VPA Methods

KinestheticIntelligence

"Movers" (Martha Graham,* Tiger Woods): Dance and use body to communicate; touch and use hands, face, gestures; do hands-on learning; prefer kinesthetic-tactile activities, sports, and drama.

Naturalist Intelligence

"Nature lovers" (Jacques Cousteau, Jane Goodall): Have and raise pets, visit zoos and parks, study animals and nature, garden, be out of doors.

Process and product

(Best Teaching Practices for Arts Integration) Arts processes are emphasized over products. Examples are used more often than models. Dictated art is avoided

Engagement and active learning

(Best Teaching Practices for Arts Integration) Arts strategies are used to engage the head, heart, and hands in problem solving that transforms ideas.

Management: behavior, time, and materials

(Best Teaching Practices for Arts Integration) Expectations and limits are clear. Flexible time blocks and predictable routines structure learning, but there is time for personal interest and to explore using authentic arts materials that unlock thinking

Inside-out motivation

(Best Teaching Practices for Arts Integration) Intrinsic motivation is activated by focus on understanding, interests, choices, clear goals, and group work.

Explicit teaching

(Best Teaching Practices for Arts Integration) Mini-lessons directly teach the why-what-how-when-where of arts concepts and skills. Transfer is explicitly addressed by teachers and specialists

Independence and self-discipline

(Best Teaching Practices for Arts Integration) Students become independent as they gain control of body, voice, and mind and learn persistence. They learn important work habits including self-help fix-ups.

What you teach is who you are

(Best Teaching Practices for Arts Integration) Teachers show "arts confidence" and display enthusiasm for the arts

visual intelligence

(Mary Cassatt, Pablo Picasso*): Think in pic-tures and see spatial relationships, draw, build, design and create, daydream and imagine, look at pictures, watch movies, read maps and charts, and do mazes and puzzles.

Interpersonal Intelligence

(Oprah Winfrey, Mother Teresa): Have lots of friends, join groups, talk out or mediate and re-solve conflicts, empathize and understand, share, compare, relate, cooperate, interview others, and lead and organize.

musical intelligence

(igor stravinsky,* Wynton Marsalis): sing, hum, and listen to music, play instruments, respond to music (tap rhythms), compose, pick up sounds, remem-ber melodies, and notice pitches and rhythms

Inquiry Questions

1. What do you see/notice? (describe ) 2. What caught your attention? Why? 3. How does it make you feel? Why? (emotions and triggers) 4. What does it remind you of? What is it like? (connections to experiences, memories, books—invites metaphoric comparisons) 5. What makes you think that? How do you know that? 6. What questions do you have? What are you wondering about or want to know more about? 7. What have you discovered? Why? How? 8. What is it about? What are the big ideas or themes? What meaning/messages did you create? 9. What if? How might? Why not? 10. Also create graphic organizers around categories such as: LWL (learn, wonder, like); IQU (interesting, questions, use-ful); EPC (exciting, puzzling, connecting). Also see SFTW in Cha

mobile art

3 dimensional art that moves usually suspended

Pre-Schematic Stage

4-6 years; child produces first representative symbols for objects in the environment

see one point of view, or one aspect at a time ---Children at this age are able to make sense of 1 perspective, rather than multiple.

A kindergarten teacher decides to integrate more music into her daily instruction. In consideration of the students' developmental level, the teacher should recognize her students are able to ------

Orff-Schulwerk Approach

A music education approach created by Carl Orff (1895-1982) in the 1920s; founded on the principle of elemental music, or a multisensory approach that involves hearing music before learning to read or write music; movement to music and music making with the voice and percussion or melodic instruments such as the recorder, xylophone, glockenspiel, and metallaphone are incorporated; emphasizes creative experience, natural abilities and sounds, the pentatonic scale, and ostinati patterns

Constructivism

A philosophy of learning based on the premise that people construct their own understanding of the world they live in through reflection on experiences

melody

A series (more than one) of musical tones or pitches falling into a recognizable pattern

rhythm

A strong, regular, repeated pattern of movement or sound (created through a combination of long and short sounds and silences

Portfolio

A teacher collects work that has been created over time and shows a variety of samples and progress toward the criteria. What is this type of assessment called?

Food, shelter, clothing

According to Maslow, which needs must be addressed first before any others?

primary grades

According to the textbook, at what stage are students able to create original songs, arts, dance and dramas?

examine the nature of and experiences within art

Aesthetic understanding allows individuals too...

tableau

After reading a story, brainstorm what it is really about. List themes on a chart. Divide into groups, with each group selecting a theme from the story to create a frozen picture. Students should employ body shape, facial expressions.

Time

Another element used during movement which includes rhythm, speed, or tempo, accent or emphasis

Composition: arrangement of the masses and spaces. Foreground, middle, and background: the areas in a piece of art that appear closest to the viewer, next closest, and farthest away. Structures and forms: two dimensions—art with length and width, such as paintings or photography; three dimensions—art also has height/depth, such as sculpture. Balance: weight of elements distributed symmetrically or asymmetrically. Emphasis: areas that are stressed and attract the eye. Variety: no two elements used are the same. Repetition: elements used more than once (e.g., shapes, lines) to create pattern and texture. Proportion: the ideal relationship in size or shape between the parts of a whole. Contrast: opposition or differences of elements (e.g., created by light colors next to dark). Rhythm/Motion: sense that there are paths through the work. Unity: the sense there is a whole working together.

Art Concepts and Design/Organizing Principles

removing the idea of art as a special subject area

Arts integration is about:

Creative inquiry

Arts strategies are used to engage "head-on, heart-on, and hands-on" learning driven by challenges to "create meaning through the arts."

Design principles

As a teacher is reading a picture book to her class of 2nd graders, she asks students to look at the arrangements of forms and spaces, the light used in the illustrations, and the composition. What art concept is she encouraging students to think about?

8-9

At ages _______ children are receptive to teacher instruction, yet they are more egocentric and not at their development peak.

Pre-Adolescent, age 11-12

At what age does artistic development peak and will generally remain unless further arts education is included in the school curriculum?

spatial awareness

Awareness of space, when applied to the body it means an awareness of where one's body is in relation to space.

meter

Beat and accept groupings of rhythms. Creates a pattern of strong and soft beats throughout the music

Stage 4 Aesthetic Development

Big Picturers are seasoned art viewers with depth of background in history of artworks. As they look to art, they consider the human condition—life's big questions about truth and meaning. They seek questions that artworks raise and feelings they evoke.

Stage 5 aesthetic development

Big Picturers are seasoned art viewers with depth of background in history of artworks. As they look to art, they consider the human condition—life's big questions about truth and meaning. They seek questions that artworks raise and feelings they evoke.

Kodaly Method

Child-developmental approach, sequence, introducing skills in accordance with the capabilities of the child. Rhythm syllables (Quarter note = ta), (Eighth note pairs = ti-ti), (Half note = Ta-a) Moveable-do solfege and hand signs

11-12

Children are learning who they are and ages ___________ are a high time for curiosity.

7

Children at age _____ are still at the concrete level

6

Children at the primary age of _____are at the early stages of their artistic development and are at the encouragement level

Stage 3 Aesthetic Development

Classifiers rely on analysis and critique in order to sort art by artist, style, era, and so on. They believe this is the path to meaning making

rigidity

Classroom teachers often lack confidence in their art abilities and/or have limited personal art backgrounds. Lack of confidence manifests itself in __________—repeatedly using tasks that involve precut assemblages, painting by number, coloring in the lines, and tracing. This is not art making. Likewise, visual art integration is not about keeping students busy with hands-on work or focusing on getting kids to make art that always "looks like something" (i.e., representational art).

Portfolios

Collected work has long been used in the arts to show capability. Work samples are a means to show progress toward criteria. For example, dated entries of taped oral reading show fluency growth. Drama responses and dances can be photographed and made into a slide show or videoed so students can view, reflect, and set improvement goals. Thus, students learn to self-evaluate using much the same criteria the teacher uses.

Constructivism

Constructivist tenets are woven through AI philosophy and thus AI implementation. Constructiv-ist theory, supported by more than three decades of cognitive research, discourages emphasis on rote memorization of facts and practice of isolated skills out of meaningful context. Alternatively, constructivism outlines how teachers can capitalize on the brain's capacity to construct meaning by connecting new information to existing understandings (Bruner, 1960; Dewey, 1899; Gardner, 1990; Levi-Strauss, 1967; Piaget, 1977). Put simply, constructivists believe students should make, not merely get, meaning. Therefore, constructivist-based learning is about active engagement

Stage 2 of Aesthetic Development

Constructors make sense using personal perceptions, world knowledge, and social and moral values. Realism is valued. When art doesn't look the way they think it should, then they dismiss it.

-want to learn to control techniques, skills & language/vocabulary -improve quickly when taught basics. -when given examples, students catch on quickly but need time to practice

Describe artistic development of children ages 7-9

Constructivist tenets are woven through AI philosophy and thus AI implementation. Constructiv-ist theory, supported by more than three decades of cognitive research, discourages emphasis on rote memorization of facts and practice of isolated skills out of meaningful context. Alternatively, constructivism outlines how teachers can capitalize on the brain's capacity to construct meaning by connecting new information to existing understandings (Bruner, 1960; Dewey, 1899; Gardner, 1990; Levi-Strauss, 1967; Piaget, 1977). Put simply, constructivists believe students should make, not merely get, meaning. Therefore, constructivist-based learning is about active engagemen

Describe constructivism

--documents student's progress over time --offers students a way to see their work and create goals for the next steps --teachers use portfolios to talk w/students about progress & parents during conferences --shows the actual work to support comments & grades

Describe portfolio assessments:

-Egocentric (perceive things as happening to, for, or because of them.) -See one point of view or one aspect at a time. -Short attention span -Limited short term memory -concrete & learn best through physical & multi sensory activities

Describe the developmental stage for children ages 5-7

Naturalist Intelligence (Gardner)

Designates the human ability to discriminate among living things (plants, animals) as well as sensitivity to other features of the natural world (clouds, rock configurations)

-Children want to control techniques, skills, language + vocab -Direct them to "fill up the space' and use variety to create interest -children improve quickly when taught basics -Students catch on quickly with dance or poetry but need time to practice -Teachers need to be knowledge about arts content + skill--as well as be thorough and systematic in their presentation, encouraging, disciplined to create time on task

Development children ages 7-9

-Egocentric (perceive things happening to, for, or bc of them) -Short attention span -Short term memory -Concrete -Learn through physical & multi sensory -respond to the arts w/feelings and emotion -Motivated by curiosity -Little concept of age/time/distance/culture -concern for others & want comfort -aminism -begin spelling, writing & enjoy telling stories -increasingly independent -can compare contrast sounds/pics/movement -can create original, art, songs, stories & dance -can dramatize, dance familiar actions/events -can explore, experiment, play, pretend -need encouragement to experiment -need an inviting environment, rich in sensory stimulation -work w/repetition & patterns -need frequent rests PROBLEMS: working in groups, understanding why, how & when questions, distinguishing fact from fantasy, understanding relationships of parts to whole, sorting or grouping by function or dimension, making comparisons to achieve understanding, one-to-one correspondence

Developmental patterns for students aged 5-7

Provide a relaxed atmosphere so students have fun and forget about speech problems. Engage with dance, art, and pantomime (nonverbal communication). • Use oral activities that have a "play" feel, such as energizers and warm-ups. • Allow students to use a puppet speak or use pictures and other props. • Give opportunities to sing, speak, and hear others use creative and conversational language (e.g., drama activities). • To lessen stuttering, use rhythmic activities, singing, unison choral speaking, and dramatic role-playing.

Differentiation children w/speech difficulties

(ELLs) need time to engage in extended reading of diverse texts and benefit from choices to respond to texts, including arts-based, written, and computer options. They need to learn how to use technology and multimedia to support learn-ing, as well. English language learners have the following special needs. Teachers respect native language Comfortable/supportive learning environment Need to hear lots of English Freedom to use native language for difficult concepts Familiar content Scaffolding Activities --> pantomime, nonverbal Charts/visuals/word walls, key words etc. Rich diverse texts, bilingual dictionaries Visual supports

Differentiation for English Language Learners

• Limit space to make it easier for students to manage. • Use more verbal activities for those with limited movements. • Match students with a "buddy" who can quietly explain to those with hearing impairments, help move a wheelchair, or clear an area for those with limited mobility. • Find creative ways to involve those in wheelchairs. Expect partici-pation and use touch to calm, direct, and assist. • Adapt dance and pantomime for a student's most mobile part (e.g., emphasize gestures if hands and arms are mobile). • Paint mental pictures and give clear details. Describe art materials, tools, pictures, and props. Allow students with visual impairments to explore with touch. • Place students with hearing impairments close to music to feel the vibrations. Seat students to easily see your face, especially if they can lip-read. A window behind you will cast a shadow on your face. • Don't exaggerate speech. This distorts sounds students are taught to notice. • Repeat other students' comments for those with hearing loss. • Use more visuals: pictures, props, gestures, directions. • Ask students to suggest adaptations.

Differentiation for Students with Physical Disabilities

Success for students from varied cultural and linguistic backgrounds depends on teachers who have a whole child focus, celebrate diversity, and use assessment data to adjust best teaching practices. A whole child focus includes believing that all children can participate in dance, art, and drama because the arts are universal languages. All students benefit from cultural connections with holidays, customs, and people that foster respect for diversity. Multiethnic music, visual art, and dance activities are valuable and readily available. Guest artists and students should be regularly tapped for expertise for cul-tural arts study. Since folk literature is universal, it is a good source of multicultural arts enjoyment and learning. Student storytelling related to their backgrounds is wonderful for all students, as is offering varied response/communication options (i.e., arts texts to show learning).

Differentiation for students from diverse language and cultural background

Allow students to bypass some basics, but keep in mind that many will not have knowledge of arts elements and skills. Use short as-sessments to determine when adjustment is needed. • Academically gifted children are usually ahead of peers in lan-guage.They may excel in dialogue, improvisation, and writing, but benefit from learning how the arts can expand their capabilities to communicate. • Allow students to lead arts activities (e.g., narrate a pantomime or direct poetry performances), but teach how to lead by drawing others out. • Offer more long-term projects (e.g., playwriting and puppet shows). • Locate mentors for more in-depth work (e.g., artists, musicians, composers, dancers, writers, actors). • Encourage group work even if students want to work indepen-dently. Group work in the arts gives students chances to learn social skills such as cooperation and active listening

Differentiation for students w/academic gifts & talents

• Some have difficulty with self-control; others are withdrawn. A consistent and supportive environment is important. • Offer extra feedback (not just praise) and set up small successes. Start with energizers and warm-ups, to increase comfort. • Students with short attention spans need to change tasks more often. Be ready to cut an activity short. • Help students expand concentration (e.g., see tabbed chapters with energizers/warm-ups) and set goals. Move in slow incre-ments to increase concentration. • Movement using large muscles is often successful (e.g., dance and drama—especially pantomime—and mural making).

Differentiation for students w/emotional disabilities

Literary Elements: Theme, plot, characters, setting, POV, stylistic/poetic elements Drama Elements: Audience, Plot, Character/Actors, Setting/Space, Conflict & Mood

Distinguish between literary elements & drama elements:

imagination

Drama experiences boost learning. The creative problem solving that results in unique ideas, elaboration on ideas, and spontaneous thinking are encouraging students to use their ____________.

Reading

Drama integration increases students' ______ ability.

researching

Drama skills & processes-- which one am I? data gathering for background of characters, time periods, etc.

Primary 5-7: Children as young as five years old can and will create original dances.

During which stage of child development can you first expect students to create an original dance to represent familiar actions and events?

English Language Arts

Echo Me, Finger Plays and Songs, Song Writing and Hootenanny are Seed Strategies used to integrate music with---

accent

Emphasize the note

Musical Intelligence (Gardner)

Encompasses the capability to recognize and compose musical pitches, tones and rhythms

facilitate concentration, imagination, cooperation & self-control

Energizers and warm-up activities are used to begin dramatic arts classes and are beneficial in other arts and academic classes in order to---

Design

Forms, spaces, light and compositions are directly related to the _______ principles.

Uncontrolled to controlled

From exploration of bodies, me-dia, tools, and skills, children move to increasing control and specialization. There is increased focus on accuracy and precision (e.g., vocal accuracy and finer art tools).

Gender awareness: Children increasingly are aware of boy-girl differences and tend to conform to cultural expectations.

Gender awareness (development)

General to specific: Gross to fine motor, whole to parts, simple to complex, with increasing attention to detail and preci-sion. As children mature, they have increasing ability to ob-serve. Physically, children grow increasingly stronger and more coordinated and have more endurance and balance.

General to specific

monologues

Here's an idea: Use portraits of famous figures. Students research persons in the art and prepare 1 minute script about the times, problems, values, economics, and customs of the person. The info is presented in character in the first person. This style is:

axial movement

Hint: Anchored to one place -but moving through bending, stretching, twisting, swinging gesturing

movement

Hint: Dance or Movement, which is this, typing to complete a task

direction

Hint: Moving through "space" involves various elements. Identify the element: forward, backward, sideways

Destination

Hint: moving through "space" involves various elements. Identify the element: where we move to

It develops problem-solving skills.

How does art enhance academic growth?

tempo

How fast or slow music is or the speed of music is known as:

Takes higher level thinking to understand and create through art

How is the arts intellectual?

Communication Theory

Humans are distinct among animals in our intense need and ability to understand (receive) and express thoughts and emotions. Arts-based communication, pre-dating verbal and written, is evi-dence that the arts were our first communication forms. The arts endure because words are not up capturing the wide range of human thinking. Greater communication capacities develop as students grow language arts (listening-reading, speaking-writing) along with arts abilities; thus, they have more ways to understand, respond to, and express ideas and feelings. AI aims for full multifaceted, multimodal literacy matched to the outside world. Arts communication expands our ways to comprehend/understand and express/represent learning from all curricular areas and life.

Anecdotal Records

Informal notes—on sticky paper—related to preset criteria are easily jotted as students engage in activities; these are also used for products. I hand them to students for sticking in portfolios. Appendix D shows dance criteria.

articles clip art games graphic organizers lesson plans magazines manipulatives posters teacher resources websites worksheets

Instructional items that are NOT works of art include:

reading, self control, concentration and problem-solving

Integrating dance has improved ---

interest inventories

Interest has astounding effects on learning. But in interviews about memorable school experiences, Starko (1995) did not find a single student who remembered being allowed to peruse a personal interest. Not all lessons can be based on students' interests, but balance can be shifted in that direction, making achievement leveraged by motivation more likely. Inventories are a place to begin. Here is a quick informal. Ask students to fold a piece of paper to create two columns: (1) "Interests and Talents" and (2) "Problems and Questions," which are categories that writers and artists use to find topics. Students then make lists in the columns. Alternatively, inventories can be done orally: Write questions on cards to draw for discussions. Or use movement: Make a circle and ask students to step in (twist or slide) in response to interest categories.

Stage 4 Aesthetic Development

Interpreters expect meaning to unfold through exploring subtleties of color, line and shape and use critical skills to validate intuitions about symbolic meanings. Interpreters consider social and cultural in-fluences on art, admire artistic competence, and view repeated experiences with artwork as chances for new insights.

Intrapersonal Intelligence

Intrapersonal: "Loners" (sigmund Freud,* James Baldwin): Reflect on feelings, intentions, dreams, and goals; work alone; have own space; self-pace work; pursue own inter-ests; and do original thinking.

dance

Kinesthetics that can be used to solve problems creatively and express feelings.

Known to seen: With increasing attention spans and concen-tration capacity, children begin to notice/see more. What they see changes what they know.

Known to seen

logical intelligence

Logical: "Reasoners" (Albert einstein,* stephen Hawking): experiment, ask questions, problem solve, figure out how things work, explore abstract relationships, discover pat-terns, classify, reason and use logic (inductive and deduc-tive), do math, and play logic games.

Warm-ups. Warmups provide time for students to use "dancing songs" that offer specific choreography. These songs present a beneficial way for students to prepare for additional activities in the classroom.

Many dancing songs are action or movement songs that allow students to follow given choreography like the hokey pokey or the Macarena. These are best used for _________.

non-locomotor movement

Movement that occurs without traveling

Locomotor movement

Movement that travels from place to place, usually identified by weight transference. basic locomotor movements are walk, run, leap, hop, jump, skip, slide, gallop.

pathways

Moving through "Space" involves various elements. Identify the element: patterns on the floor or air

phrases

Moving through "time" in dance involves various elements. Identify the element: dance sentences, patterns or combinations

accent

Moving through "time" in dance involves various elements. Identify the element: light or strong emphasis

Focus

Moving through space involves various elements. Identify the element: where the dance looks

Speed

Moving through time in dance involves various elements. Identify the element: tempo

Creating Performing Responding and Connecting

Music Standards from the National Core Arts Standaards have strands in:

1. Deeper engagement with subject matter 2. Application of principles across all disciplines 3. Communication and collaboration (social) 4. Greater emotional involvement 5. Deeper social awareness

Name benefits of the DRAMATIC arts:

Challenge

Name the C: A problem or question is presented. Imagine possibilities: promising ways and sources are sought. Ask: What if? How might? What does this remind me of? (Divergent)

Connect

Name the C: Explore and experiment with words, ideas and images. Use SCAMPER to stretch. Infer, compare/contrast, sort/group/combine, find and form patterns. Ask what if? How might? what's another way? (divergent-convergent)

Conclude

Name the C: Insight (A-ha!) Zoom in and out to synthesize/summarize (i.e. big picture/big ideas grounded in evidence.) Ask: What does it mean? Why do you think so? What's most important?" (convergent)

Communicate

Name the C: Make public/share conclusions by creating a "text" (written form, piece of visual art or music, dance or drama/theatre) and presenting orally, in print, as a performance

Context

Name the C: Physical, mental and emotional conditions must support risk taking

Critique

Name the C: Reflect on, evaluate, elaborate, and revise based on feedback. Ask: how new is the idea? Does it work? How can it be made better? What could be changed? Add? Subtract?

Collect

Name the C: Zoom out to gather details, evidence, facts, key concepts, and images. Go for quantity first. Use self/others as sources (e.g., brainstorm) Ask: What do I need to find? What else? What all do I see/hear? Zoom in: What seems important? What stands out? (Divergent-Convergent)

Nonlocomotor

Nonlocomotor or locomotor: stretch, bend, twist, rise, fall, circle, shake, suspend, sway swing or collapse

Individual Conferences

One-on-one conferences are opportunities to gain insight into children's thinking and convey the message that teachers care about progress. In three to five minutes, students can discuss goals and show progress using evidence, such as a piece of artwork, to explain learning or show how a process like creative inquiry was used. Checklists, notes, rubrics, and work samples in the child's folio can also be reviewed.

lithography

Printing method in which pictures are first drawn with chalk or paint on a plate, which is submerged in water. Ink adheres to chalk or paint. Heavy pressure prints the design.

NOT

Removing a student from an activity should _______ be used as a form of differentiation...

Self to others: Children become increasingly group/peer ori-ented, grow in ability to collaborate, and steadily become more interested in the community and world.

Self to others

2-7 years. Scribbles begin to be intentionally used to make basic shapes or diagrams. Children combine shapes and use overlapping. Eventually, the shapes form aggregates (three or more diagrams together.)

Shape Making

2-7 years

Shape making or pre-schematic stage occurs during the ages of

Concrete to abstract

Since young children have difficulty understanding artists' motives and symbolism, start with concrete questions: "What do you notice?" (Prompts: col-ors, shapes, lines, etc.) or "What stands out?" Then try: "Why do you think the artist painted this?" and "How does the color make u feel?

Single to Multiple Perspectives

Single to multiple perspectives, with increasing ability to use evidence to draw conclusions. As children become more logical and more systematic, they gain the ability to self-evaluate.

directing

Skills and processes--which one am I? organizing performances

Performance-Based

Some argue that understanding can only truly be assessed—and for that matter, even achieved—through performance (i.e., students must do something that puts understanding to work) (Perkins, 1998; Wiske, 1997). Of course, quality and quantity of progress in the arts has long been demonstrated through performances, exhibitions, and portfolios. In AI, learning is made concrete with work assessed using criteria for excellence connected to academic areas. Thus, the arts are assessment tools and areas that are assessed, yielding a clearer picture of the kind and degree of learning (i.e., a more comprehensive means of documenting growth).

Stage 1 of Aesthetic Development

Storytellers rely on concrete observations (e.g., colors) of artwork. They make sense of art by constructing nar-ratives, connecting to personal experiences, and making judgments tinged with emotion. The focus is on what is known and liked

Self Assessment

Student reflection on criteria gives a sense of how the real world operates. From mechanic to doctor, expectations exist for workers to continually reflect on personal performance and make adjustments. For example, students can examine successive drafts of work to monitor change.

Verbal/Linguistic Intelligence

Students learn best by saying, hearing, and seeing words

Peer Feedback

Students need to be taught why and how to respond to performances and exhibits of classmates. When the art of noticing is practiced, students learn to make insightful evidence-based comments about what they see and hear. Frames to describe specific arts concepts and feelings include: "It made me feel _____. I notice _____." The learn-wonder-like (LWL) strategy involves recording responses in three columns. Asking questions is also a useful form of feedback. Use role-playing to teach students how to give and receive feedback; and among other things, students should understand the effects of thoughtless remarks.

Visual Intelligence

Students who think in mental and visual images. Gardner's theory of multiple intelligences.

SCAMPER

Substitute • Combine • Adapt • Modify • Put to other uses • Eliminate • Reverse/rearrange ____________ can be used to design creativity warm ups that rely on "what if" thinking. For example, if students complain about a short recess, ask, "What if class and recess time amounts were reversed?" or "How might we combine school and recess?" Ask students to generate "what ifs" for one minute using each verb.

-Call children by name & give feedback -Use concrete examples & activities -Show rather than tell -Ask children to show not just tell -Limit lessons to 20 minutes -Variety -Ask children to get a personal space -Make connections to children's lives -Refrain from time periods + passive voice -Ask children to pretend or be -ask about sizes of objects and nearness or farness -Allow movement choices and ask the reasons for choices -Write and recite poetry and paint pictures that depict themes such as nature, school, and family, encourage discussion -Exhibit children's artwork -Make portfolios to keep favorite stories/photosartwork -Encourage them to select fave music -Encourage improvisation + storytelling

Suggestions for child development age 5-7

3-5 years: Lopsided geometric shapes are made. Mandalas and suns are drawn and evolve into human figures. At first, arms and legs stretch from the head. Eventually torsos emerge and human figures are drawn with more and more completeness

Symbol making

3-5 years

Symbol making occurs during the ages of

• Model step-by-step directions for students to copy with little room to create original art. • Display "cute and convenient" commercial materials purchased from teacher stores. • Rely on stencils/cutters to trace or punch out letters and shapes. Instead, teach students how to cut block letters and create fonts using a variety of tools. • Make bulletin boards, rather than involve students in planning and construction. • Exhort students to "stay in the lines" and use stereotypes, such as blue sky, pink skin, and icons that halt thinking (e.g., hearts, birds, "ball and stick" suns, rainbows). • Rely on "ceit" work: copying, echoing, imitating, and tracing. • Do art for students or have "artistic" students do it

Teachers should NOT . . .

aesthetic invitations

Teachers slow it down and ask IQs (inquiry questions) that require use of all senses (read, view, listen, feel) to understand. They coach students to observe carefully when collecting information that will be the foundation for conclusions.

the communication between actors and the audience to stimulate engagement and reaction

The American Alliance for Theatre and Education (AATE) defines creative dramatic arts as imagination enactment and personal reflections of the human experiences, where as theatre focuses on---

harmony

The blending of tones or sounds (chords, two ore more pitched blended simultaeously, barber shop quartet)

Meaningful interactions involving personal experiences build knowledge

The constructivist theory of learning aligns well with art integration bc

The first phase from ages 1-2 is scribbling and phase two from 2-7 is shape making. The symbol stage is from 3-5 years.

The first phase from ages 1-2 is ___________ and phase two from 2-7 is _________ __________ The symbol stage is from _________ years.

Energy

The force a person uses and signals the mood the dancer intends. It includes a person's (smooth or sharp) weight (heavy or light) strength or tension and flow

allow students to respond, analyze and interpret art in an open-ended manner *** An arts-based discussion introduces students to different perspectives, guides students to be able to listen to various ideas and helps students understand a creator's intent with an open mind. A true art-based discussion would not limit students to only thinking about art in one way. Art integration is about removing the idea of art as a special subject area. An art based discussion focuses on art and its creators; its is not about finding or getting a job.

The goal of an art-based discussion with your students is to ___________

melody

The main tune of the song

space

The personal or shared area where the body is used

pitch

The relative highness or lowness of a tone as perceived by the ear is called

beat

The rhythmic movement or speed of the music

gang stage

The stage in art development when the child becomes more aware of how things look in his or her drawings. This awareness is often expressed with more detail in the child's schema.

inquiry questions

Think questions activate creative inquiry (i.e., higher thinking) and teach that there is no one interpretation. Emphasize honest response, supported by evidence from artwork. Start with, "What do you see? How does it make you feel? What is going on?" Then ask, "What makes you think so?"—in between "What's this about? What does this tell us about people? What story does this tell?"

Orff

This method employs rhymes and proverbs as a basis for teaching rhythm, phrasing, and musical expression. Instruments designed to use with this approach, created with no technical facility, are widely used in American schools to experiment with musical sounds.

Visual Literacy

Unfortunately, without stimulation, visual capacity can stagnate and wither. Mere exposure isn't enough; children need to be taught how to understand and express themselves through visual communication tools. Explicit teaching is necessary, such as demonstrating how to "imagine" by orally describing interior brain art—colors, shapes, textures, and so forth—evoked by texts (Gambrell & Koskinen, 2002). Students also need to be coached to "make pictures in their heads" during reading. Materials such as picture books can be used as examples of images artists transfer from their imaginations to the page. Classroom teachers who act on a broadened definition of literacy teach students to decode vi-sual symbols and use them to encode and express ideas and emotions; the result is expanded com-munication capacity—visual literacy.

creative inquiry

Use a line of questioning that leads students to collect information (look closely), then connect ideas and draw conclusions. This sequence gives opportunities for both the insight (a-ha!) and aesthetic response (ahhh).

Application & practice (rehearsal)

Using IQs and specific feedback, teachers coach students as they rehearse how to apply skills and show understanding through high quality arts work.

Exhibits

Visual artifacts of learning are judged against prespecified criteria and often displayed in school museums. A class museum may be a special wall, displaying student art, mounted in frames to demonstrate its value. In addition, information plaques should accompany work and contain the artist's name, birth date, title of the work, media used, surface, and date the work was completed. Students can also prepare catalogs for exhibits so visitors can learn more about the art and artists

individuals can view images to gain meaning and understanding by expressing thoughts & feelings

Visual literacy is the idea that ________

Scaffolding

Vygotsky stressed the importance of teachers bridging gaps in student learning, he called this?

-Deeper engagement with subject matter -Application of principles across disciplines -Communication and collaboration -Greater emotional investment -Deeper social awareness

What are benefits of the arts?

Enthusiastic. show desire to engage and stretch all students through the arts • Enjoy learning new research, theories, and methods re-lated to the arts • Passionate about the power of the arts to transform stu-dent learning • Flexible about changing schedules and materials to take advantage of teachable moments • Open to experiment with creative variations on strategies • Collaborative during planning and co-teaching with oth-ers, including arts specialists • Creative. Use the creative inquiry process to approach challenges and seek diverse solutions • Optimistic about teaching all children through differenti-ated instruction that relies on arts-based strategies • Use humor strategically (e.g., to create a positive learning climate and to deal with problems) • Personal artistry and unique style is used to make one-of-a-kind imprints on each child. • Mentor students by sharing personal abilities and inter-ests (e.g., play instruments, write poetry, paint, or dance), which causes students to choose to apprentice themselves to these "masters" • Relationships form the core of classroom discipline • Courageous/confident. Mistakes aren't treated as threats, nor are they considered brash unsupported opinions of naysayers, including colleague

What are characteristics of artful teachers?

Questioning is one of the most important tools in any instructional toolbox. Inquiry questions (IQs) run throughout all best AI practices, with emphasis on What if?, Why? (evidence), and How might questions. IQs rarely have one word or right answers. Change it up. Instead of "What is the capital of Ohio?" ask, "What do you know about the capital of Ohio, and how can you show what you know in a creative way?" Creative teachers self-monitor their questioning by doing video and audio recordings, of themselves. The goal is to increase use of open-ended, provocative, and text-dependent questions that cause students to activate inquiry processes, including consulting sources to beef up creative work.

What are inquiry questions?

scribble & pre-schematic or shape-making stage

What are the 2 earliest stages of drawing?

Context Challenge Collect Connect Conclude Critique Communicate

What are the 7 C's?

Shape Color Texture Line Perspective

What are the elements of art?

Creating Meaning. A key point in constructivism is that meaning making is personal. Meaning is "imposed" on texts and events by individuals, not "just uncovered" by them (Au, 2002, p. 29). Understanding cannot just be found or located, as in "finding the main idea." Meaning is created through inquiry process, using the personal filters of prior knowledge and background experiences. Humans are predisposed to make sense. Even infants display this "explanatory drive" that persists throughout life (Gopnik, Kuhl, & Meltzoff, 1999) The premise is that all knowledge, in-cluding that derived from the arts, exists in an interconnected and interdependent web used to interpret and order experiences (Grumet, 2004). At its core, AI teaches students to enter the web and use inquiry to create sense, and then make art that shows the sense (understanding) that they created. Students learn to take risks and experiment with fresh solutions, keeping in mind that the goal is creative work that makes sense. Typically, lessons culminate in "externalized" understanding—learning made visible through mime, sculpture, and, today, technology-based media arts.

What does it "meaning making" mean?

Place the child in a small group w/ a learning buddy who can provide assistance during the art lesson

What is a strategy that a 3rd grade teacher might use to modify a hands-on art activity for a student with exceptional learning abilities?

An aesthetic learning environment is a safe space that encourages thinking & creativity. The atmosphere in the room should be engaging and encourage dialog and problem-solving. Materials in the room would reflect the creativity of others & foster inquiry and curiosity.

What is an aesthetic learning environment?

problem-based thinking process used to construct meaning used to imagine, collect info, make connections, devise new and useful conclusions, critique ideas and communicate

What is creative inquiry?

A subset of CI (creative inquiry_ Detailed analysis using criteria to make judgements

What is critical thinking?

Effectively communicating thoughts and feelings --> the arts are symbolic languages that succeed when words fail

What is literacy about? And how is arts crucial to understanding and expressing ideas and emotions?

Literacy is the ability to effectively understand and express thoughts and feelings

What is literacy?

Aesthetics are related to the appreciation of the artwork, which can be understood by asking questions about the thoughts of what the artwork is communicating.

What is the aesthetic value of art?

Drama (internal) more connected to personal development (process oriented) --imagine, enact and reflect on human experiences--focus is on the experience of the participants Theater (performance oriented) focused on communication between actors and audience

What is the difference between drama and theater?

-Introduces students to different perspectives -Guides students to be able to listen to various ideas -helps students understand a creator's intent with an open mind

What is the goal of arts-based discussions?

Communication. Intentional movements are created in dance integration. Dance expresses "what is too deep and too fine for words."

What is the primary purpose of dance?

creative inquiry

What process helps you come up with new, innovative and creative responses or solutions to challenges?

Quality and depth of the learning experience promotes student engagement (not duration, success or outcome of the experience.)

What promotes student engagement?

Constructivism

What theory (Piaget) stresses children build their understanding through experiences?

notation

When musical symbols are written on a staff this is known as

Eurythmics

Which theory was developed by Èmile Jacques Dalcroze and that suggests music and movement are inseparable? Dalcroze showed how any musical idea could be transformed into movement, and any movement could be translated into a musical idea.

attack

Which type of dance energy is described as smooth or sharp?

weight

Which type of dance energy is described as strong or light?

flow

Which type of dance energy is described as sudden or sustained, bound or free?

strength

Which type of dance energy is described as tight or loose and relaxed?

When given materials and tools to create art, many children (not all) will automatically experi-ment and use imagination. But when children receive short explicit instruction in how to use materials and tools, all work with greater satisfaction and depth of inquiry. Access to art materials is not enough. Explicit teaching, described in Chapter 3, includes teaching what, how, when, and why through demonstration and coached practice. Explicit lessons can be as simple as showing options of how to paint using different strokes and amounts, as well as using effects like dripping and splat-tering. Often quick demonstrations preface student exploration, and may eventually lead to an art product. But sometimes experimentation is the goal and a fairly important life skill.

Why and how to use explicit teaching in art?

1. Visual art is an essential communication vehicle 2. Art engages emotions and motivates ------Delight can arise from something as simple as drawing a line that curves in a satisfying way or as complex as emotions stirred by a photographs such as the famous National Geographic cover with a green-eyed Afghani girl 3. Art develops aesthetic understanding -------As the senses are stimulated, we respond mentally, physically, and emotionally. Thus, the symbols used in art are sensory-rich and form a language that beckons us to cognitively engage, perhaps to consider new perspectives and use prior knowledge to create personal meaning. 4. Art promotes attention to details -----------After children learn to "read" meaning from minor details, this skill can be transferred to other learning. 5. Art develops high level thinking -------------Students can also use Bloom's taxonomy to generate their own questions and respond in any art form. For example, a synthesis-level art project could demonstrate key learning from an ecol-ogy unit. The goal is for students to work beyond the memory, or literal level, and coordinate complex thinking skills to solve problems. 6. Art gives confidence to be unique -------------Students feel free to use knowledge about science, culture, and narrative without "one answer" looming over them (Olshansky, 2006). Through visual art integration, these positive feelings are transferred to other curricular areas. 7. Art promotes respect for diversity -------------AI embraces "culturally responsive teaching" that seeks expanded opportunities and means for diverse students to express themselves 8. Art develops concentration, responsibility and self-discipline -----------As peers admire the work of those who take work to completion, they gain insight into what it takes to be successful. Students see that those who take risks, handle materials appropriately, and finish assignments are viewed as responsible, which earns them status and additional privileges. 9.Art naturally partners w/other disciplines -----------Visual art is thus a provocative tool to introduce a unit, as well as elaborate on information gained from print texts. Indeed, learning would be dreary with-out art—books without illustrations or maps, no globes, nor models of the human body—all those wonderful apps gone! Combining head-heart and hands-on learning, visual art does it all, in an aesthetic frame of reference unmatched for unveiling beauty embedded in all disciplines. 10. Art makes learning visible: assessment

Why integrate visual art?

Syncopation

__________ is an uneven rhythm with a steady beat.

Hootenanny

a folk jam session where traditional folk songs are sung

mural

a large painting applied directly to a wall or ceiling surface

meter

a rhythmic pattern that contains beats

Solfege

a system used for teaching sight-singing (Do-Re-Mi)

movement intelligence

ability to control one's body motions

existentialist intelligence

ability to see the "big picture" of the human world by asking questions about life, death, and the ultimate reality of human existence

"Abstract" to realistic (for art), as children at first draw images that represent the "known" and show feelings. These evolve into more realistic images, which peak about age 11.

abstract to realistic (for art)

accommodation

adapting our current understandings (schemas) to incorporate new information

display

arrangements around a concept or theme

Eurythmics

art of harmonious bodily movement

-Enhances feelings of well being -Develops empathy -Promotes reflections on moral issues & values -Builds social skills -Contributes to aesthetic development -Builds understanding of all curricular areas -Makes the invisible visible -It is FUN-damental

benefits of drama in regard to creative problem solving

scratchboard

black crayon or ink placed over another color such as silver or multiple colors; sharp tool is used to scratch surface and reveal color

pastel

chalk, usually with oil mixed in

-Can make hypotheses w/o direct experience -Abstract thinking -Conservation & reversibility learned -Like to discuss more complex ideas like mood and perspective -Want to know how and why -Interested in hearing others' ideas -Anxious to explore different lifstyles -Increasingly independent and begin to test rules and limits -will choose peers over adults -adopt social values; look to adult behavior rather than words -Link good morals to rewards -Indisutrious, like to make things and accomplish goals -Competitive urge is strong; enjoy team and group activity -Develop special interests and hobbies

characteristics of middle grade development (11-13)

-Understand past/present -Egocentric until age 9 -Understand relationship between parts + whole -See sharp line between good/evil + want justice -Can sort by function and dimension -Longer short term memory -Still limited attention span -Begin to perceive diff. between sexes -need activity alternated w/ rest -Want to be independent, get annoyed at conformity -accept defeat poorly -need encouragement/feedback -want to excel and love to be challenged -learning to abide by rules & play fair -place high priority on friends -interested in artist's role in creative process -like to "show they know" -interested in textures, colors, characters, sports, humor & trivia -like to find out why & how things work & collect things -like to be physically active -make believe/imagination -want attention, and all want a turn -work in small groups

characteristics of students development ages 7-9 (second grade, third grade)

Montage

combination of several distinct pictures to make a composite picture

social skills

cooperation, conflict resolution, active listening and responding are __________ learned through dramatic arts

-Trying to find out who they are -Strive to be like friends -Peer group increasingly important -Cliques form -Girls & boys begin to differ greatly -Rapid growth during which girls grow quicker -More interest in opposite sex

describe artistic development of middle graders age 11-13

intaglio

design engraved by making cuts in a surface, into which the incised figure is sunk

collage

design made by pasting or gluing assembled materials on a surface

calligraphy and block lettering

embellished lettering or letters simply cut from standard-sized blocks (e.g., construction paper)

fiber art

fabrics, yarn, string, and so forth

craft

handcrafted items such as pottery or quilt

readers theater

identify the technique that is widely acclaimed as a fluency tool in literacy. Readers sit or stand while doing oral interpretive reading from a script. The focus is on using the voice expressively usually without props.

preoperational stage

in Piaget's theory, the stage (from about 2 to 6 or 7 years of age) during which a child learns to use language but does not yet comprehend the mental operations of concrete logic

sensorimotor stage

in Piaget's theory, the stage (from birth to about 2 years of age) during which infants know the world mostly in terms of their sensory impressions and motor activities

concrete operational stage

in Piaget's theory, the stage of cognitive development (from about 6 or 7 to 11 years of age) during which children gain the mental operations that enable them to think logically about concrete events

formal operational stage

in Piaget's theory, the stage of cognitive development (normally beginning about age 12) during which people begin to think logically about abstract concepts

Assimilation

interpreting our new experiences in terms of our existing schemas

dance

kinesthetics that can be used to solve problems creatively and express feeling

puppet

made from bag, hand, finger, stick, sock, or box

locomotor

nonlocomotor or locomotor: walk, leap, hop, gallop, skip, or slide

Gardner's Multiple Intelligences

our abilities are best classified into eight independent intelligences, which include a broad range of skills beyond traditional school smarts

fresco

paint on wet plaster

mask

paper bag, tag board, balloon with papier mâché

rubbing

paper is placed over objects and crayons or markers are used to bring up images

mixed media

paper, wire, paint, and fabric are used in one artwork

bookmaking

pop-up, accordion, big books, mini-books

logical-mathematical intelligence

potential for deductive reasoning, problem analysis, and mathematical calculation

-Working in groups -Understanding why, how and when questions -Distinguishing fact from fantasy -Understanding relationships of parts to whole -Sorting or grouping by function or dimension -Making comparisons to achieve understanding -One-to-one correspondence

potential problems for development of students age 5-7

Emile Jaques-Dalcroze

primarily recognized for his use of eurythmics and improvisation

print

pull an image from something coated in paint or "stamp" using textured objects

1-2 years

random scribbles occurs during ages

1-2 years: Exploration of tools and materials, showing increasing fine and gross motor control. Single and multiple dots and lines (vertical, horizontal, diagonal and wavy) produce some 20 basic scribbles that eventually include loops, spirals and circles.

random scribbling

Kodaly

s Developed by a Hungarian composer and early childhood expert who believed singing should be the basis of a music program. This approach includes system of hand signs (solfege) that are often used by music teachers to help children sing and gesture the notes of the scale.

verbal intelligence

see and hear words, talk and discuss, tell stories, read and write (poetry, literature), memorize (names, facts), use or appreciate humor, use word play, and do word puzzles.

conflict

sets the plot/action in motion and creates suspense and tension

Diorama

shadow box made with shoebox to create a scene

Finger Plays

songs or chants with accompanying hand motions

voice

speaking clearly and fluently using appropriate variety of volume, rate, tone, and pitch, pause, stress; ability to improvise dialogue

Ages 1-2 years Benchmarks Random scribbling. Exploration of tools and materials, showing increasing fine and gross motor control. Single and multiple dots and lines (vertical, horizontal, diagonal, and wavy) produce some 20 basic scribbles that eventually include loops, spirals, and circles. Examples: 2-7 years Shape making. Scribbles begin to be intentionally used to make basic shapes or diagrams. Children combine shapes and use overlapping. Eventually, the shapes form aggregates (three or more diagrams together). Examples: 3-5 years Symbol making. Lopsided geometric shapes are made. Mandalas and suns are drawn and evolve into human figures. At first, arms and legs stretch from the head. Eventually, torsos emerge and human figures are drawn with more and more completeness. Examples: Based on Kellogg (1969) and Lowenfield and Brittain (1987). Note: Children's

stages of drawing development

-Partner and use small groups; -Separate boys and girls at times -Ask for evidence to support conclusions -Limit historical info + connect to daily life -Use humor -Focus on art/music about animals, children, friends -Ask students to make believe, and tell/show -Ask students to find painting or other art that fits into categories -Give challenges -Ask to pretend they are in artwork, be in character, create a tableau -Give generous feedback, use names -Ask to compare/contrast -Tell interesting facts about artists and process/media -Give responsibility and allow some compeition -Invite focus on one work to become experts

suggests for development of students 11-13

Syncopation

temporary irregularity in musical rhythm

dynamics

term for volume or relative loudness or softness of the sounds in music; gives emotions

interpersonal intelligence

the ability to read, empathize, and understand others

intrapersonal intelligence

the ability to understand oneself

Visual/Spatial Intelligence

the ability to understand spatial relationships and comprehend and create images.

beat

the basic pulse such as a clock ticking or heart beating, like what you might tap your foot to

Tembre

the combination of tone and dynamics

mood

the feel created by the setting (time, lighting, music, place) pace, characters use of words & body language

sculpture

three dimensional art made from wood, clay, metal, found objects, plaster or paper mâché

wash

translucent watercolor used over another medium

painting

use of tempera (pigment in egg base) acrylic (made from polymer) watercolor, oil (pigment in oil base).

enlargement

use overhead projector to make images larger

cooperation conflict resolution active listening responding

what are social skills learned through dramatic arts?

the process of creating an expression of meaning using words or other art forms.

what is composition?

created understanding, achieved through the inquiry process comprehension results when ideas are discerningly collected and cleverly connected to devise respected conclusions

what is comprehension

plot

what is the sequence of events set in motion by ap problem or conflict? it has a beginning middle and end

space

where the action happens is known as the --

pantomime

which type of drama is non-verbal, creative, mindful movement to express ideas and feelings with the face and body?