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ERIC ED395845: Integrating Art. PDF

45 Pages·1991·1.3 MB·English
by  ERIC
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DOCUMENT RESUME SO 025 589 ED 395 845 Integrating Art. TITLE British Columbia Art Teachers Association, INSTITUTION Vancouver. ISSN-0710-0744 REPORT NO PUB DATE 91 NOTE 43p. British Columbia Art Teachers' Association, AVAILABLE FROM Provincial Specialist Association of the BCTF, 100-550 West Sixth Avenue, Vancouver, British Columbia V5Z 4P2, Canada. PUB TYPE Serials (022) Collected Works Reports Non-Classroom Use (055) Descriptive (141) Guides BCATA Journal for Art Teachers; v31 nl May 1991 JOURNAL CIT MF01/PCO2 Plus Postage. EDRS PRICE *Art Education; Elementary Secondary Education; Fine DESCRIPTORS Arts; Foreign Countries; Freehand Drawing; *Integrated Curriculum; *Interdisciplinary Approach; Language Arts; Music Activities; Science Activities; Social Studies; Thematic Approach; Visual Arts Canada; Masks IDENTIFIERS ABSTRACT These articles focus on art as a component of (1) "Integrated Curriculum and the interdisciplinary integration. Visual Arts" (Anna Kindler) considers various aspects of integration (2) "Integration: The New and implications for art education. Literacy" (Tim Varro) illustrates how the use of technology can (3) "Secrets in the Garden" facilitate cross-curricular integration. (Gail Duthie) presents five lesson plans from a theme unit on food and botany. These link art, language arts, and science through (4) "Connecting Commonalities" (Sharon hands-on science activities. McCoubrey) gives a visual model, example, and explanation of what an integrated unit might look like. (5) "Integration" (Kit Grauer) presents further implications for the arts and integrated (6) "Masks, an Integrated Theme Unit" (Pamela Wallis) disciplines. includes lesson plans that involve art/language arts, music, movement, mime, social studies, and mathematics/science in the integrating theme. The last article (7) "Drawing in the Integrated Curriculum" (Boh Steele) presents drawing as a basic language and form of representation that has application in all subject areas. (mm) ******************************************************************* Reproductions supplied by EDRS are the best that can be made from the original document. *********************AAAA***:,,A;:*****************;.****:,A****** Volume 31 Number 1 May 1991 JOURNAL FOR ART TEACHERS PEW, ISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEVRANTED BY r(ffiredtil 11 19-)j, TO THL EDUC 3,TIONAL Rfr.SOURCES INFORf sATION CENTER 1 ERIC) ...A.......,, -Ai., r ....., 4 U S DEPARTMENT OF EDUCATION Ofive Of Educanonal Fin sea rch and Irnpiowernent EDUCATIONAL RESOURCES INFORMATION CENTER i ERIC, IX This document has been repioduced as received from the person or orgaiwation origrnating it o Minor changes have been mado improve reproduct:on Quality Points of view or opinions stated in this document do not necessarily reprotrenf officral OERI position or pohcy Integrating Art AVAILABLE BEST COPY British Columbia Art Teachers Association Journal Editor: Sharon McCoubrey May 1991 Volume 31 Number 1 BCATA, Provincial Specialist Association of the BCTF 105 2235 Burrard Street, Vancouver, B.C. V6J 3H9 INTEGRATING ART Contents EDITOR'S VIEW 3 Sharon McCoubrey INTEGRATED CURRICULUM AND THE VISUAL ARTS 5 Dr. Anna Kindler INTEGRATION: THE NEW LITERACY 8 Tim Varro SECRETS IN TIE GARDEN 10 Gail Duthie CONNECTING COMMONALITIES 17 Sharon McCoubrey INTEGRATION 23 Kit Grauer MASKS, AN INTEGRATED THEME UNIT 28 Pamela Wallis DRAWING IN THE INTEGRATED CURRICULUM 41 Bob Steele ISSN 0710 - 0744 The BCATA Journal for Art Teachers is an official publi- cation of the British Columbia Art Teachers Association. The opinions expressed in the journal are those of the authors and do not necessarily reflect the views of the editors or the association. ILLUSTRATION CREDITS The elementary art works in this journal were created by the Grade 5 students taught by Marg Boyd at Quigley Elementary School in School District 23, Central Okanagan. The students were working with the theme The Environment when they drew these images. The secondary art works in this journal were created by the students taught by Kathie Smith at Summer land Secondary School in School District 81, Summer land. The picture on the cover of this journal was created by Carol Johnson, a student in the Education Program at Okanagan College. 2 ' ''.'",C44`afr The Year 2000 Programs have resurrected a topic already familiar to art education, that of INTEGRATION. As renewed attention is given to this structure of curriculum delivery, we may also encounter the words: interrelated, cross-curriculuar, interdisciplinary, or correlated. Integration has a variety of applications in education. It can refer to the internal assimilation in the mind of the learner of what has been learned; or to the integration of special needs students into the regular classroom, or to the combining of the 4 areas of the Fine Arts; or to the joining of school life with the student's own life; or to the connections made between school and the community; or to the connecting of the various subject areas. This journal deals primarily with the latter application, interdisciplinary integration. Do we want integration? Will it be beneficial to art education or will it be a distructive force? If one agrees with the philosophy of integration, how can it be put into practice? Are there different ways to implement integration? This journal offers discussions and examples that might provide some answers to these questions. Anna Kindler and Kit Grauer prompt us to consider many different aspects of integration and its possible ir plications to art education. Tim Varro illustrates how the use of technology can facilitate cross-curriculuar integration. Connecting Commonalities suggests one option for implementing integration at all grade levels, including secondary school. Drawing, as Bob Steele explains, is a basic language and form of representation that has application in all subject areas. Several specific examples of lesson plans from integrated theme units are provided by Ruth Duthie and Pam Willis. I trust these examples and discussions will stir some thinking, broaden some perspec- tives, and stimulate some enthusiasm for yet another aspect of student learning and art education, that of INTEGRATION. Sharon McCoubrey, Editor 3 INTEGRATED CURRICULUM AND THE VISUAL ARTS by: Dr. Anna M. Kindler educator and art teacher who The Webster New Collegiate The Year 2000 Primary Pro- Dictionary includes several en- gram Foundation Document lists left the public school system less tries under the heading of inte- integration as one of the under- than two years ago, I will try in gration. One of them defines in- lying principles of the curricu- this article to address these ques- tegration as a process of "bring- lum. The concept of integration tions both in the broad sense and ing together" two or more enti- is seen as a means to promote in terms of how the possible an- ties. I find this definition quite swers bear on the practice of learning in a holistic manner and teaching and learning in art in unsatisfactory in terms of its ap- to assure that the outcomes of the plicability to educational prac- educational process constitute a elementary schools. tice. As much as it implies com- meaningful whole. The integra- bining two or more subject ma t- The definition of the concept tion is perceived as instrumental in assisting children to make ter areas in a lesson or a unit of of "integration" is important, as instruction, it does little in .)ro- bridges between the curriculum there is overwhelming evidence that this term lends itself to a viding guidelines for what might and life, as well as making con- happen within the new er tity. variety of interpretations. Un- nections across the curriculum. According to that definition, a fortunately, some of those inter- Before the Year 2000 mandate of symbol for curriculum integra- curriculum integration can be im- pretations can be very detrimen- plemented in a meaningful way, tion may he tha t of a happy cou- tal to the educational value and ple holding hands together in a integrity of a curriculum. In the it is, I believe,necessary to clarify merry dance. It can, however, and reflect on several issues in- past, there have been many at- tempts to ievelop school pro- also be that of a snake swallow- strumental to the success of this ing a mouse. In both cases, the grams around the idea of inte- approach. gration. Some date back to the "bringing together" requirement is certainly fulfilled. Unfortu- First, it is imperative to de- Progressive era of 1920's 1940's, fine the meaning of the word nately, many of the programs some are as recent as five or ten experimented with in the past, "integration" in terms of educa- years ago. In 1987, I conducted a mirrored the second image. It study concerned with the topic tional practice. Second, it is nec- became almost a tradition that essary to carefully consider what of integration and the visual arts. I reveiwed over si:,ty articles the visual arts were introduced constitutes the entities tha t are to be involved in the integration describing what was labeled as into another subject matter area integrated, interrelated, and process. Third, it is useful to as- to reinforce or enhance learning in language arts, sciences, etc. multi-disciplinary programs. In sess the state of readiness of teach- ers for the upcoming change, most of those writings, I could The rationale for the inclusion of both in terms of attitudes arid the arts was an extrinsic one, easily find a rationale statement professional prepartion for similar in nature to the one of- pointing to the usefulness of arts adopting the integrated ap- in other curriculum strands. The fered in the Year 2000 Document. However, the question of what proach. Fourth, several questions goals, objectives, and value of about practicality, day to day integration means was rarely education in the arts seemed to teaching, and planning of inte- answered. be totally disregarded. The titles grated curriculum need to be of some integrated programs, answered. As a university art such as the Learning to Read 5 Through the Arts program, im- that the visual arts in schools mary teachers do not have the plied the servant role of the arts. luxury of an art specialist's as- have suffered from in the past is, It is not my intention to argue I believe, partially due to the sistance and given the time, schedule, and financial con- that art activities cannot or should lack of consensus within the field, not be employed to reinforce as well as the lack of under- straints, decisions about what points made in other subject standing outside the field, about and how to integrate have to be matter areas. It is rather to say what constitutes art education. made by one person. Therefore, that, for obvious reasons, the Therefore, it is imperative to it is externely important that a "snake and mouse" model is not primary classroom teacher is clarify that art education is con- the one to follow. cerned with more than the de- adequately equipped to make velopment of creativity, self-ex- ich decisions. artistic The same dictionary offers pression, an d The Year 2000 reform at- yet another definition of integra- experimentaion; concepts which do not lend themselves to pre- tion, which, when applied in edu- tributes great significance in the cational practice, would help curriculum to the fine arts. The cise, clear-cut definitions. Speci- fulfill, in my opinion, the true fine arts, including the visual fication of the goals, objectives, expectations of the Year 2000 and content of art education is, arts, are indicated as one of four fundamental mandate. Integration is defined curriculum in my opinion, a precondition there as ''incorporation as for meaningful incorporation of strands. For many art educators, the visual arts into other equals", or "bringing into com- this seems like a dream come mon and equal membership". cirriculurn strands. true after decades of neglect and The acceptance of this definition times when arts were consid- allows for breaking away from The B.C. Art Curriculum ered a frill. The new claim has to Guides provide great help the tradition of using the visual be followed, however, by appro- arts for some extrinsic purposes. clarifying those issues. The prob- priate changes in teacher educa- It raises the status of the visual lem remains, however, how to tion programs. Such programs arts from that of a servant to that spread the word across the teach- should provide time and oppor- of a partner: the "dancing cou- ing profession.? It is safe to as- tunity for teachers-to-be to un- sume that art teachers and art ple" model. The arts can still play derstand the rationale for the arts a vital role in reinforcing learn- specialists are not only familiar in the curriculum, to reflect upon ing in other areas. This time, how- the role of art in a society, to with, but also competent to ad- ever, learning in the arts is also dress in their teaching the many become familiar with and com- being considered. This model of petent in the requirements of areas of art edcaution that lead integration requires teachers to to visual literacy, in terms of contemporary art education. regard the educational objectives ability to actively participate in Many prospective classroom of all contributing domains in art as well as respond to it. How- teachers come to teacher educa- ever, will an art specialist al- creating an integrated unit, or in tion programs without any art lesson planning. It ensures that background, and often with ways be present in planning in- in addition to learning to read many misconceptions about tegrated curriculum at both pri- through the arts, studen's are mary and intermediate levels? what art in schools should be. also learning in the arts (maybe One rushed methods course that even learning about arts through This brings us to the consid- many educational institutions reading?). eration of the third point: Who mandate is hardly enough to will carry on the process of inte- achieve those objectives. The definition of integration gration? Several scenarios can that implies true partnership of be conceived. The one that is Also, many practicing teach- ral curriculum domains re- closest to reality in primary ers who entered the profession gal, es specificiation of what is grades requires a classroom long before anyone heard about the content of each of the contrib- teacher to assume the role of "the Discipline-Based Art Education uting parts. The mistreatment lonely integrator". Many pri- or seriously considered educa- 6 The integration of the highly enthusiastic about the tion in aesthetic perception and cirriculum in B.C. will not hap- venture, as well as respectful to- rasponse, need to review their positions and update their pen by itself, born of philosophi- wards and willing to learn in the cal assumptions and wishful areas other than their own knowledge and skills before thinking. It will require a great specialty. The demands of the meaningful integration of visual deal of dedication and enthusi- arts with other curriculum task increase immensely when even one of the cooperating asm, but also a great deal of rea- domians can take place. If inte- son, wisdom, and the ability to teachers is territorial about his or gration of the visual arts in the learn from the shortcomings of her subject of expertise or when primary curriculum is to mean the past attempts. It will require there is a personality conflict more than drawing red hearts on careful planning and assessment within the team. With an abun- Valentine's Day and sticking cot- of pilot projects, an efficient dis- dance of release time, flexible ton balls on a silhouette of a semination of knowledge, un- bunny for Easter, classroom scheduling of classes, and a great patience and time. derstindir._ number of teachers with exper- teachers need to be better versed . With the integration mandate for tise in a variety of areas to choose in the area of art eduation. primary grades already in effect from within each school, these might hardly be considered and the plans for the intermedi- More cooperation between ate program to follow in the very teachers with a wide range of obstables to the process of inte- near future, I feel that I am a expertise can certainly be ex- gration. The reality, however, is witness to a great experiement. pected in the intermediate always less than the ideal, and it important very It is important that teachers ap- is grades. If one begins with the a experiement given its scope and proach this issue with realistic assumption that one person can possible implications. I hope that hardly be an expert in all cur- expectations. careful considerations of the is- riculum areas at the tenth grade sues outline in this article can There are many other factors, level, some model of team-plan- help to make it a successful such as the methods of evalua- ning and team-teaching seems experiement. tion of the integrated curriculum clearly a necessity. The interests that should be discussed in the of art education can be better context of curriculum integra- REFERENCES secured by the presence of art tion and the visual arts. They are, teachers or art specialists in the however, beyond the scope of Kindler, A.M. 1987 A Review of classroom. However, the ways Rationales for Integrated Arts this article. It has been my inten- in which consultations, planning, Programs. STUDIES IN ART and coordination of the inte- tion to point to some important issues, understanding and con- EDUCATION. 29:1. 52-60. SR grated curriculum are to happen sideration of which are, in my on a day to daybases still need to opinion, essential in the context be clarified. of the Year 2000 reform. It may My experience as a teacher be worth noting that the ideas of who has been :nvolved in an curriculum integration is not a Anna Kindler is an Art Educa- tion Instructor at UBC. new one. It can be compared to a integrated curriculum project for a period of four years indicates wave that is quite potent when it that the time factor becomes hits the shore, but soon becomes extemely important. Integrated little nore than wet tr aces on the curriculum planning requires sand. The poor record of its long terms survival in any particular hours of cooperative work, dis- setting certainly indicates that cussions, and learning about the n integra- discipines that are to converge., the idea of curricu- It is a time consuming project tion is not a worry free one. even for the ideal team of teach- ers who all are dedicated and 7 INTEGRATION: THE NEW LITERACY by: Tim Varro If you agree that technology art, and the school curriculum. ning and is beginning to look is a systematic treatment of an The aims of our Art program in like something from "Hollywood art, then it seems reasonable to Filmstudies 11, 12, T.V. Produc- North". The principle photogra- believe that artists have always tion 12, and, to some degree, phy date is set for April 8, allow- taken advantage of technology. Stagec;aft 11, 12, is to develop ing a large film crew armed with In today's society, we are quickly a 24 page, 8 scene, 13th draft critical and responsive attitudes becoming accustomed to new script to begin an 8 towards film, television, theatre 10 day inventions, forms of communi- and stagecrafts, and to produce shooting schedule. The locations cation, and various other tech- students with the ability to con- selected for this project will take nological breakthroughs. (K. ceive, execute, and disseminate the cast crew, and three teachers, Hellyer, C. Rolland 1990). While film, television and stage projects to places such as Heritage Vil- most newer technologies have with sophistication, technical lage (Burnaby), Burnaby Lake been, for the most part, expen- skill and meaningful content. For Cates Park (N Drth Vancouver), sive and far beyond the budgets the students who major in this U.B.C. Museum of Anthropol- of most art programs, they are ogy and Irving House (New program, there is training in pro- quickly declining in price, and duction planning, film criticism, Westminster). This enormous becoming available to more history and theory During the project has become a celebration schools and programs. These af- school year, the students are ex- of learning, and a time to explore fordable technologies have in pected to put theories into prac- the opportunities that arise when past included photography, tice in one of four ways. They aesthetics and techology merge. filmmaking, video production, must work on a two day, "Live For many of our students who computer animation, slide Studio/Audience" shoot of our may, as a result of our culture own T.V. show called "Stay photgraphy, copy-art, and many becoming saturated by technolo- forms of computer generated Tuned", or pick one of three pro- gies, be familiar with the specif- graphics. ductions that are integrated di- ics of how to use technology, it is rectly into other curriculum ar- important to teach them to ap- These technologies can be the eas. proach technology as it becomes avenue through which integra- integrated across the curriculum tion can happen, facilitating the This year, the three integrated with some degree of depth, and connection of various areas of projects are well underway. The some level of literacy. The new study for students. first is a promotional production literacy. vs dealing with the Burnaby School The way these technologies District Career Preparation Pro- can be integrated into your pro- grams; the second is a documen- gram and school is dependent tary of Burnaby North Second- on your individual situation. As ary's Access Program for the disa- Tim Varro is an Secondary Art an art teacher interested in con- bled; and the third project is a Teacher in the Burnaby School temporary forms of visual com- large scale production of the life District. munication and the unique meth- of Robert Burnaby. ods of creation implied by the evolution of these technologies, I The final project has taken will describe some activities un- the Social Studies, English, Home dertaken at our school in rela- Economics, and Art Departments tion to integration of technology, two years in preproduction plan- 8 SAVE OUR ENVIRONMENT stigvegvaviig 011111111111111111 PuT THE _N GARB AGE no sr ig WHERE III IT thirvroo:: ck less! e. RCLU G.1Caae S SAVE OUR ENVIRONMENT

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