ERIC ED445945: Artist's Point of View.

23 Pages·1998·0.99 MB·English

by  ERIC

DOCUMENT RESUME
ED 445 945 SO 029 948
Clark, Gilbert, Ed.
AUTHOR
Artist's Point of View.
TITLE
International Society for Education through Art, Arnhem
INSTITUTION
(Netherlands).
ISSN-0268-2346
ISSN
PUB DATE
1998-00-00
NOTE
22p.
AVAILABLE FROM
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-- Reports
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InSEA News; v 5 n2 1998
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Art Criticism; *Art Education; *Art Expression; *Childrens
DESCRIPTORS
Art; *Curriculum Development; Elementary Secondary
Education; Foreign Countries; Global Approach; Reminiscence;
Student Projects
Art Students; *Folk Art; Microethnography
IDENTIFIERS
ABSTRACT
This issue of "InSEA News" features diverse articles from
authors/art educators from Brazil, Australia, the United States, Guatemala,
and Scotland that discuss water projects, childhood reminiscences,
comparative curricula, local artists, and community efforts to involve
students in exploring a city's history. Articles in the journal are: "Water
Project: Using Images, An Interdisciplinary Experience" (Ivone Richter);
"Factors That Influence and Effect Artistic Development" (Shona Eban);
"Japanese Art Education through Western Eyes" (Melanie Davenport); "Popular
Painting in Comalapa" (Roberto Viscaino); "Public Art, Architecture, and
Design in Glasgow" (Glen Coutts; Mark Dawes); and "Microethnographic Research
in Japan: Exploratory Art Criticism of a Turkish Rug" (Mary Stokrocki).
(BT)
Reproductions supplied by EDRS are the best that can be made
from the original document.
Artist's Point of View
Gilbert Clark, Ed.
InSEA News, Volume 5, Number 2, 1998
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Office of Educational Research and Improvement
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This document has been reproduced as
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INFORMATION CENTER (ERIC)
Points of view or opinions stated in this
document do not necessarily represent official
OERI position or policy.
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InEEM NEWS
Volume 5, Number 2, 1998
ISSN #02682346 InSEA is the International Non-Governmental World Organization for
Education Through Art in Consultive Relations with UNESCO
EDITORIAL, Gilbert Clark, USA
PRESIDENT'S PAGE: Kit Grauer, Canada
WATER PROJECT: USING IMAGES, AN
INTERDISCIPLINARY EXPERIENCE
Ivone Richter, Brazil
FACTORS THAT INFLUENCE AND EFFECT ARTISTIC
DEVELOPMENT
Shona Eban, Australia
JAPANESE ART EDUCATION THROUGH WESTERN EYES
Melanie Davenport, USA
POPULAR PAINTING IN COMALAPA
Roberto Viscaino, Guatemala
PUBLIC ART, ARCHITECTURE, AND DESIGN IN GLASGOW
Glen Coutts & Mark Dawes, Scotland
MICROETHNOGRAPHIC RESEARCH IN JAPAN:
EXPLORATORY ART CRITICISM OF A TURKISH RUG
Mary Stokrocki, USA
OBITUARY: DR. SAM BLACK
Kit Grauer, Canada
NEWS AND ANNOUNCEMENTS
InSEA 1997 Financial Report
St. Petersburgh Children's Academy of Art
International Museum of Peace and Solidarity
Making A Difference In London
NAEA Uses Paradigmological Technologies
Art Resources Web Sites Announced
USSEA Call For Papers
30th InSEA World Congress
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InEEM NEWS
Volume 5, Number 2,1998
Editor: Gilbert Clark
EDITORIAL
Associate Editors:
Gilbert Clark
Li-Fen Lu & Melanie Davenport
Bloomington, Indiana, USA
please send your copy for others to
enjoy.
This issue is focused on a different
Editorial Board:
theme. Ivone Richter's water project
Doug Boughton, Australia
in Brazil was based on interesting
Andrea Karparti, Hungary
concerns we all face. She describes
her project with the enthusiasm she
Riitta Heikkinen, Finland
obviously passes on to her students.
Norihisa Nakase, Japan
Shona Eban, from Australia, shares
Ivone Mendes Richter, Brazil
insights of her growing up, as they
Enid Zimmerman, USA
effected her as an artist/teacher.
Many of us have recollections of
teachers and schools we lovedor
InSEA News is the official publication
hatedand remember how we
of the International Society for Educa-
reacted. Melanie Davenport taught in
tion Through Art.
Japan and has used that experience to
compare and contrast classroom
Reprinting for educational purposes is
curricula in Japan and the U.S..
encouraged. Credit should be given to
Roberto Viscaino describes local
InSEA News as the source.
artists, in a Guatemalan town, and
their evolution over time. His
personal experiences contributed
Articles, Regional Reports, and
greatly to his writing. Mary
Announcements are welcome at all times.
Each time I sit down to compose
Stokrocki, from the U.S., was involved
Please send copy to:
another InSEA News, I barely have
Gilbert Clark
with teaching in Japan. She describes
enough material to put together an
3240 N. Ramble Road East
how her students were well read and
I am sure there are thousands
issue.
Bloomington, IN 47408-1093
willing to share insights. Glen Couts
of good stories to be told by members
and Mark Dawes, from Scotland,
USA
of InSEA; each of you must have a
telephone
report a community's efforts to
812-336-0387
'teaching moment' you could share,
e-mail
involve students from throughout the
[email protected]
or an issue you feel strongly about, or
world to explore and study Glasgow's
FAX: [phone]
something you would like to relate to
history.
other members.
There are a number of very
A great many of you, from many
Authors are encouraged to send all
important announcements in this
countries, attended the Tokyo InSEA
manuscripts with disks and to include
issue, and I call your attention to all of
Conference. I intend to feature that
photographs or art work.
them. InSEA News is our primary
meeting in the next issue; please share
means of communication among
your experiences. If you delivered a
members and many of you have
Forthcoming Themes:
paper, confronted a new issue, had an
commented how you enjoy reading
amusing incident happen while
about what is happening in other
5-3: Tokyo InSEA Conference
walking down a Tokyo street, or were
parts of the world. Please, keep
'jolted' into thinking about something
sending announcements and articles
6-1: Classroom Technology
new, you have the beginnings of an
of interest to all members so we can
interesting article. I need your
6-2: School/Museum Cooperation
continue to build an international art
contribution by about the end of
education community
November (copy on a disc, with
photographs, if possible). My address
and e-mail address are on this page,
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InEME NEWS
Volume 5, Number 2, 1998
PRESIDENT'S REPORT
Kit Grauer,
University of British Columbia
time, if attendance and participation at
Andrea Karpati must be
social activities were any indication. I acknowledged for her perseverance
would like to acknowledge the
in bringing about this contract.
tremendous effort that Professor
I represented InSEA at the
Norihisa Nakase and his committee
Canadian National Symposium on
made for that conference to be such a
the Arts earlier this month. Also
success. Professor Nakase is to be
present was the International Society
commended for his tireless efforts in
for Music Education (ISME)
Secretary General, and we had
office as an Asian World Councilor
fruitful discussions about mutual
and his continuing efforts for InSEA
(planning this conference was just one
concerns. The next ISME World
of many projects he has undertaken).
Congress is planned for Canada, in
All InSEA members have benefited
2000, and InSEA may be involved.
I also attended the memorial
from his dedication.
I am pleased to report a very
service for Dr. Sam Black, one of our
founding members, and conveyed
successful World Council meeting held
in Tokyo. Many items were discussed,
InSEA's condolences to his family.
including oral and written reports
Before his death, Sam spoke highly
from World Councilors. Some points
of his association with InSEA and his
many friends in the organization. He
are covered in this newsletter (financial
report, etc.). It is a great relief to say
will be greatly missed by many of us.
we are financially healthy because we
As always, InSEA is both an
exhilarating and frustrating
rely almost entirely on memberships
It was 'New Year's Eve' as I wrote
organization to represent. I am
for operating income. It was also a
this report. Not the New Year's Eve
pleasure to see our Membership heartened by the excellent people
that falls predictably at the beginning
Booklet in print, and that election
associated with InSEA, especially the
of each calendar year, but the one that
material was received by members all
current executive and world
starts a new school year in my part of
around the world.
councils, and thank all of you for
the world. High expectations and
If you haven't visited our web site
your support in providing leadership
many 'new year resolutions' are made
recently (http://cspace.unb.ca/insea/)
for the work of the society. Despite
by students and teachers alike. A
it is important you do; a call for papers
changes that are always part of any
little anxiety is always added to the
for the World Congress in Australia, as enterprise, I am confident art
mix, as my son Alexander remarked,
well as updated information about that
teachers are making tremendous
"Some people get butterflies in their
congress, can be found there. Another
differences for children in all parts of
tummies, I think I have wasps!" Our
the world. Happy New Year!
web site worth visiting is INSEA/IB
anxiousness has to do with venturing
Gallery (http:// cap.unb.ca/ib/),
into new territory; new teachers, new
where you can view artworks by
curriculum, new classmates. For
adolescents from over 80 countries.
many of us involved with art
Our web site contract with
education, this is a time of change, no
UNESCO, featuring quality art
matter where we live.
education programs around the world,
Educational reform seems to be
was signed in June. We are quite
rampant throughout the world. It
excited by possibilities and a
certainly was a major topic at the
provisional editorial board will soon
Asian Regional Conference, in Tokyo.
be appointed. Our first meeting will
There, over 700 delegates from 28
be in Paris, on October 9th, and Don
countries gathered to discuss issues
Soucy, Peter Hermans, Andrea
and learn from each other. We also
Karpati, and I will present ideas put
managed to have a very collegial
forward by the World Council.
InEEM NEWS
Volume 5, Number 2, 1998
WATER PROJECT: USING IMAGES, AN INTERDISCIPLINARY EXPERIENCE
Ivone Mendes Richter
Federal University of Santa Maria, Brazil
(1990) claims that learning through activity is characterized
This project was developed between the Federal
by inter-relations with other kinds of activities and their
University of Santa Maria, Brazil, and Dr. Wilhelm
functions in socio-cultural and individual development.
Walgenbach, of the Institute fur die Padagogik der
Relating the abstract to the concrete, Davidov (1977)
Naturwissenschaften (IPN), Germany. A model was
and Lompsher (1989), proposed teaching strategies that
developed as a learning-laboratory /exhibition, based on
wo'
ill*
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Personifications of water in theater workshop
can be characterized as: (a) organizing learning activities
to make conscious characteristics and relations
integration of arts, science, and technology. Schools tend
to fragment studies into disciplines, rather than promote
fundamental to control of an object or task, (b) asking
students to infer or deduct characteristics and relations
relations between them; it is necessary to propose
interdisciplinary studies to correct this problem.
through analyses of concrete phenomena, (c) using real or
imagined change of objects, situations, or related
We planned this work as a conjunction of aesthetic
vision and scientific knowledge, through technology, and
representations to make possible essential characteristics
the importance of arts became very evident: "Art is
to be processed by learners, and (d) using characteristics,
relations, and methodology to implement simple, easy to
considered...as the most immediate way to develop the
capacity of analysis and synthesis, through multiple
manipulate, graphic or symbolic models. These steps
facilitate transitions from concrete phenomenon to
methodological approaches of aesthetic appreciation"
abstract representations.
(Barbosa, 1980, p. 90).
Peitgen and Richter (1986) demonstrated that computer
Science and technology are factors of human activity, but
graphics allow us to see previously invisible connections
aesthetics is a pole of equilibrium; all three are fundamental
and meanings. Specifically, interactive graphic computers
for elaboration of knowledge. Aesthetic integration, linked
are enriching our perception to levels seldom reached by
to scientific differentiation, enables new knowledge to be
other instruments. Computers can present imaginary
integrated and used directly by society. Wolze (1990) claims
that a subject and object, involved in co-evolution and
worlds and artificial environments, or make us forget the
real world; they can also lift the veil of natural secrets.
mediated by an activity, is a characteristic of learning.
The use of mental images for integration among areas was
Learning is a double process of integration and
differentiation. One side is related to internal structures,
highlighted by Arnheim (1969): "visual thinking calls...for
that determine dynamics of self-organization, and the
the ability to see...the structure of societies or ideas" (p.
other is concerned with external structures
35). American art-educators, Feldman, Dondis, and
. Lompsher
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InEEM NEWS
Volume 5, Number 2, 1998
Debes, postulated 'Visual Literacy' which proposes
Germany and Brazil
learning to read images as preparation for life in
I will focus on experiences at the Primary School, Aracy
contemporary society.
Barreto Sackis, with 1st to 8th graders, in Santa Maria,
Richter (1989) analyzed relations between perception
Brazil. All of the 30 teachers, 450 students, and directors
and visual thinking and recognized the importance of
decided to participate and halt all other activities during
images in daily communications and productive thinking
this time. The first section was an installation by the
in arts and sciences. Renowned scientists have testified
sculptor Silvestre Peciar Basiacco, who controlled the water
about the use of images in the genesis of their scientific
and established magic and mystic relations with people. In
theories.
the second section, visual and aural works were featured,
In our laboratory exhibition, development of relations
including art works by Da Vinci, Klee, Escher, Smithson,
between concepts and forms is critical. The exhibition is
and Kosice. In the third section, experiments presented
organized in six sections: (a) Intuitive System Formation:
opportunities for understanding scientific phenomena, as
The Magic of Water. Direct contact with water from
well as their aesthetic qualities. Section four showed
cultural and historical points of view; (b) Aesthetic System
graphic and mathematical calculations of the movement of
Formation: The Images of Flow. Presentation of art works
water and information about chaos theory. In the fifth
using the aesthetics of water; (c) Scientific System
section, calculations with graphic computers were
Formation: Analyses of movement of water from
presented, generating visual and aural results through
phenomenological, experimental, and systematic
fractal geometry. In the sixth section, understandings
approaches; (d) Abstract System Formation: Problems and
about local ecological, historical, and contemporary aspects
advantages of development of abstract theories; (e)
were presented. Special attention was given to the arts in
Technological System Formation: Projects from models of
all sections.
the movement of water with graphic computer
Conducting experiments with water and with children
technology; and (f) Ecological System Formation:
and adolescents, we searched for their understandings
Experiments and scale models for ecological systems.
about nature, artistic vision, and interpretations of these
These sections included informative materials, images,
forces. We presented art works, where forces of water and
and experiments with scientific and aesthetic approaches,
nature were represented, featuring works by the
enriched by materials produced by visitors. The
Argentinian sculptor, Kosice. Workshops in arts, music,
exhibition was presented in urban or rural schools in
sciences, and computers allowed for opportunities to
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InEEM NEWS
Volume 5, Number 2, 1998
deepen disciplinary knowledge.
REFERENCES
Students produced works individually or in groups.
Arnheim, R. (1969). Visual thinking. Berkeley: University
These included: (a) field research about water myths
of California.
developed through interviews with elderly people, (b) field
Barbosa, A.M. (1989). Muitas culturas, Muitas artes. In
research to verify the importance of water in cults and
Revista do Centro de Artes e Letras. Santa Maria, 6, 1-2.
popular religions, (c) construction of ecological scale
Davidov, V.V. (1977). Problems of activity as a mode of
models, (d) theater presentation with script and costumes
human existence and the principle of monism. In V.A.
they created, (e) scientific experiments, and (f) scientific-
Lektorsky (Ed.), Activity: Theories, methodology and
aesthetic experiments.
problems. Orlando: Paul Deutsch.
During evaluations, it was possible to detect: (a) transfer
Dondis, D.A. (1989). A primer of visual literacy. 4th ed.
of information to scale models and objects students
Cambridge: MIT Press.
constructed; (b) emphasis on characteristics of water; (c)
Feldman, E.B. (1970). Becoming human through art. New
establishment of relationships among areas; (d) transfer of
Jersey: Prentice-Hall.
knowledge and ecological concerns to students' scale
Lompsher, J. (1989). Formation of learning activity in
models; and (e) concern with local surroundings and
pupils. In E.D. Corte, N. Bennet, & H.F. Friedrich,
environments. During comparative evaluations, it was
Learning and instruction. Vol. 2, Oxford: Pergamon Press.
possible to detect significant decrease of stereotypes,
Lompsher, J. (1990). Concepts of learning activity. Second
presence of aesthetic and scientific elements of the
International Congress on Activity Theory, Finland.
exhibition, main characteristics of water, such as swirls,
Peitgen,H.O., & Richter, P.H. (1986). The beauty of
spirals, and fluidity, and the capacity of transfer from
fractals. Berlin: Springer-Verlag.
concrete phenomenon to graphic representations. In
Richter,I.M.O. (1996). Pensamento visual e sua relacao
written post-tests, it was possible to detect demonstrations
corn a counicacao visual no processo de aprendizagem.
of understandings about acquired knowledge,
Revista de Centro de Artes e Letras. Santa Maria, 11, 1-2.
relationships of knowledge elaborated during the
Roger, P., & Yaylor, C.D. (1993). Computational methods
exhibition, and many references to sculptures and art
for fluid flow. Berlin: Springer-verlag.
reproductions the exhibition presented.
Schwenk,T. (1988). Das sensible caos. Stuttgart: Verlag
I would like to conclude with testimonies of some
Freies Geistesleben.
teachers: (a) "The project was very productive for students,
Walgenbach, W. (1990). Self-system formation through
they used their imagination, energy, and creativity...
interdisciplinary system formation with flowing water.
students felt secure in their work, valorized, resulting in
Second International Congress on Activity Theory, Finland.
self-esteem, they felt they were important"; (b) "I didn't
Wolze, W. (1990). Learning in the complementarity of
think students would have such positive behaviors, feel so
autopoiesis and evolution. Institute fur die Padagogik der
well, or have so much organization, responsibility, and
Naturwissenschaften an der Universitat Kiel (IPN).
activity"; and (c) "I believe all teachers felt the importance
of this project and that teachers have found a new horizon
to their work"
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Volume 5, Number 2,1998
FACTORS THAT INFLUENCE AND EFFECT ARTISTIC DEVELOPMENT
Shona Eban
Camp Hill, Australia
It is Wright's (1985) belief that dictated art is detrimental
As children participate in recurrent activities of their
to artistic expression and development in early childhood
daily lives, they come to understand that people and
education. Wright differentiates between 'creative art' and
objects have an existence on their own. Thus, children
'dictated art': "An art program must place emphasis on
begin to contemplate as well as interact with people and
individual, self-chosen, and self-dictated art activities with
things surrounding them. (Dyson, 1990, p. 50)
an environment in which the teacher offers encouragement,
support, and guidance" (p. 44).
Through the long grasses of the veldt, my little legs
Despite my school environment, a hero emerged who
waddled as I tightly clenched my brother's hand. The sky
encouraged me to draw, paint, construct, dance, sing, or
was a brilliant palette of reds, oranges, and yellows, mixing
make a mess. I would bring my prized works (made from
in time to the beat of distant drums. As we reached the
local rubbish) and explain every intricate detail. My father
mud verandah of our house, my mother exclaimed, "Look
reassuringly admired it and encouraged me to explain
at you two! Where have you been?" My dirty face bowed
further, as his eyes chuckled.
as my brother told of our adventures with Gourit and
As my education continued, it became clear to my
Sanina, friends from the local Shona tribe. The Ma-Shona
parents it definitely was lacking any spark of creativity or
people took pride in the creative hands of their artists.
imagination. What concerned them most, however, was
Most noted for their creative carving and weaving abilities,
that we were being indoctrinated to believe those of us
they produced a wide variety of statues, masks, pots, and
with white skin were superior to others' around us. My
other amazing items.
parents taught, daily, that we are all created equally and
Clay became an important symbolic material to me.
that none is superior to another, except God.
When we moved to southern Africa, I insisted my father
One evening, my father told us to pack our bags,
build a clay patch and I spent hours modeling figures and
because we were going to move. We left our house as it
characters. My father often would inquire about my work,
was, taking only six suitcases! We moved to Australia and
reminding me of our days in the bush. I was his little
my primary years there are a bit of a blur. My energy was
artist...his little Shona. Adapting to nursery school was not
consumed adjusting to a new environment. The memories
difficult, as there were many Ndebele nannies. Kellog
are very vivid, however, especially concerning the subject
pointed out that "Age five is often a time of crisis in child
of art. My new art room was always bright. There were
art. The child's spontaneous art is seldom appreciated by
collages, paintings, drawings, prints, and all kinds of art
teachers...unfamiliar with preschool work....Schools in
works surrounding us. Cupboards proved exciting to a
every land make an effort to have the child copy the ways
creative mind. Boxes of brightly colored fabrics, yams,
art adults prefer as typical of the local culture" (in Kellman
threads, and beads exploded as doors were opened.
(1994, p. 63).
Another cupboard displayed pastels, charcoal, crayons,
This was a crisis in my life. I longed to sculpt, paint,
pencils, and the like. For someone like me, it was like
communicate, but access was denied. We were asked to
walking into a mirage!
draw one of our pets in our books. Adrenelin pumped
Our teacher empowered us with skills and knowledge
through my veins as I contemplated this task. I could draw
from a variety of sources, and provided opportunities for
any animal I wished, from my pet chameleon to my
us to experiment with these skills. Every lesson was
neighbor's monkey. I was very impressed, however, by my
exciting as we were given time and opportunities to create,
brother's new goldfish. So, I carefully drew a bright orange
problem solve, design, and talk, aspects forbidden in most
goldfish, with succulent lips and saucer-like eyes, in a glass
other rooms. As we studied artists and their works, I
bowl. The water was shaded aqua-blue and the surface of
began to understand a much bigger picture. With art, I
my page was colored in red and white checks to depict a
learned to communicate my joys, sorrows, struggles, and
table cloth. It was a fantastic picture and I sat proudly,
beliefs.
waiting for my teacher's comments.
Art "deals with human feelings, beliefs, and conduct"
As she lifted my book, she looked at me over the edge,
(Chapman, 1978, p. 121). "It is a means of communicating
then threw the book down! She yelled, "How dare you
our creative productivity and imaginative thinking"
draw in your book upside down?" Before I had time to
(Jalonga, 1990, p. 196). "Art has the role of helping children
consider a reaction, I was whipped across my knuckles.
become more themselves, instead of like everyone else"
That teacher would never realize to what extent she had
(Clemens, 1991). From these statements, it is very clear that
bruised me. Hands heal quickly, but hearts take a life-time.
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Volume 5, Number 2, 1998
JAPANESE ART EDUCATION THROUGH WESTERN
EYES
Melanie Davenport
Indiana University, USA
art is a valuable medium in society and, therefore, should
be part of every child's education. Myths and
As principles of discipline based art education (DBAE)
misconceptions, however, still remain in society and will
continue to exert influence on art education, they will be
continue until the whole of society comes to vitally
enriched by diverse interpretations and styles of
understand the importance of art in children's lives.
implementation. These processes may be particularly
enlightening in Japan, where interest in art education
reform and integrating art disciplines is high.
REFERENCES
In the past, Japanese art education has been heavily
Chapman, L. (1978). Approaches to art in education.
influenced by American trends. American art educators
Sydney: Harcourt, Brace, Jovanovich.
(eg. Carson, 1981; Dobbs, 1983; Foster, 1990,...) often
Clemens, S. (January, 1991). Art in the classroom: Making
express wonder at the apparent success of Japanese
every day special. Young Children, pp. 4-11.
education, evident in the consistency and high quality of
Dyson, A. (January, 1990). Symbol makers, symbol
artistic achievements among Japanese students.
weavers: How children link play, pictures, and print.
Differences between art education in Japan and the U. S.
Young Children, pp. 50-57.
seem quite pronounced, due to the cultural contexts
Jalonga, M. (Summer, 1990). The child's right to the
surrounding education.
expressive arts: Nurturing imagination as well as intellect.
As participant in a Japan Exchange in Teaching Program
Childhood Education, pp. 195-201.
a few years ago, I had opportunities for extended
Kellman, J. (1994). The case for developmentally
observation and study of Japanese art education in a semi-
appropriate lessons: The child and art. Visual Arts
rural, middle school setting. At that time, introduction of
Research, pp. 62-69.
discipline based art education (Clark, Day, & Greer, 1987)
Wright, S. (1985). Art to promote whose creativity-the
had not yet happened (Monbusho). Yet, similarities
teacher's or the child's. Early Childhood, Vol. 2.
seemed to exist and Japanese teacher's interest in American
trends made assimilation of DBAE principles into Japanese
schools seem imminent.
How the Japanese might perceive, interpret, and
implement a DBAE curriculum will no doubt differ from
ours. In order to appreciate how these two very different
cultures might distinctively shape evolution of the concept,
it would be helpful to have comparative baseline data.
With this goal, I conducted a survey (Davenport, 1993) of
59 middle school teachers from all regions of Japan, about
art education practices, and then compared their responses
with similar data from the U.S., reported by Chapman in
1979. In this article, I will present highlights of this
comparison as a 'snapshot' of two different systems on the
verge of transformation.
What Is Taught? Survey results revealed that teachers in
the United States offered more drawing, printmaking,
ceramics, stitchery, mixed media, jewelry, batik,
architecture, photography, interior design, and filmmaking
to middle school students. Lettering and graphics were
more popular in Japan, which reflects their traditional
importance in that culture. Another question revealed that
art history is offered by 62% of Japanese middle school
teachers, but only 20% offered art criticism. 88% of
American art teachers claimed to teach art history.
Program Enrichments American middle school students
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