ERIC ED395845: Integrating Art.

45 Pages·1991·1.3 MB·English

by  ERIC

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,
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Collected Works Reports
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Guides
BCATA Journal for Art Teachers; v31 nl May 1991
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*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.
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Volume 31 Number 1
May 1991
JOURNAL FOR ART TEACHERS
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IX This document has been repioduced as
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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
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