’stheworstpart,saying‘mykidcan
dothatandyourscannot’sortofthing.Iexplain(tothechildren)thatyou’veentereda
zone where nothing is wrong…there are no good ideas or bad ideas…they are just
ideas…youarenotmarkedonit…Idon’tthinktheycanactuallygraspwhatitmeansto
hear this dude sitting there saying that nothing is wrong…they are like…’what–ever!,
anyway,quick,Ibettergetitright,Idon’twanttogetitwrong’…’soI’lldowhateveryou
didandthispersonisgoingtodo…whateverwebothdidandthewholeclassdoesexactly
thesamething’…becausetheyarepetrified;coztheyjustwanttoberightandsucceedand
notgetintotrouble(T1).
Mydaughterfeelslikeshecan’tdosomethingunlesssheistaughthowandshewillalways
ask‘isthistherightway’…’amIdoingitright’…likewiththeactivitythattheyweredo-
ing…shewouldhavebeencheckingconstantlywiththeartistthatwasdoingitwithher…to
make sure that she was doing it right…or looking at what other people are doing…she
wouldn’tliketothinkthatwasn’tdoingitcorrectly…soshefeelslikeshealwayshasto
checkbeforesheisconfident(M4).
Thefindingsalsosupportotherresearchers(SchirrmacherandFox2009)whosuggestwhen
environments override children’s autonomy and creativity they become dependent on others
forsolutionsandanswers.
Withlimitedprovisiontoavarietyofartsexperienceinthelaterprimaryschoolcurriculum,
thefindingssuggestedthatmothersthoughtitwasnecessarytoseekalternativessuchasextra-
curricularartsprograms.Interestingly,someparentswhodidinvolvetheirchildreninextracur-
ricular programs also discovered that this might have created inadvertent pressure on their
child:
I have a couple of children who only paint for their parents…umm…like they want to
come,buttheypaintfortheirparents…andiftheydon’tthinkthatitwillmeetuptotheir
parentsstandardswhentheyarrivethey’llthrowitinthebin(T4).
Otherresearchers(Andersonetal.2003),suggestthatnegativepressurescanresultinthechild’s
enjoyment in the experience and therefore they are less likely to reap the associated benefits
suchaspositivepeerinteractionandskillsdevelopment.
To excite the children’s imaginations and creativity, a primary strategy employed by the
teacherswastoallowforchildren’sinputintothedevelopmentoftheartwork.Byencouraging
the children to use metaphors and analogies in descriptions and making comparisons, the
teachersencouragedthechildrentounderstandnewprinciples,conceptsandtheories:
Mytakeonimaginationisthatit’saresponsetocertainconditions…ifIkeepthrowing
ideas at them then it’s not fertile ground for them to develop imagination…I just keep
askingquestionsoncewe’vesetascene…asanexample;weareatthebeach…Iask‘who
isthere?’…fromthereIcontinuetodrawonthemtodevelopthestory…atthestartthey
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