VISUAL ART LESSONS FOR STUDENTS EXPERIENCING POVERTY AND TRAUMA by Emily Caraballo A project submitted in partial fulfillment of the requirements for the degree of MASTER OF EDUCATION IN CURRICULUM AND INSTRUCTION WEBER STATE UNIVERSITY Ogden, Utah 2020 Approval _______________________________________ Vincent C. Bates, Ph.D. _______________________________________ Stephanie Speicher, Ph.D. _______________________________________ Dianna Huxhold, Ph.D. VISUAL ART LESSONS 1 Acknowledgements I would like to share my appreciation for all who have inspired me to earn a master’s degree and complete this project. Dr. Bates taught me how art can be integrated into almost any learning experience, and opened my eyes to the amount of inequality in our school systems. Dr. Speicher continued to share inequalities that are right in front of our faces, and encouraged me to make change in my own kids’ school. Dr. Huxhold shared her passion for art projects, especially with children. She was so very supportive of my somewhat bizarre art projects in her classroom. Countless other professors provided practical teaching advice, and gave me invaluable tools to become a successful K-12 teacher. My husband and mom and sisters encouraged me to continue my education and cared for my babies while I was learning how to care for other people’s babies. My house managed the neglect of no one cleaning it, while I was instead learning how to manage classroom behaviors. My backyard grew wild while I learned how to help students' imaginations remain wild. My body ran on processed food, Starbucks and the home-made fries from my husband, ironically while I learned the importance of breakfast and lunch in low-income (and all) areas. The most inspiring of all are my own two kids who share my passion for learning. Teaching them Spanish in preschool, and volunteering to teach art in their school were experiences that had a major influence on me pursuing this degree and project. VISUAL ART LESSONS 2 TABLE OF CONTENTS Abstract………………………………………………………………………………………...…3 NATURE OF THE PROBLEM……………….………………………………………………….4 Literature Review ………………………………………………………………………………...7 The Value of Arts …………………………………………………………………………….7 Trauma Informed Society ………………………………………………………………….10 Art as an Intervention Strategy …………………………………………………………….12 Practical Application ………………………………………………………………………...14 PURPOSE ………………………………………………………………………………………16 Context ……………………………………………………………………………………....16 Scope ………………………………………………………………………………………...17 Evaluators…………………………………………………………………………………....17 FEEDBACK.………...………………………………………………………………………….19 REFLECTION……………………………………………………………………….………….21 References...…………………………………………………………………………………….24 Lesson Plans…………………………………………………………………………………….28 Energy Transfer with Melted Crayons……………………………………………………….28 Abstract Fractions………………………………………..…….…………………………….36 Human Spirographs………………….……………………………………………………….49 Painting with Plastic………………….………………………………………….…………...54 Multi-Dimensional Careers………….………………….……………………..…………..….65 VISUAL ART LESSONS 3 Abstract This project is an exploration of how visual art can be a tool in healing for students who have experienced poverty or trauma or both. The existing research on art as an aid has been explored mostly as a means of intervention or therapy, and is beginning to be researched as an everyday tool for both art teachers, and general education teachers. The lesson plans developed as part of this project are intended for K-12 teachers, whether or not they have an art background. The lesson plans are relevant for students who may (or may not) be experiencing trauma. Though the plans have not been created as a means to address the trauma that has come with the unexpected coronavirus pandemic, the pandemic has been a source of trauma for many, and these lessons are certainly one way to help students heal from that trauma. VISUAL ART LESSONS 4 NATURE OF THE PROBLEM Poverty and trauma affect us all but can especially hinder the growth and development of young children. There are no simple or easy solutions to addressing poverty or trauma, but rather multi-pronged efforts involving many entities and a lot of time. Poverty is understood as humans experiencing a lack of access to economic resources (Gorski, 2018). Trauma, on the other hand, is a little broader, including any event that triggers a long-lasting negative effect (Malchiodi, 2015). Poverty starts pre-birth, can last for generations, and is often grossly misreported. Though the government states that 22% of children are in poverty, the fact that 52% are eligible for free and reduced school lunch programs points to a bleaker situation (Gorski, 2018). White students typically have more income ($140,000+ household worth), do better in school, and have access to arts programs. African American and Latinx students, on the other hand, typically have a household worth of less than $20,000 (Gorski, 2018). Poverty, in combination with systemic racism, negatively impacts access to a rich and diverse curriculum. For instance, though the arts are typically included in common core standards (National Core Arts Standards, n.d.), in 2015, a meager 26% of African-American students had access to art classes (Gorski, 2018). Students in lower socioeconomic brackets are not underperforming by choice; they don’t get to decide if, for example, their house has WiFi or if a healthy dinner is on the table. Rather, what Gorski (2018) refers to as opportunity gaps create wildly unfair circumstances, all based on the family an individual is born into. A student experiencing trauma will also encounter added challenges in school. Trauma for students can come in many forms, either as a single incident or as repeated experiences. It VISUAL ART LESSONS 5 can be the death of a loved one—which is experienced by 90% of students (Schonfeld, 2012), violence in school or at home, loss of belongings or money, war or natural disasters, or other sources and experiences (Malchiodi, 2015). For example, Centers for Disease Control and Prevention conducted a survey revealing that over 20% of students had been in a physical fight at school at least once in the previous year (CDC, 2018). Following trauma, it is normal to experience fear, confusion, helplessness, horror, uneasiness, and sadness (Heise, 2014). Adversity and poverty are linked, and poverty tends to continue from one generation to the next. “Children reared in poverty are more likely to themselves experience poverty in adulthood” (Najman 2018, para 13). Trauma and poverty must be acknowledged (Heise, 2014), and healing takes time. Teachers, along with other school professionals, have the opportunity and responsibility to provide assistance where they can, to ease student’s fears, assist in their healing journeys, and ideally, break trans-generational poverty. Many times, teachers won’t know if a student is experiencing poverty or trauma or both, but the prevalence of them is widespread enough to warrant intervention. One form of intervention is art-based learning. Educators have long used visual art as a means of helping victims cope. We are born with an ability for art. We use sticks to draw shapes in dirt, we color on the walls, we sing and dance as soon as we are able. Wexler (2004) writes: “Making art is perhaps as natural as learning to speak — I have never seen a child resist art materials” (p. 23). Art can be a powerful tool, even though many believe arts are just a way to teach painting, drawing, and acting. Goldstein et al. (2017) compare this to saying that one only learns math in math class, and nothing about anything else. Rather, all subjects can be included and integrated. Art can exist as its own valuable subject, but can also help students learn so much VISUAL ART LESSONS 6 more than art, and can help students heal from life experiences. Reynolds and Valerio (2017) discuss how arts teach social competence and emotional well-being (p. 136). Kim (2015) notes that art teaches problem-solving, flexibility and resourcefulness, defining a link between creativity and therapy as follows: “Creative people tend to cope well with and be open to new experiences” (p. 197). Furthermore, art can foster resilience in violent situations, and in other challenging situations, such as poverty, addiction, abuse, etc. For all of these reasons, art is an important part of healing that shapes lives for the better. VISUAL ART LESSONS 7 Literature Review The Value of Arts Education There are distinct advantages to arts education. This section will address how the following skills can be gained from art projects: flexibility, innovation, problem-solving, communication, collaboration, and social competence. To clarify terms, the “arts” includes the strands in the National Standards: dance, media arts, music, theater and visual art. The focus of this paper will be visual art, connoted simply by the term “art.” Because art doesn’t always have answers or solutions that are as clearly defined as may be the case in other subjects, a great level of flexibility can be allowed, potentially freeing the mind from negative emotions. Flexible thinking is valuable as both an individual skill and a cooperative skill. It allows students to reframe adversity and to look for creative solutions to otherwise daunting problems. It allows creators to find joy and strength in situations that might appear void of positive emotions (Kim, 2015). Art helps students create, or innovate, a vital skill in many professions. A student making art will typically gather resources, evaluate the progress as they work, and then review the results of their innovation. This process allows them autonomy, the ability to be in control of their work, and find or express their own identity. This experience can give them the confidence to solve problems and a sense of purpose (Kim, 2015). The National Coalition for Core Arts Standards (NCCAS) reviewed a book that discusses how creativity can help solve difficult problems across all fields (NCCAS, n.d.). They note that because even teachers cannot have knowledge of all content, there needs to be fluidity in VISUAL ART LESSONS 8 teaching, and proposing solutions to existing problems. There needs to be a way to explore questions without a definitive answer. Creativity fills that gap. Making art requires listening to art-makers of the past, observing current trends, questioning what solutions are needed, analyzing what statement an innovation is making, and evaluating the meaning a work of art might have. Artists can communicate with art in ways that are otherwise difficult. The age-old cliche “a picture is worth a thousand words” has a lot of truth. Art is a language that transcends traditional language. Gregory (2017) claims: “Art, they say, is great for kids. Art and music programs help them in school, make them more committed, enhance collaboration, strengthen ties to the community and to peers, improve motor and spatial and language skills” (para. 1). He goes on to include statistics that show that students who take art courses are more likely to get degrees in college. Historically, arts and other subjects have been taught independently. Steve Jobs, a pioneer of the computer industry, describes the problems that this separation creates: People from technology donʼt understand the creative process that these companies go through to make their products, and they donʼt appreciate how hard it is. And the creative companies donʼt appreciate how creative technology is; they think itʼs just something you buy. And so there is a gulf of understanding between the two of them. (as cited in Isaacson, 2011, p. 231) Jobs also said that what made his company great was that his employees were musicians and artists, along with being great computer technicians. The two worlds of art and technology existed in harmony, making his product one of the most successful in the world (Isaacson, 2011). VISUAL ART LESSONS 9 Though there is endless research that supports arts integration, Gregory (2017), who has spent years in school arts programs observed: “Art is not respected in this country. It’s seen as frivolity, an indulgence, a way to keep kids busy with scissors and paste” (para. 8). His experience in arts programs have led him to propose that we “take the art out of art education.” He went on to suggest that we replace art with creativity, a crucial tool for our future. He acknowledged that some art programs have become time-fillers with less-than-ideal structures, and then acknowledged that we can quickly and easily turn that around. Essentially every field of work requires creativity, but also collaboration, another skill that can be learned in art class in a variety of ways. Group projects require students to collect input from a team, work together to achieve a common goal, and incorporate feedback from each other, allowing them to understand and respect each participant. Arts students critiquing each other’s art learn to communicate new ideas and perspectives. Kim (2015) observes that “the experience of creating art can contribute...to the cultural development of the community” (p. 193). Creating art requires students to look at old knowledge and combine it with new knowledge (LaBrocca, 2016). By doing this, art students gain social competence, or the ability to productively and positively interact with peers and adults (Kim, 2015). LaBrocca’s research (2016) included observations of students whose teachers were embedding vocabulary instruction into art class. During the study, the teacher integrated vocabulary cards on interactive word walls, where students could physically move and group the words. Students were encouraged to “catch” other classmates using the words. One participant, Anthony, was typically a quiet VISUAL ART LESSONS 10 student. During and after the new instruction methods, he began interacting with his peers more, showing that he could develop social competence when given the right tools. Trauma-Informed Society The term “trauma-informed” is trending, meaning that more attention is being drawn to it, more people are being educated about the prevalence of trauma, and there are more and more programs that support those who are living with or recovering from trauma (Becker-Blease, 2017). Not always, but to some degree, trauma has a tendency to be multi-generational. Booshehri et al. (2017) studied families in poverty to see if intervention in terms of education and economic help could create sustainable, life-long changes. In the study, almost 40% of the participants had experienced neglect or abuse in their own childhoods. Because of the impacts through each generation, it is important that efforts to help parents become self-sufficient also include efforts to help their kids address their own trauma, and ideally break cycles of neglect and abuse. Trauma-informed art therapy is just beginning to be researched, with roots in art therapy. An early practitioner (and potential founder) of art therapy was Margaret Naumburg, an eclectic, passionate advocate for art programs and art as a tool for treatment in patients with mental illnesses (Junge, 2010). Her justification and reason for using art therapy was similar to Freud’s: the unconscious doesn’t use language, it uses pictures (Junge, 2010). Naumburg saw the value in letting the patient both express their emotion through art, and interpret the meaning of their creations, like a mirror. She acknowledged that therapists were not all-knowing, and that they could only help a patient discover their emotions and the meanings behind them. She used art as a strategy to uncover the unconscious. VISUAL ART LESSONS 11 Another project that uses the term trauma-informed is “Witness to Hunger” (Chilton, Rabinowich, Council, & Breaux, 2009). The research, which the researchers define as a participatory and advocacy project, explored what happens when art gives a voice to 42 women experiencing poverty (Chilton et al., 2009). Participants were given cameras to record their experiences with hunger (and inherently other social issues), and asked to write a narrative about their ideas for change. They shared their powerful photos and writings with their communities via a traveling exhibit. Some stories told about the “frustration with the treatment they received from their caseworkers and other staff, … and the discouraging and discriminating environments at the [offices] intended to provide assistance” (p. 79). One storyteller asked “Are you aware of my hunger, my struggle and my pain?” (p. 80). Other stories tried to make humanistic connections and reveal stereotypes. Many shared what a better future looks like, and the specific steps they are taking to change it. After sharing, the communities became educated on food insecurities that wouldn’t be visible otherwise. Through reports, press conferences, and letters to policy makers, participants were also able to become active in making long-term policy changes within the legislature. As both Naumburg’s and Chilton’s teams (Chilton et al., 2009) discovered, much of the power of art projects is not in the art itself, but in the reflection and exploration of what has been created. Naumburg used art to help people uncover emotion, and Chilton et al. helped people discover words and pictures that they could share with others to change their world. Art helped both groups heal and move toward better life experiences. VISUAL ART LESSONS 12 Art as an Intervention Strategy There are plenty of studies that demonstrate that art can be a powerful educational resource. The following selections contain examples of lives and communities that have been turned around through art as an intervention strategy. Li, Kenzy, Underwood, and Severson (2015) wanted to see how an arts-based program could affect at-risk students in their school district. Historically, poverty has been tied to student failure. Dewey’s research from 1934 appears to be the first time that art was viewed as valuable in other ways than simply being high art, or art based on aesthetics and difficulty, and only affordable to the highest economic bracket. Based on the research reviewed, Li et al. (2015) designed a study to look at the impact of arts-based teaching for students from disadvantaged situations. The first participant was a student whose dad was killed violently, the next participants were students with learning disorders, and the last group was students in a probationary high school. Participants ranged from first through 12th grade. The first grader whose father was killed was taught with photo elicitation (using photos to spark more dialogue in interviews), and with life-story splicing (sharing stories both ways between interviewer and interviewee). They drew, painted, and shared stories during lunches and after school. His teacher began the year wanting to send him somewhere else, just as his previous teacher had. As the teacher and student began to know and understand each other better, the more the student could listen in class and contribute to a productive learning environment. While the outcome was dramatic and attributed to art, the article does not discuss the one-on-one time with the teacher. Was the positive result VISUAL ART LESSONS 13 due to the arts-based approach, or to the one-on-one time? It was likely a combination of both. The art projects helped him process the extreme events in his life, and the direct time with his teacher helped them both understand and trust each other. The next group, fourth graders with learning disorders, were studied during their English class. The four students the study focused on were disruptive and frequently unprepared for class. The teacher adjusted her lessons to see if incorporating art could help students better understand the content. Instead of just reading Greek Mythology, the students were assigned to write a script for a play. The results were equally as dramatic as they were for the first grader. The entire class became interested, engaged, focused, and excited. They learned quickly and retained the information better. The probationary students were in high school and as can be expected, were also disruptive. A previous survey had shown that the group was already interested in arts, so when the teacher told them arts would be part of their world history lessons, they were immediately interested and engaged. When the teacher incorporated arts-based learning, they caught some backlash from a district consultant who wanted to remove all art from the lesson plans. The principal and other advocates fought for the program and the study was completed. Before the study, none of the students reported liking history. After the study, 58% reported a new liking for the subject. Students, just like adults, are going to retain more information if they’re studying something they are already interested in, or become interested in. Hyungsook Kim (2015) conducted a study to see if art creates resilience, or the ability to bounce back from a traumatic or violent situation. He studied 26 students who were victims of violence in schools. The students completed 3 projects: first, “Self-seeking travel: A treasure VISUAL ART LESSONS 14 map within me,” a collage of difficult times and how they coped; second, “I am ooo style,” a video about their feelings during violence, where they learned both how to make a video and how to lean into their emotions; and last, “I am a tree,” where they used stencils to make a book about their personal story. Kim concluded that the projects helped students cope, and helped them become more well-rounded people. Heise (2014) discussed a student project that addressed violence and other difficult times head on. With the permission of administrators and parents, and without requiring students to share their personal experiences, he helped the students reflect on their trauma, how they coped, and what their future might look like because of this incident. The project used old books destined for the trash. Students repurposed them into books about self, healing, and community. This project was not only resourceful and friendly to our earth, but more importantly, by exploring their emotions through writing, the teacher helped them recover from traumatic life experiences. Their art empowered them and helped them build resilience. Practical Application Because arts are naturally part of so many other subjects, there are countless ways to integrate arts into teaching. Even in schools where official art programs have been eliminated, a general classroom teacher can bring arts back into the learning process, both to teach art, and to improve learning in other subjects. As discussed, this makes learning more interesting, and more valuable. LaBrocca’s (2016) research also showed the value of arts integration. When art is taught in isolation, skills are learned, but they don’t necessarily have value that translates directly to VISUAL ART LESSONS 15 other subjects. Rather than isolating arts as a stand-alone subject, it is more effective when art is incorporated into all subjects. Bringing in just one additional subject could enhance the way her students were learning. She set a goal to expand vocabulary as part of an arts class. The study followed a third-grade class through a vocabulary-based art unit. The unit lasted 14 weeks, and included vocabulary cards, a word wall for quick reference, word games that incorporated math and statistics, tally charts, and reading books about art. After the art was complete, she incorporated writing by having the students write a description that could accompany their art in a museum. She showed historical museum descriptions to bring in another subject, history. The study by LaBrocca (2016) suggested that this type of teaching could help students perform at a higher level. The previously mentioned research by Li et al. (2015) wherein researchers studied various groups of at-risk students, also references other studies that show the same results. At-risk students benefit in many ways from arts-based learning. The National Core Arts Standards include the following statement: “Through viewing, making and discussing art works, students come to realize that the arts do not exist in isolation, but are always situated within multiple dimensions” (NCCAS, 2019). As art teachers, we have the ability to both give tools to students to express themselves (Junge, 2010), and also to listen (Novick, 2018). VISUAL ART LESSONS 16 PURPOSE Context Combining integration with intervention strategies, especially when a teacher is aware of poverty or trauma, can help children acknowledge their trauma and decide what kind of future they want. Being artistic allows students to discover rules that govern society and explore their own ideas. It helps them be creative and flexible, potentially freeing them from some of the effects of the trauma they have experienced. It helps foster problem-solving skills, create a community spirit, and can help them release negative emotions. It can give students the ability to see adversity with possibility instead of hopelessness, and to recognize their own dignity. It can also help students express what is otherwise inexpressible, and give them the opportunity to share their story—to be heard. The purpose of this project is to create a curriculum that can be used in general education classrooms, but that specifically can be helpful to students who happen to be experiencing trauma or poverty, whether the teacher is aware of the circumstances or not. The specific objectives are to create purposeful trauma-based lessons that: ● Address emotions that exist in students experiencing trauma or poverty. ● Produce artifacts that can be shared or kept private, depending on the student’s preference. ● Bring awareness to poverty, trauma and other social justice issues. ● Include one of the following methods: story-telling, mark-making, product generation, and/or media production. ● Integrate with other subjects. VISUAL ART LESSONS 17 Scope of Project This is a curriculum project, designed for first through sixth grade students, and will contain five visual art projects. Some will span multiple teaching days and include multiple lesson plans. The plans will include rubrics and assessments. The lessons will align with the National Core Arts Standards, which means they will include play, collaboration, brainstorming, and the use of various media and technology (NCCAS, 2019). Students will create, perform, respond and connect. The lessons will be posted to both my website, emiscrafty.com as a free resource, and to teacherspayteachers.com as a paid resource. Evaluators I asked two art teachers for feedback on the lesson plans: Mr. A, an elementary teacher later in his career, and Mrs. B, a secondary charter teacher, and adjunct art professor. I emailed the lesson plans to them and requested feedback. I asked them to look at the practicality, the objectives and the effectiveness of the assessments. Based on past experience with both instructors, I predicted they would both have useful suggestions to improve the lesson plans, which I implemented where appropriate. Mr. A did not respond, even after multiple reminders. Mrs. B evaluated the lessons in a Google document according to the following criteria and also with the option of open-ended feedback. ● Lessons are age appropriate. ● Lessons use appropriate tools and technology. ● Lessons are accessible: materials are either given or they can easily acquire; vocabulary and instructions are understandable across cultures. VISUAL ART LESSONS 18 ● Lessons provide the ability to analyze an experience. ● Lessons are culturally responsive and relatable. ● Expectations are clear: there is an explanation of what students will be doing, why they are doing it, and what the outcome might be. ● Reflection and discussion occur throughout the project. ● If a project directly addresses an issue of poverty or trauma, ensure that students know they can stop at any point. VISUAL ART LESSONS 19 FEEDBACK Mrs. B provided valuable feedback for my project. She had just finished some conversations on equity, diversity and inclusion, so I particularly appreciated her feedback regarding inclusivity and accessibility. She also provided some valuable tips on practicality and ways to tighten the lessons up for a smoother experience, benefiting both the teacher and the students. The changes that I have implemented from her feedback include: ● Crayon Energy Transfer ○ Provide a less expensive option than canvas ○ Read the book before completing the art to bridge the objectives with the project. ○ Point out the metaphors during the reading of the book to help students understand what a metaphor is. ● Abstract Fractions ○ Add some dialogue to the “same but different” discussion to help students understand the concept. ○ Give clearer expectations during the demo. ● Human Spirographs: ○ Switch from an individual art-making experience to a group experience for both practicality and learning. ○ Use the video the author has posted - she reads her book to a youtube audience. ● Plastic painting ○ Include the appropriate glue in the supply list. ○ Some plastics emit toxins when they are melted, research and include warnings! VISUAL ART LESSONS 20 ● Multi-dimensional Careers ○ Have students create a venn diagram to compare and contrast careers. ○ Bring parents in as special guests to share what they do professionally. Mrs. B’s suggestions were extremely helpful in making these lessons more practical and meaningful for students. She brought up issues that I was not able to see until she pointed them out. She was able to show me more opportunities for learning, and spots where lessons could be smoother. I appreciate the time she spent, and the knowledge she shared, and have implemented the bulk of her suggestions into the lesson plans. VISUAL ART LESSONS 21 REFLECTION Developing elementary art lessons that have the potential to help students who are experiencing poverty or trauma has been both insightful and enjoyable. From both this project, and my entire master’s degree experience, I learned a lot about what students need, what makes a lesson go smoothly, what our world looks like in terms of what families experience around the United States, and how art has helped people from vastly different backgrounds to heal from their own version of trauma in home, school, and community settings. But there were two lessons that stood out to me as I completed classes, and researched and developed lesson plans. First, we are all learning, all the time, it’s not something that ends after elementary, or high school, or college. Second, we all need to feel loved and connected. For me, and many others, art is a way to connect with our feelings and with others. As I was researching, the cliche “the more you know, the less you know” came to my mind over and over. Every book or article would lead me to another body of knowledge, and I wish I could have warped time so that I could have read everything I came across. I plan to continue reading about art and trauma, and am currently reading The Body Keeps the Score, which discusses how PTSD is primarily talked about as something that happens to veterans, but that it is also extremely prevalent in the lives of women and children and cannot be ignored. Our bodies have detrimental physical reactions to emotional trauma, and one connection that I’m pulling from the book is that art is a way to move our bodies, to see our pain, and to process it, an idea that is congruent with the research in my literature review. VISUAL ART LESSONS 22 Like Freud and Junge (2010), I believe that thoughts are more often pictures than language, that art is a unique way of communicating, and sometimes the only way to communicate complex untangled emotions. I would like to continue to learn by implementing these lessons in some way. One option I am exploring is an art school for home-schoolers that I would run from my home. I expect the first few lessons to be a little bumpy, and I want to be open about the bumpiness with my students so they can see that learning is a life-long process. The lessons that I’m most excited to teach are the human spirographs and the multi-dimensional careers, neither of which I have taught previously. I did have the opportunity to teach the crayon portion of the first lesson. I had the mentorship of a 4th grade teacher, and it went really smoothly. I am hopeful that with each lesson I teach, the next lesson comes easier, both in terms of teaching it, and planning the next lesson. Additional lessons that I hope to develop include: ● Audio and visual stories: Have students record a story, something from a family member or friend, or something from a current event. Then create a visual representation of the story. ● Multi-layer self portraits: Using recycled materials, we will create cutouts of our silhouette ( clothing, or entire bodies), adding more layers behind with different cutouts that somehow describe us. Possible integrations: health, photography, collage, social studies, etc. ● Pain cocoon: Write the things that hurt on a paper. Bury them (legible or not) into a mixed media piece. English Language integration possibility: after art creation, write a poem or letter about pain. VISUAL ART LESSONS 23 I think in almost every single education class I took at Weber, I drew the conclusion that students need to feel loved. Teachers have an amazing opportunity to connect with students who might not have that same opportunity in their home lives. My dream would be that there are no students who feel hopeless in their situations, no students who have experienced the trauma like the participants in Li et al’s study (2015). I acknowledge that that is an unlikely situation, and hope that, like Kim (2015), I can bring art, and in turn joy and strength, to situations that feel hopeless. I hope that I can help students discover that they have value. The participants in the “Witness to Hunger” project (Chilton, Rabinowich, Council, & Breaux, 2009) were able to make changes in their community, but only after they felt seen, heard, and loved. It is not the role of the teacher to heal students or bear their emotions, students must be willing to participate. And while it is unlikely that the art projects I have developed will be meaningful or healing for every student or every situation, I hope that the lessons resonate with the majority of students who might participate in them. I hope that once I am teaching, I can share my passion for art to connect with my students, and help kids to love themselves. I believe that once they are able to love themselves, they can love others fiercely and change the world. VISUAL ART LESSONS 24 REFERENCES Becker-Blease, K. A. (2017). As the world becomes trauma–informed, work to do. Journal of Trauma & Dissociation, 18(2), 131–138. https://doi.org/10.1080/15299732.2017.1253401 Board of Governors of the Federal Reserve System. (n.d.). Update on the Economic Well-Being of U.S. Households: July 2020 Results. https://www.federalreserve.gov/publications/2020-update-economic-well-being-of-us-hous eholds-overall-financial-security.htm. Booshehri, L. G., Dugan, J., Patel, F., Bloom, S., & Chilton, M. (2018). Trauma-informed temporary assistance for needy families (TANF): A randomized controlled trial with a two-generation impact. Journal of Child and Family Studies, 27(5), 1594–1604. https://doi.org/10.1007/s10826-017-0987-y Breslau, N. (2002). Epedemiologic studies of trauma, post traumatic stress disorder and other psychiatric disorders. Canadian Journal of Psychiatry, 47(10), 923–929. Centers for Disease Control and Prevention (CDC). (2018). Violence Prevention. Retrieved February 15, 2019, from https://www.cdc.gov/violenceprevention/youthviolence/schoolviolence/index.html Centers for Disease Control and Prevention (CDC). (2019, November 5). Preventing Adverse Childhood Experiences (ACEs) to improve U.S. health. https://www.cdc.gov/media/releases/2019/p1105-prevent-aces.html. VISUAL ART LESSONS 25 Chilton, M., Rabinowich, J., Council, C., & Breaux, J. (2009). Witnesses to hunger: Participation through photovoice to ensure the right to food. Health and Human Rights, 11(1), 73–85. https://doi.org/10.2307/40285219 Goldstein, T. R., Lerner, M. D., & Winner, E. (2017). The arts as a venue for developmental science: Realizing a latent opportunity. Child Development, 88(5), 1505–1512. https://doi.org/10.1111/cdev.12884 Gorski, P. C. (2018). Reaching and teaching students in poverty: Strategies for erasing the opportunity gap. New York: Teachers College Press. Gregory, D. (2017). Let’s get rid of art education in schools. Phi Delta Kappan, 98(7), 21–22. https://doi.org/10.1177/0031721717702626 Heise, D. (May 2014). Steeling and resilience in art education. Art Education, 67(3), 26–30. https://doi.org/10.1080/00043125.2014.11519270 Isaacson, W. (2011). Steve Jobs: A biography. Simon & Schuster. Junge, M. B. (2010). Modern history of art therapy in the United states. Springfield: Charles C. Thomas Publisher, Limited. Kim, H. (2015). Community and art: Creative education fostering resilience through art. Asia Pacific Education Review, 16(2), 193–201. doi:10.1007/s12564-015-9371-z Labrocca, R., & Morrow, L. M. (2016). Embedding vocabulary instruction into the art experience. The Reading Teacher, 70(2), 149–158. https://doi.org/10.1002/trtr.1488 Li, X., Kenzy, P., Underwood, L., & Severson, L. (2015). Dramatic impact of action research of arts-based teaching on at-risk students. Educational Action Research, 23(4), 567–580. https://doi.org/10.1080/09650792.2015.1042983 VISUAL ART LESSONS 26 Malchiodi, C. A., & Perry, B. D. (2015). Creative interventions with traumatized children. New York, NY: The Guilford Press. Mcclure, M., Tarr, P., Thompson, C. M., & Eckhoff, A. (2017). Defining quality in visual art education for young children: Building on the position statement of the Early Childhood Art Educators. Arts Education Policy Review, 118(3), 154–163. https://doi.org/10.1080/10632913.2016.1245167 McKenzie-Mohr, S., Coates, J., & McLeod, H. (2012). Responding to the needs of youth who are homeless: Calling for politicized trauma-informed intervention. Children and Youth Services Review, 34(1), 136-143. https://doi.org/10.1016/j.childyouth.2011.09.008 Najman, J. M., Bor, W., Ahmadabadi, Z., Williams, G. M., Alati, R., Mamun, A. A., . . . Clavarino, A. M. (2018). The inter- and intra- generational transmission of family poverty and hardship (adversity): A prospective 30-year study. PloS One, 13(1), e0190504–e0190504. https://doi.org/10.1371/journal.pone.0190504 National Coalition for Core Arts Standards (NCCAS). (n.d.) National Core Arts Standards: A Conceptual Framework for Arts Learning. Retrieved February 15, 2019, from https://www.nationalartsstandards.org/ Novick, D. R. (2018). Sit back and listen—the relevance of patients’ stories to trauma-informed care. The New England Journal of Medicine, 379(22), 2093–2094. https://doi.org/10.1056/NEJMp1809633 Schonfeld, D. J., & Quackenbush, M. (2012, November/December). Coping with Loss, Principal, 92(2), 42–44. VISUAL ART LESSONS 27 Treleaven, D. A., & Britton, W. (2018). Trauma-sensitive mindfulness: practices for safe and transformative healing. W.W Norton & Company. Van Der Kolk, B. (2015). The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma. IDreamBooks Inc. Wexler, A. (January 2004). The art of necessity: Pictures of lives reclaimed from trauma. Art Education, 57(1), 21–34. 28 Lesson Plan 1: Energy Transfer with crayons and metaphors Grade/Subject: 4 Length: Two lessons, 30-60 minutes each Core Standards: 1. Art Strand: CONNECT (4.V.CO.): Students will relate artistic skills, ideas, and work with personal meaning and external context 2. Science: Standard 4.2.1: Construct an explanation to describe the cause and effect relationship between the speed of an object and the energy of that object. Emphasize using qualitative descriptions of the relationship between speed and energy like fast, slow, strong, or weak. An example could include a ball that is kicked hard has more energy and travels a greater distance than a ball that is kicked softly. (PS3.A) 3. Science: Standard 4.2.4: Design a device that converts energy from one form to another. Define the problem, identify criteria and constraints, develop possible solutions using models, analyze data from testing solutions, and propose modifications for optimizing a solution. Emphasize identifying the initial and final forms of energy. Examples could include solar ovens that convert light energy to heat energy or a simple alarm system that converts motion energy into sound energy. (PS3.B, PS3.D, ETS1.A, ETS1.B, ETS1.C) 4. ELA: Writing Standard 3: Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. E. Provide a conclusion that follows from the narrated experiences or events. 5. ELA: Language Standard 5: Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. A. Explain the meaning of simple similes and metaphors (e.g., as pretty as a picture) in context. Lesson Objectives: We will create art while exploring what elements of energy are at play when you melt crayons. Students will understand that energy output types include sound, light, heat and movement. We will read a story about an empty fridge, and write metaphors about our umbrellas as protectors. Anticipatory Set: Video of melting crayons: what do you wonder? Resources: ● 2 Poster Boards ● 1 print-out of silhouette page and metaphor page for each student ● 1 canvas per student (or cardboard with white paper glued on top, you could build this into the teaching time and have students make their own canvas) ● 1 pack crayons per student ● Elmer’s and/or hot glue ● 3-6 Blow dryers (test in classroom before using multiple at once, it’s easy to overwhelm the power supply!) ● Book: Maddi’s Fridge by Lois Brandt 29 ● Big boxes with a smaller box inside that will allow the canvases to be propped up inside while crayons are melted into the bottom. Place a sheet of parchment paper in the bottom of each to avoid the crayons melting out. Prep: ● Glue an 8.5x1” arch (cardstock or chipboard) onto the bottom of each canvas. Elmer’s glue works best - it will not melt, but hot glue can also work if the heat is kept low enough. ● Make a giant cootie catcher. Tape 2 poster boards together, cut into a 28” square. Print the outsides and guts on colored paper, glue to the poster board. Example of student work expected for the lesson: 30 Procedures Time Materials/ Resources DAY 1 Get excited! Watch a time lapse of crayons melting under a hair dryer. Ask: “What do you wonder?” Possible questions, bolded questions to be focused on: Why are the crayons dripping? How hot is the blow dryer? What if they just kept the hair dryer going? Why did xx color melt first? How fast did they speed up the video? What is blocking the crayons from dripping? Tomorrow, we’re going to make some crayon art using heat energy. Before we do that, we need to think about who we are going to put under our umbrella with us. 5 min. Video file, projector Mini Lesson: Metaphors Share metaphors on the board or projector. Discuss what they really mean. Then have the class describe what a metaphor is. Fill in the gaps: A metaphor is a comparison that doesn’t use “like” or “as.” Our classroom is a zoo. My morning shower was icy. My stomach screamed at me before lunch. Her hair was silver. They are a ray of sunshine. I cried a river after the sad news. My snoring dad is a jet on a quiet day. The ballerina was a ribbon in the wind. The lake was a mirror. Her fridge was a barren desert. 10 min. White board or projector Have students fill out the left side of their “metaphor” paper. Model first. You can talk with your shoulder partner about who your umbrella person might be, or you can work by yourself. 5-10 min. Handout, projector Read Maddi’s Fridge by Lois Brandt. As you read, point out any metaphors in the book. 7 min. Book 31 Write 9 of your own metaphors. You can choose to write metaphors for Maddi and Sofia, or from your own life. Your first metaphor will be the person you included in your melted crayon art. Who is the person that has helped you or protected you? Who is your umbrella? 15 min. Handout For students who would like to share, take turns reading out the metaphors. 5 min. DAY 2 Have students write names on the back of canvas (do together). Just before recess (or any prep time), have students lay out their crayons in the order they want. They can decide if they want wrappers or not, it works both ways. While students are out of the room, hot glue the crayons to the tops of the canvases. For 8x10s, use 23 full crayons. For 5x7s, use 14 crayons broken in half. You could also have students do the gluing with elmer’s glue, and let them dry overnight. 5 min. Crayons, canvas. Glue during recess Mini Lesson: Input energy Everything that happens requires energy and transfers energy! There needs to be an input and an output. For humans, input is food and water. For machines, it’s electricity. Types of output energy (write keywords on board) Heat: sun gives us lots of energy, including both light and heat. Sound: Movement causes sound. Can anyone think of a sound that doesn’t need movement? Light: energy that moves in waves, like sound waves Movement: faster movement = more energy 5 min. White board 32 Giant Cootie Catcher game: By raise of hand, have students volunteer to guide the cootie catcher. Let them choose a word, spell it while moving the cootie catcher. Leave it open on the last letter. Have the student choose a number that’s showing. Read the question behind the number, and let the student answer, or if they don’t know, open it to the class. Repeat until all forms of energy have been discussed. 5 min. Giant cootie catcher Demo: Your canvas has been prepared with a cardstock blocker to prevent crayons from melting under the umbrella. There are only a few blow-dryer stations, we’ll take turns cutting out silhouettes, filling out our energy sheet, and blow-drying our crayons. You can do these 3 steps in any order. 1. Cut out your two silhouette people. Make one look like you and one look like someone that has helped you with or protected you from a problem. If none of the pre-printed people look like you or your helper, draw out your own, and cut them out. Make sure they are about the same size as the templates. I’m cutting out myself and a friend at work who has listened to me cry about some struggles lots of times. I’m going to call her “my umbrella” because she has protected me. 2. Go to a blow-dryer station (set up in advance). Melt your crayons from the top, try to avoid putting too much heat on the cardstock blocker. Use a low setting! It will mean less energy, but also fewer injuries. How will this impact what your piece looks like? You can make a minimalist design and only apply heat for a few seconds, or you can make a loud design and leave the heat on for longer. You can move the heat energy around to move the wax in crazy patterns. Or you can keep the heat coming from a consistent angle and have clean straight lines. When dry, pull off the chipboard. 3. Fill out your energy sheet, glue to back 5 min. Crayons, canvas, blow dryer Make Art! We’ll call you to the blow-dry stations when it’s your turn. While you are waiting, cut out your silhouettes and fill out your energy sheet. 20-35 min. Canvases, crayons, silhouette printouts, scissors, and glue. 33 Rubric Possible points: 20 4-5 points 2-3 points 0-1 point Is it a metaphor? 7-9 are metaphors 4-6 are metaphors 0-3 are metaphors Number of metaphors 7-9 metaphors listed 4-6 metaphors listed 0-3 metaphors listed Construction and completion of crayon canvas Crayons are arranged and melted Some crayons are missing No or few crayons are used Energy Sheet Sheet is complete, and legible. Sheet is partially complete or sloppy Sheet is not filled out. You! A silhouette of handstand! Name: _________________________________ I have the most energy when: _____________________________________ My favorite thing to do with my energy is: _____________________________________ The food that gives me the most energy is: _____________________________________ My friend with the most energy is: _____________________________________ When I’m low on energy, I: _____________________________________ My energy helps me to: _____________________________________ _____________________________________ Here are a few combinations, see if you can make one that looks like you! 1. ______________________ is my umbrella. 2. _________________________________________ 3. _________________________________________ 4. _________________________________________ 5. _________________________________________ 6. _________________________________________ 7. _________________________________________ 8. _________________________________________ 9. _________________________________________ Name: ______________________________________ The person under my umbrella with me is: __________________________________________ They have helped me by: __________________________________________ __________________________________________ __________________________________________ I was happy they helped me because: __________________________________________ __________________________________________ __________________________________________ Metaphors 36 Lesson Plan 2: Abstract Fractions Grade/Subject: 4 Length: Two lessons, 30-60 minutes each Core Standards 1. Art Standard 4.V.R.2: Analyze components in visual imagery that convey messages. 2. Art Standard 4.V.R.3: Refer to contextual information and analyze relevant subject matter, characteristics of form, and use of media. 3. Math Standard 4.NF.3 b. Decompose a fraction into a sum of fractions with the same denominator in more than one way, recording each decomposition by an equation. Justify decompositions, for example, by using a visual fraction model. For example, 3/8 = 1/8 + 1/8 + 1/8; 3/8 = 1/8 + 2/8; 2 1/8 = 1 + 1 + 1/8; 2 1/8 = 8/8 + 8/8 + 1/8. Lesson Objectives: We will follow voice instructions to create art. We will use fractions to describe art. We will have fun comparing our drawings to others’. Anticipatory Set: Quick Draw: Same instructions, different results Resources: ● Paper, pencil, crayons ● Handout of various abstract artists, which represent many identities ● Cardboard/folder dividers ● Book: “Same, Same but Different” by Jenny Sue Kostecki-Shaw 37 Procedures Time Materials/ Resources Prior to Day 1 (optional) Research an abstract artist Bring in 2-3 paragraphs about the artist (can be printed from an online source), and 2 examples of the artist’s work. It can be any artist, historical, or still alive. We will have resources in class for students who do not bring this, or who do not want to use the artist they researched. Internet, library, this is optional. DAY 1 Anticipatory set: Quick Draw! Put up the cardboard or folder dividers to keep students from looking at their peer’s work. Keep your eyes on your own paper. No looking at your neighbor. The right way to do this is how YOU interpret it, NOT how your neighbor interprets it. Take out a piece of paper and pencil 1. In the bottom ⅔ or your paper, draw a giant rainbow with 6 sections. 2. In the middle of the paper, draw a faint circle that covers ⅓ of the paper. 3. In the top ⅓ of the paper, draw an upside down rainbow with 4 sections. 4. Color in the middle & bottom sections with greens, oranges and blues. 5. Color in the top section with blue, red, yellow and light blue. Reveal! Show your table how your drawing turned out, discuss with your table for 1 minute. 10 min. Paper, pencil, crayons Class discussion: What happened!? We had the same instructions, why are our drawings different? How did you feel when you were unclear about the instructions? What kinds of instruction would have been more helpful? 3 min. 38 Mini Lesson: What is abstract art? Abstract art is non-objective. It doesn’t have something that is recognizable, but it usually comes from something that is recognizable. Lichtenstein example 5 min. Projector Group discussions of abstract artists Pass out a handout of 1 artist to each table (include enough copies for every student). In your tables, read about the artist on your own (5 min), then share 1 thing you learned with your table (3 min). 8 min. Fractions in art. Let’s describe a piece of art from Adia Millett. Demo Draw on the board as students answer these questions. Draw intentionally incorrectly when a direction could be interpreted in multiple ways. Write down your instructions as you go. With the first one using the word “forefront” and the last one using the word “background.” Be sure to use lots of fractions! What should be described first? (should be item in forefront - triangles) How many triangles are there? Can we divide the page into 16 sections? So each section will be 1/16 of the paper. What colors are used in the triangles? What should we describe next? (Circle is behind trees) How much of a circle do we see? (⅔) Where is the circle placed? (middle, fills most) What’s next? (Remaining background) 10 min. Whiteboard, projector DAY 2 Book: “Same, same, but different.” 10 min. Book 39 Discussion: What did these two kids have in common? What were their differences? Why does it matter that they have differences and similarities? How do their differences add depth, richness and variety? What could they learn from each other? Is one way better? (No!) 5 min. These kids came from different backgrounds, and each of their experiences has value. Let’s see if we can apply this idea to our art! Do you remember what we did yesterday? We are going to repeat that exercise, but instead of me giving you instructions, your peers are going to provide instructions in groups of 3. We are going to recreate some abstract art pieces from some well-known artists, both historical and contemporary. Make Art! Get into groups of 3. Number members 1, 2 and 3. Person 1: Describe an art piece to the other 2 using as many fractions as possible. Write down your instructions after you give them, while person 2 and 3 are drawing. Make sure that each instruction includes a fraction. Remember your first thing should be the foreground (the thing in the front that isn’t obstructed), and the last thing should be the background (the thing that is furthest back, and probably obstructed by other things). Each person will have 10 minutes to draw. Set timer on projector for 10 minutes. Switch to person 2, repeat. Switch to person 3, repeat. Rules: The drawers can NOT ask for clarification. The drawers CAN ask for the person describing to repeat an instruction. You can NOT look at other people’s drawings. Watch the time, 10 minutes goes fast, especially for art with lots of shapes and texture and patterns. 30 min. Paper, crayons, markers, pencils Online timer, projector In your groups, choose your favorite drawing to share with the class. Choose 1 person to talk about your drawings. 10 minutes 40 Rubric Possible points: 20 points 7-10 points 4-6 points 0-3 points Written Instructions Instructions are clear, and include fractions Instructions are sometime clear, and sometimes use fractions Instructions are unclear and do not use fractions Completed drawing Student followed instructions and implemented fractions correctly Student followed some instructions and sometimes implemented fractions correctly Student did not follow instructions and didn’t use fractions correctly Piet Mondrian An influential non-representational painter, Piet Mondrian’s art evolved over his lifetime into his own unique style, which he coined “neo-plasticism.” This art was not based on outside artistic influences or on typical techniques, but was instead Mondrian’s interpretation of his deeply felt philosophical beliefs. He subscribed to two sets of philosophical beliefs; theosophy, a religious mysticism which sought to help humanity achieve perfection, and anthroposophy, which held that the spiritual world was directly accessible through the development of the inner self. His works were thus aimed at helping humanity through aesthetic beauty and breaking from a representational form of painting. He published his explanation of neo-plasticism in his art publication De Stijl (The Style) in 1917 and 1918. Although his early work was representational, he slowly developed his artistic philosophy, his works slowly devolving first into cubism, then to pure abstraction and non-representation. After WWI, he flourished in the post-war atmosphere of Paris, which allowed him pure creative freedom. Upon the outbreak of WWII, and the approach of fascism, he moved to Manhattan, NY, where he spent the rest of his life. It was in his Manhattan studio where he felt most creative, and in which he created his great masterpieces. Mondrian was an avid painter, and would paint until his hands blistered. Sometimes he made himself sick, and others he made himself cry from exhaustion. While in his Manhattan apartment, he rearranged large colored panels on his walls, and painted other portions, rearranging and moving the panels as he completed his canvas paintings, or as he completed periods of painting. He later said that his ever-changing surroundings in his Manhattan studio was the best space he ever inhabited. After his death, his friend Harry Holtzman carefully measured each of the panels on Mondrian’s walls and turned them into a traveling exhibition called Wall Works. New York City I Composition in colour A https://www.wikiart.org/en/piet-mondrian Byron Kim Byron Kim, born in 1961 in La Jolla, CA, is a Senior Critic at Yale School of Art and lives in Brooklyn, NY. He received a BA in English from Yale College in 1983 and attended Skowhegan School of Painting and Sculpture in 1986. Kim is best known for his painting, Synecdoche, which was included in the 1993 Whitney Biennial. Comprised of a grid of hundreds of panels depicting human skin color, the work is both an abstract painting in monochromes and a group portrait. His ongoing series of Sunday Paintings, in which he records the appearance of the sky every week along with a diary entry, juxtaposes the cosmological with the quotidian. Kim often works in an area one might call the abstract sublime. His work sits at the threshold between abstraction and representation, between conceptualism and pure painting. Kim’s paintings often appear to be pure abstractions, but upon investigation, they reveal a charged space that often connects to the artist’s personal experiences in relation to larger cultural forces. Among Kim’s numerous awards are the Louise Nevelson Award in Art, American Academy of Arts and Letters, NY (1993), the New York Foundation for the Arts Grant and the Louis Comfort Tiffany Foundation Award (1994), the National Endowment of the Arts Award (1995), the Joan Mitchell Foundation Grant (1997), and the Alpert Award in the Arts (2008). His works are in the permanent collections of many museums. Synecdoche 1991-present Pond Lily 2015 https://www.gf.org/fellows/all-fellows/byron-kim/ Adia Mille “My process is informed by taking things apart, removing, replacing, cutting, pasting, sewing, and building, in order to discover the space where transitions occur and where stories of impermanence unfold.” - ADIA MILLETT Weaving threads of African American experiences with broader ideas of identity, and collective history, my work investigates the fragile interconnectivity among all living things. Fragmented, constructed, and reassembled, I shed light on the multifaceted and complex parallels between the creative process and the nature of personal identity. My paintings feature abstracted, geometric shapes that imply movement – colorful forms expand and collapse freely among glittery backgrounds with hints of landscape and structural objects such as rooftops, windows and doors. While the textiles draw on the domestic and artistic traditions of quilt-making, they are pieced together, combining culturally diverse fabrics. While my work pays homage to the past through the use of repurposed fabrics and historical iconography, its bright atheistic imagery is informed by the future. The art reminds us of the importance of renewal and rebuilding, not only through the artistic process, but also through the possibility of transformative change. Adia Millett, originally from Los Angeles, California received her MFA from the California Institute of the Arts. In 2001, she moved to New York City for the prestigious Whitney Museum Independent Study Program, followed by the Studio Museum in Harlem residency program. http://adiamillett.com/about-ba Abdias Nascimento A winner of a UNESCO “Human Rights and Culture” award in 2001 and a two-time nominee for the Nobel Peace Prize (1978/2010), Abdias Nascimento, who passed away at age ninety-seven in 2011, was a modern-day version of Brazil’s Zumbi dos Palmares and Haiti’s Toussaint Louverture, pioneers of racial justice in Latin America’s colonial days. Leading no ordinary life, Nascimento embraced several activities to confront the systemic racism he witnessed and experienced from an early age as an Afro-descendant of poor background, like the majority of Black men and women in Brazil. https://www.newcitybrazil.com/2020/10/12/larger-than-life-the-legacy-of-anti-racist-activist-and-artist-abdias-nascimento/ Omnipotent and Immortal n. 3 Kika Karadi Kika Karadi was born in 1975 in Budapest, Hungary[2] and moved to the United States at age 11.[3] She attended Maryland Institute College of Art (MICA) and graduated with a B.F.A. in 1997.[3] Karadi had her first European solo show in Naples, Italy, in 2006.[4] In 2017, she was an artist in residence at the Chinati Foundation in Marfa, Texas.[5] She has held solo exhibitions at the Jonathan Viner Gallery in London and The Journal Gallery in New York City.[5][6] Technique: Karadi is noted for her large-scale paintings made in response to the aesthetics of the film noir genre. Her paintings were described as "black stenciled signage on a white background", in which she "reintroduces hints of representation - atmospheric cinematic scenes, figurative forms and symbols which welcome the impurities of cultural collision."[7] She approaches painting with a monographic technique. Her body of work using this process refers to the abandoned Oak Park Mall in Austin, Minnesota where she maintained her studio since early 2014.[8] https://en.wikipedia.org/wiki/Kika_Karadi Untitled (OPM no. 25), 2014 Princess Fahrelnissa Zeid Fahrelnissa Zeid (Arabic: ) Fakhr un-nisa or Fahr-El-Nissa (7 January 1901–5 September 1991) was a Turkish artist best known for her large-scale abstract paintings with kaleidoscopic patterns. Also using drawings, lithographs, and sculptures, her work blended elements of Islamic and Byzantine art with abstraction and other influences from the West. Zeid was one of the first women to go to art school in Istanbul. She lived in different cities and became part of the avant-garde scenes in Istanbul, pre-war Berlin and post-war Paris. Her work has been exhibited at various institutions in Paris, New York, and London, including the Institute of Contemporary Art in 1954. In the 1970s, she moved to Amman, Jordan, where she initiated an art school. In 2017, Tate Modern in London organized a major retrospective of the artist and called her "one of the greatest female artists of the 20th century." In the 1930s, she married into the Hashemite royal family of Iraq, and was the mother of Prince Ra'ad bin Zeid and the grandmother of Prince Zeid bin Ra'ad. https://www.wikiart.org/en/princess-fahrelnissa-zeid Paris O o Freundlich Otto Freundlich (10 July 1878 – 9 March 1943) was a German painter and sculptor of Jewish origin and one of the first generation of abstract artists. Freundlich was born in Stolp, Province of Pomerania, Prussia. His mother was a first cousin of the writer Samuel Lublinski. Otto studied dentistry before deciding to become an artist. He went to Paris in 1908, living in Montmartre in Bateau Lavoir near to Pablo Picasso, Braque and others. In 1914 he returned to Germany. After World War I, he became politically active as a member of the November Group. In 1919, he organized the first Dada - exhibition in Cologne with Max Ernst and Johannes Theodor Baargeld. In 1925, he joined the Abstraction-Création group. https://www.wikiart.org/en/otto-freundlich Lichtkreise (Kosmischer Regenbogen) Perle Fine Perle Fine was among the most prominent female artists associated with American Abstract Expressionism. Perle Fine was born in Boston, MA, in 1905. Her interest in art started at early age. In her early twenties she moved to New York City to study at the Art Students League with Kimon Nicolades. In the late 1930s she began to study with Hans Hofmann in New York City as well as in Provincetown, MA. In 1950 she was nominated by Willem de Kooning and then admitted to the 8th Street “Artists’ Club”, located at 39 East 8th Street. Perle Fine was chosen by her fellow artists to show in the Ninth Street Show held on May 21 – June 10, 1951.[5] The show was located at 60 East 9th Street on the first floor and the basement of a building which was about to be demolished. According to Bruce Altshuler: "The artists celebrated not only the appearance of the dealers, collectors and museum people on the 9th Street, and the consequent exposure of their work but they celebrated the creation and the strength of a living community of significant dimensions." Perle Fine participated from 1951 to 1957 in the invitational New York Painting and Sculpture Annuals, including the Ninth Street Show., She was among the 24 out of a total 256 New York School artists who was included in all the Annuals. These Annuals were important because the participants were chosen by the artists themselves. In the 1950s Fine moved to the Springs, section of East Hampton on the eastern end of Long Island where Jackson Pollock, Lee Krasner. Willem de Kooning, Conrad Marca-Relli and other members of the New York School found permanent residence. Perle Fine stated the following: " I never thought of myself as a student or teacher, but as a painter. When I paint something I am very much aware of the future. If I feel something will not stand up 40 years from now, I am not interested in doing that kind of thing." https://www.wikiart.org/en/perle-fine Prescience No. 11 A Timeless Moment 49 Lesson Plan 3: Human Spirographs Grade/Subject: 2 Length: Two lessons, 30-60 minutes each Core Standards 1. Art Standard 2.V.CR.1: Brainstorm multiple approaches to an art or design problem, and make art or design with various materials and tools to explore personal interests, questions, and curiosity. 2. Dance Standard 2.D.P.5: Identify and demonstrate contrasts in tempo and rhythm through movement. 3. Math Standard 2.MD.1: Measure the length of an object by selecting and using appropriate tools such as rulers, yardsticks, meter sticks, and measuring tapes. 4. Math Standard 2.NBT.2: Count within 1,000; skip-count by fives, tens, and hundreds. Lesson Objectives: We will draw symmetrical shapes using our whole bodies. We will learn how to measure circles, and measure our own circle art in various ways. Anticipatory Set: Tony Orrico performance art from 0-3:24 Resources: ● Big Paper (like this one:https://amzn.to/2UxlHNN) ○ CDC: 8YO are 54”<, get paper that is 5’ wide, or tape together two 30” pieces of butcher paper from the supply room ● Crayons, markers, or charcoal if you want to get really messy! ● Clothes that can be colored on, or protective cloths under clothing ● Human spirograph info sheet - one per student ● Book: The Day You Begin Prep: ● Cut the paper into individual pieces for each student or group (around 5x5’) 50 Procedures Time Materials/ Resources DAY 1 Show video of Tony Orrico performance art from 0-3:24 Ask: “What do you wonder?” Possible questions, bolded questions to be focused on: What’s in his hands? What is he drawing? Is that a dance? How long does he do that? Why is everyone watching? How many people are watching? How come it makes circles? Is he counting the circles? How many circles did he make? Where did he get paper that big? Does he get tired? 7 min. Video file, projector Mini lesson: Get out your rulers. How big is an inch? How big is a centimeter? Which one is bigger? Circles, radius, diameter written on board. Ask if anyone knows what they mean. Explain how to measure each. Measure a few circular items in the classroom. Practice counting in 5s, 10s, 100s 7 min. Whiteboard, Demo Name on paper! Choose your colors, set them on the sides of your paper Anchor your stomach so you can reach everywhere Choose a pattern, go ALL the way around with each pattern. Choose another pattern, go ALL the way around. Continue with at least 4 patterns. Choose which number to skip count in, and emphasize that number while counting in your group. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. 5 min. 51 Make art! Get into groups of 3-5. Have each person choose a color and a pattern. While they’re making their pattern all the way around, have the group skip count, by 2s, then 3s, then 4s, then 5s, then start over. This project works best in the gym, or a large area with hard floors. Adaptations: depending on abilities of students, you can accommodate wheelchair spirographs, fine motor spirographs on a smaller scale, or change the medium for sensory issues. 15 min. Paper, crayons DAY 2 Book: “The Day You Begin” by Jacqueline Woodson, illustrated by Rafael López Before reading: point out that the author has used rulers throughout the book. See if you can find them. Either read to kids, or watch the author reading it: https://www.youtube.com/watch?v=KDs5d_qFbEs 10 min. Book Discussion on comparing: Why do you think the book artist Rafael Lopez uses rulers? Build on any answers that touch on how we compare to each other. We are all different! But rulers can’t measure how confident or happy or kind we are, they can only measure physical differences. We are going to be kind to each other as we discuss how our art is similar and different. 2 min. Demo: Fill out the spirograph info sheet using the outermost circle of your human spirograph. Have students fill out their sheets as a group. 10 min. Discuss with class: First, we need to decide if we’re comparing in centimeters or inches. What would happen if we got some answers in inches, and some in cm? We’re going to use centimeters only for this discussion. Raise your hand if you think you have the largest 15 min. 52 circumference in centimeters. Starting with those who think they have the highest, get measurements from all students. Write measurements on the board with names. If time permits, organize the data into a graph. Repeat for radius and diameter. Does the same group have the highest/lowest numbers? Why or why not? Do we believe the data, or should we check it? Does anyone want to share what they love about their art? 5 min. Rubric Possible points: 20 7-10 points 4-6 points 0-3 points Completed Spirograph art Group completed 4+ rounds of spirographs with different patterns Group completed 2-3 rounds of spirographs with different patterns. Group completed 0-1 round of spirographs with different patterns. Completed Spirograph info sheet Group filled out the human spirograph form completely and neatly Group filled out the human spirograph form partially and almost neatly Group did not fill out the human spirograph form or it was sloppy 54 Lesson Plan 4: Painting with Plastic Grade/Subject: 6 Length: Three lessons, 30-60 minutes each Core Standards 1. Art Standard 6.V.CR.3: Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design. 2. Art Standard 6.V.CR.4: Explain environmental implications of conservation, care, and cleanup of art materials, tools and equipment. 3. Art Standard 6.V.CR.6: Reflect on whether personal artwork conveys the intended meaning, and revise accordingly. 4. Social Studies Standard 4, Objective 2: Explore current global issues facing the modern world and identify potential solutions. a. Investigate pressing issues facing the world. b. Identify potential solutions to pressing issues. c. Identify individuals and groups making positive changes in the world today and support these choices with evidence. Lesson Objectives: We will reuse plastic waste to create self portraits. Anticipatory Set: Mbongeni Buthelezi’s plastic art Resources: ● NatGeo handout, 1 per student ● Vocab words and Unfair game printouts ● Plastic and cardboard from students that was bound for the landfill Prep: ● Cut the cardboard boxes into canvases (8x10-24x36”) 55 Procedures Time Materials/ Resources Prior to lessons, have students bring in clean plastic trash (grocery bags, used plastic bottles, food packaging, etc), and empty cardboard boxes. DAY 1 Be amazed! Mbongeni Buthelezi’s plastic art What do you wonder? How did he get that idea? How long does it take? Where does he get the plastic? How many art pieces has he made? Does he sell his art? How much does he sell his art for? Is this a way to recycle? Does he teach classes? How did he learn art? 6 min. Computer, projector Flyswatter vocabulary review Vocab words specific to the article in the next step 7 min. Flyswatter, printouts of vocab sheets In tables, read the NatGeo article on plastic pollution. Silent read for 5 minutes. Have a scribe write down the main messages and the ideas that stuck on a piece of paper. 10 min. Handout Split the class into 2 teams. Play the “unfair game” on page 4. 10 min. DAY 2 Embrace the shake (from 0:00 - 5:00) Your art will NOT look like Mbongeni’s, or Phil’s. You have your own “shakes” that make your art look like yours. Start with a plan, then don’t worry about what the end product will look like. Enjoy the process of putting plastic together. We are working with limitations, just like Phil. And for most of us, this is our first time doing anything like this, so if our end product isn’t what you expected, that’s okay! In fact, that’s great, because you can look at it and decide what you would do different next time. 5 min. Computer, projector 56 Display this quote on the projector while they are making art. Make plastic art! My suggestion is to make a self portrait, like Mbongeni. If that doesn’t inspire you, or you have something else you’ve been wanting to make, go with what inspires you - minecraft, among us, floss dance, anything! Choose your size with intent. If you choose a big canvas, choose big pieces of plastic. If you choose a small canvas, choose small pieces of plastic. We won’t melt anything in class, and if you decide to try some melted plastic art at home, make sure you get your parent’s permission first, because some plastics emit toxic fumes. 30-50 min. Cardboard artboards, plastics, glue DAY 3 Critique each student’s work in groups of 4, using this form. Take turns looking at each person’s art (1 person at a time). Leave each person’s art out for 3:30 min, with 30 seconds between to transition to the next person’s art. Each artist should receive 3 critique forms back. 16 min. Revise your art! Take your critiques, then: 1. Decide if you agree or disagree with what has been written. 2. Take the pieces that you agree with and change up your art so that YOU are happy with it. 20-40 min. Cardboard artboards, plastics, glue Optional Integrate another lesson that you are already teaching (science, math, etc). Have the students make the subject of their art piece relate to that lesson. For example, the plastic painting is of the frozen poles and tropical equatorial islands. Science standard 6.3.1: Develop a model to describe how the cycling of water through Earth's systems is driven by energy from the Sun, gravitational forces, and density. (ESS2.C) 57 Rubric Possible points: 20-25 Construction and completion of plastic painting 7-10 points: Plastic is arranged and secured to the cardboard canvas 4-6 points: A small amount of plastic is arranged, some is secure 0-3 points: Little to no plastic is used or secured Critique form completed 4-5 points: Form is completed with releavant information 2-3 points: Form is partially complete or partially relevant 0-1 point: Form is not filled out or not relevant Art revisions 4-5 points: Revisions are made, or the artists defends the completeness of their art 2-3 points: Some revisions are made 0-1 point: Few to no revisions are made Optional: integrates with another subject 4-5 points: Artwork integrates secondary topic 2-3 points: Art somewhat integrates secondary topic 0-1 point: Art does not integrate secondary topic The world's plastic pollution crisis explained Much of the planet is swimming in discarded plastic, which is harming animal and possibly human health. Can it be cleaned up? Plastic pollution has become one of the most pressing environmental issues, as rapidly increasing production of disposable plastic products overwhelms the world’s ability to deal with them. Plastic pollution is most visible in developing Asian and African nations, where garbage collection systems are often inefficient or nonexistent. But the developed world, especially in countries with low recycling rates, also has trouble properly collecting discarded plastics. Plastic trash has become so ubiquitous it has prompted efforts to write a global treaty negotiated by the United Nations. How did this happen? Plastics made from fossil fuels are just over a century old. Production and P H OTO G R A P H B Y R A N D Y O L S O N , N AT G E O I M A G E C O L L E C T I O N Children play on the shore of Manila Bay in the Philippines, which is polluted by plastic waste. E X P L A INE R B Y L A U R A PA R K E R P U B L I S H E D J U N E 7, 2 0 1 9 • 7 M I N R E A D A D V E R T I S E M E N T ENVI RONMENT LO G I N Renew S U B S C R I B E ME N U plastic bags and food wrappers, have a lifespan of mere minutes to hours, yet they may persist in the environment for hundreds of years. See photos of animals in a world of plastic 1 / 10 P H OTO G R A P H B Y T H OM A S P . P E S C H A K , N AT G E O I M A G E C O L L E C T I O N A whale shark swims beside a plastic bag in the Gulf of Aden near Yemen. Although whale sharks are the biggest fish in the sea, they're still threatened by ingesting small bits of plastic. A D V E R T I S E M E N T visible in developing Asian and African nations, where garbage collection systems are often inefficient or nonexistent. But the developed world, especially in countries with low recycling rates, also has trouble properly collecting discarded plastics. Plastic trash has become so ubiquitous it has prompted efforts to write a global treaty negotiated by the United Nations. How did this happen? Plastics made from fossil fuels are just over a century old. Production and development of thousands of new plastic products accelerated after World War II, so transforming the modern age that life without plastics would be unrecognizable today. Plastics revolutionized medicine with life-saving devices, made space travel possible, lightened cars and jets—saving fuel and pollution—and saved lives with helmets, incubators, and equipment for clean drinking water. The conveniences plastics offer, however, led to a throw-away culture that reveals the material’s dark side: today, single-use plastics account for 40 percent of the plastic produced every year. Many of these products, such as wrappers hours 1 / 10 P H OTO G R A P H B Y T H OM A S P . P E S C H A K , N AT G E O I M A G E C O L L E C T I O N Plastics by the numbers Some key facts: Half of all plastics ever manufactured have been made in the last 15 years. Production increased exponentially, from 2.3 million tons in 1950 to 448 million tons by 2015. Production is expected to double by 2050. Every year, about 8 million tons of plastic waste escapes into the oceans from coastal nations. That’s the equivalent of setting five garbage bags full of trash on every foot of coastline around the world. Plastics often contain additives making them stronger, more flexible, and durable. But many of these additives can extend the life of products if they become litter, with some estimates ranging to at least 400 years to break down. How plastics move around the world Most of the plastic trash in the oceans, Earth’s last sink, flows from land. Trash is also carried to sea by major rivers, which act as conveyor belts, A whale shark swims beside a plastic bag in the Gulf of Aden near Yemen. Although whale sharks are the biggest fish in the sea, they're still threatened by ingesting small bits of plastic. A D V E R T I S E M E N T picking up more and more trash as they move downstream. Once at sea, much of the plastic trash remains in coastal waters. But once caught up in ocean currents, it can be transported around the world. On Henderson Island, an uninhabited atoll in the Pitcairn Group isolated halfway between Chile and New Zealand, scientists found plastic items from Russia, the United States, Europe, South America, Japan, and China. They were carried to the South Pacific by the South Pacific gyre, a circular ocean current. P L A S T I C S 1 0 1 Microplastics Once at sea, sunlight, wind, and wave action break down plastic waste into small particles, often less than one-fifth of an inch across. These so-called microplastics are spread throughout the water column and have been found in every corner of the globe, from Mount Everest, the highest peak, to the Mariana Trench, the deepest trough. Microplastics are breaking down further into smaller and smaller pieces. Plastic microfibers, meanwhile, have been found in municipal drinking water systems and drifting through the air. Harm to wildlife A D V E R T I S E M E N T 5:45 causing death. Stomachs so packed with plastics reduce the urge to eat, causing starvation. Plastics have been consumed by land-based animals, including elephants, hyenas, zebras, tigers, camels, cattle, and other large mammals, in some cases causing death. Tests have also confirmed liver and cell damage and disruptions to reproductive systems, prompting some species, such as oysters, to produce fewer eggs. New research shows that larval fish are eating nanofibers in the first days of life, raising new questions about the effects of plastics on fish populations. Stemming the plastic tide Once in the ocean, it is difficult—if not impossible—to retrieve plastic waste. Mechanical systems, such as Mr. Trash Wheel, a litter interceptor in Maryland’s Baltimore Harbor, can be effective at picking up large pieces of plastic, such as foam cups and food containers, from inland waters. But once plastics break down into microplastics and drift throughout the water column in the open ocean, they are virtually impossible to recover. 3 8 MI L L ION P I E C E S OF P L A S T I C T RA S H COV E R T H I S R EMOT E I S L AND A D V E R T I S E M E N T 0:48 P L A S T I C S 1 0 1 Microplastics Once at sea, sunlight, wind, and wave action break down plastic waste into small particles, often less than one-fifth of an inch across. These so-called microplastics are spread throughout the water column and have been found in every corner of the globe, from Mount Everest, the highest peak, to the Mariana Trench, the deepest trough. Microplastics are breaking down further into smaller and smaller pieces. Plastic microfibers, meanwhile, have been found in municipal drinking water systems and drifting through the air. Harm to wildlife Millions of animals are killed by plastics every year, from birds to fish to other marine organisms. Nearly 700 species, including endangered ones, are known to have been affected by plastics. Nearly every species of seabird eats plastics. Most of the deaths to animals are caused by entanglement or starvation. Seals, whales, turtles, and other animals are strangled by abandoned fishing gear or discarded six-pack rings. Microplastics have been found in more than 100 aquatic species, including fish, shrimp, and mussels destined for our dinner plates. In many cases, these tiny bits pass through the digestive system and are expelled without consequence. But plastics h l b f d t h bl k d di ti t t i d A D V E R T I S E M E N T 5:45 have also been found to have blocked digestive tracts or pierced organs, causing death. Stomachs so packed with plastics reduce the urge to eat, causing starvation. Plastics have been consumed by land-based animals, including elephants, hyenas, zebras, tigers, camels, cattle, and other large mammals, in some cases causing death. first days of life, raising new questions about the effects of plastics on fish populations. Stemming the plastic tide Once in the ocean, it is difficult—if not impossible—to retrieve plastic waste. Mechanical systems, such as Mr. Trash Wheel, a litter interceptor in Maryland’s Baltimore Harbor, can be effective at picking up large pieces of plastic, such as foam cups and food containers, from inland waters. But once plastics break down into microplastics and drift throughout the water column in the open ocean, they are virtually impossible to recover. 3 8 MI L L ION P I E C E S OF P L A S T I C T RA S H COV E R T H I S R EMOT E I S L AND The solution is to prevent plastic waste from entering rivers and seas in the first place, many scientists and conservationists—including the National Geographic Society—say. This could be accomplished with improved waste management systems and recycling, better product design that takes into account the short life of disposable packaging, and reduction in manufacturing of unnecessary single-use plastics. A D V E R T I S E M E N T 0:48 fos·sil fu·el a natural fuel such as coal or gas, formed in the geological past from the remains of living organisms u·biq·ui·tous present, appearing, or found everywhere. rev·o·lu·tion·ize change (something) radically or fundamentally. pol·lu·tion the presence in or introduction into the environment of a substance or thing that has harmful or poisonous effects. coast·al of or near a coast, or the part of the land near the sea; the edge of the land. at·oll noun: atoll; plural noun: atolls a ring-shaped reef, island, or chain of islands formed of coral. mi·cro·plas·tic extremely small pieces of plastic debris in the environment resulting from the disposal and breakdown of consumer products and industrial waste. con·ser·va·tion·ist a person who advocates or acts for the protection and preservation of the environment and wildlife. re·cy·cle convert (waste) into reusable material. sin·gle-use designed to be used once and then disposed of or destroyed. mar·i·an·a trench the deepest oceanic trench on Earth trea·ty a formally concluded and ratified agreement between countries. Plastic Pollution Vocabulary Fossil Fuels Ubiquitous Revolutionize Pollution Coastal Atoll Micro Plastic Convervationist Recycle Single Use Mariana Trench Treaty What continents is plastic pollution most visible on? When did we start creating plastics from fossil fuels? How much plastic production goes to single use products? What are some conveniences that plastics provide? What is the life span of a plastic grocery bag? How long does a grocery bag stay in the environment? How much plastic waste gets into the oceans each year? How much plastic in the world has been made in the past 15 years? How does plastic trash get to oceans? What has been found on Henderson Island? What are microplastics? Why do seabirds eat plastic? How does plastic kill or injure wildlife? Who is Mr. Trash Wheel? How do you remove microplastics from the ocean? What should we do about plastic pollution? The Unfair Game Split the class into 2 teams. Take turns with questions. Each question is assigned a unique point value, it can be positive OR negative. Only the teacher knows the value of the question, which is written on a hidden index card. The team must decide before seeing the value of the question whether they want to keep the points or give them to the other team. If they get the answer right, the points (+ or -) are given. Art Critique Your Name: ____________________________ Artist Name: ___________________________ DESCRIBE What do you see in the art? What is realistic? How could it be more realistic? What is abstract? How could it be more abstract? ANALYZE What lines shapes textures and colors are used? Where are those elements used? INTERPRET What do you think is happening in the art? What is the point of the art? DECIDE Would you hang this in your space? Why or why not? Who do you think might hang this up in their space? Art Critique Your Name: ____________________________ Artist Name: ___________________________ DESCRIBE What do you see in the art? What is realistic? How could it be more realistic? What is abstract? How could it be more abstract? ANALYZE What lines shapes textures and colors are used? Where are those elements used? INTERPRET What do you think is happening in the art? What is the point of the art? DECIDE Would you hang this in your space? Why or why not? Who do you think might hang this up in their space? 65 Lesson Plan 5: Multi-Dimensional Careers Grade/Subject: 5 Length: Three lessons, 30-60 minutes each Core Standards 1. Art Strand: Create (5.V.CR.): Students will generate artistic work by conceptualizing, organizing, and completing their artistic ideas. 2. ELA Reading: Informational Text Standard 9: Integrate information from several texts on the same topic in order to write or speak about the subject knowledgeably. 3. ELA Writing Standard 2: Write informative/explanatory texts to examine a topic and convey ideas and information clearly 4. ELA Speaking and Listening Standard 4: Report on a topic or text or present an opinion, sequencing ideas logically and using appropriate facts and relevant, descriptive details to support main ideas or themes; speak clearly at an understandable pace. 5. Health Strand 2: Mental And Emotional Health (MEH): Students will examine personal traits and lifestyles and how they impact overall wellness. Lesson Objectives: We will explore two career options: a dreamy fictional career, and one that already exists. We will mimic the art of Sergi Cadenas to create dimensional art to show ourselves in both careers. Anticipatory Set: Sergi Cadenas’ 2D/3D art Resources: ● Cardstock ● Scissors ● Glue for plastics - gorilla glue, E6000, epoxy, or similar ● Paint & brushes Prep: ● Print forms from template (at 100%) ● Cut 5.5x5.5” cardstock paper 66 Procedures Time Materials/ Resources DAY 1 Get excited! Sergi Cadenas’ 2D art What do you wonder? Has he painted anything besides people? Could the artist compare 2 things that aren’t people? How did he get that idea? How long does it take to make each portrait? What if he makes a mistake? How many art pieces has he made? What materials does he use? How did he learn art? 5 min. Computer, projector Mini lesson on careers: Discuss these 3 questions in table groups writing answers on a piece of paper, then have 1 rep from each table share their answers with the whole class. 1. How to decide on a career ● Family business ● Things you love to do ● Supports a family 2. When to decide on a career ● The earlier the better ● Now, Jr High, High school, College, later 3. When to change careers ● When a career is not fulfilling ● When it feels right ● Never is an option 10 min. Paper, pencil Career finder test: https://www.careerfitter.com/free_test/careerbuilder 10 min. Computers Divide a paper in half tall ways. On the left side, list careers that interest you that already exist. On the right side, list what you do for fun. If you could do anything, what would it be? What do you do when you’re not obligated to do anything else? Pretend these are careers. List as many as you can in both columns. 5 min. Paper, pencils 67 DAY 2 Circle your top 3 existing careers. Then circle your top 3 things you do for fun. 2 min. Shoulder partners: Tell them your top 3 in each column, and notice which one excites you most. 4 min. From your list on the left column, choose the career that interests you most, and research it. Find information from at least 3 online sources. Then answer these questions: Which parts are so fun they make time fly by? Which parts are mundane and less enjoyable? What does your day to day look like? Your paycheck: Who pays you and how much? Who do you work with? How does this job help other people? How does this job help you and your family? 15 min. Computers From your list on the right, choose the one that interests you the most, pretend that is a career, and answer these questions: Which parts are so fun they make time fly by? Which parts are mundane and less enjoyable? What does your day to day look like? What does your paycheck look like? Who pays you and how much? Who do you work with? How does this job help other people? How does this job help you and your family? 10 min. Venn Diagram: Demo: create a venn diagram to compare and contrast their real vs dreamy careers. Make your own venn diagrams 5 min. Paper, projector Optional: If you want to do more research at home tonight, or interview someone who is in your career of choice, you can. This is not required. 68 DAY 3 Demo with template: 1. Cut on dashed line. 2. Fold on solid lines, switching from folding backward to folding forward so that you make a zig-zag pattern. 3. Create 2 pieces of art, 5.5x5.5” each. One will be your dreamy career, one will be an existing career. (Have these already created for a quick demo). 4. Cut each piece of art in 1/2” vertical strips. 5. Glue your first piece of art on every other strip, starting with position 1. 6. Glue your second piece of art on every other strip, starting with position 2. View from the left or the right to view the 2 careers you have drawn. 5 min. Printed forms, 5.5x5.5” cardstock paper, colored pencils, glue Make Art! Use your list and colored pencils and template to create your own multi-dimensional career art. 30 min. Printed forms, 5.5x5.5” cardstock paper, colored pencils, glue 30 second share: Choose one of your careers, and share your favorite parts about the career and your drawing. 15 min. Timer Optional: Bring in a few parents to discuss their careers on day 2. 10-20 min. 69 Rubric Possible points: 20 4-5 points 2-3 points 0-1 point Career List 5+ careers are listed in each column 3-4 careers are listed in each column 0-2 careers are listed in each column Career Research At least 3 sources are used to research a career, all questions are answered At least 2 sources are used to research a career, some questions are answered 0-1 sources are used to research a career, few questions are answered Art: careers represented in 2 panels 2 art panels are created with an existing career and a dreamy career 1 art panel is created with an existing career and a dreamy career 0 art panels are created with an existing career and a dreamy career Art: construction Art is cut into strips and glued to the zig-zag template neatly Some of the art is cut into strips and glued to the zig-zag template Little to none of the art is cut into strips and glued to the zig-zag template 1. Cut on dashed line. 2. Fold on solid lines, switching from folding back to folding forward so that you make a zig-zag pattern. 3. Create 2 pieces of art, 5.5x5.5” each. 4. Cut each piece of art in 1/2” vertical strips. 5. Glue your first piece of art on every other strip, starting with position 1. 6. Glue your second piece of art on every other strip, starting with position 2. Multi-Dimensional Careers 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 1 2