1. Read and blog about Part One Pink text and Play chapter A Whole New Mind is a book that will only be written in the context of American culture. At least, in my home country, left brain is the dominant and the right brain is minor, so most of parent push their children to study hard science instead of soft science. After reading Part One, I realized that art can be survived out of the ivory tower, which means people could use the experienced obtained from art in modern life. Art and life are not separate, in fact, Dewey’s pragmatism aesthetics links the life experience and the aesthetic activities, so it is reasonable that the art experience can be used in life practice. Have you ever been envious of some students who are good at math? Honestly, I have. There is a saying goes in China, “learning math, physics and chemistry well and you are not afraid of travelling all over the world”. Therefore, most of Chinese students are attracted and encouraged to pursue the Left-brain talents – logical thinking. L-directed thinking people not only harvest high wages, but also contribute a lot to the development of society. However, as Daniel Pink claims, the world which has been ruled by L-directed thinking people now has changed quietly. A sentimental, emotional, and delicate people would be more likely to strike back in this era, which does not mean that people’s characteristics decide everything, while we need to know ourselves better, find the point that fits well the needs of the society, finally to create our own brand. The advent of the internet, especially the rise of the mobile internet, has changed the trend of mass production in the past big industrial times. Therefore, how can we create our own brand in this era? Play is one of the skills that Daniel pink recommends. As he states, “play is becoming an important part of work, business, and personal well-being, its importance manifesting itself in three ways: games, humor, and joyfulness.” (p.188) Play displays an attitude which is entertainment. As we’ve seen the flourishing of the game industry now, it is clear that the sense of entertainment plays an important role in our life. According to humor, everyone likes humorous men or women. For many years, humor is one of the standards for women to choose their partners. Humor is the unique advanced wisdom of human beings, which cannot be copied by computers, and is more and more valuable in the era of high concept and high touch. Personally speaking, I do really need to improve my humor, if I would stay in the U.S. for a while. For example, how to present a topic in the classroom humorously? It is important to take a note when we hear a joke, and then take a moment to think about why this joke is funny. It could be a good way to exercise the skill of humor. 2. Review your collection of one second videos and reflect on the following questions:
What do you notice about what you are doing with your attention? I’ve noticed I pay much attend to my personal life, including teaching, learning, observing and appreciation. The definition of “design” in my collection is extended. As Robin Vande Zande asserts, design education is a study about life. The collection of one second videos is a study about my life too. How did you choose your seconds? I have my own standards choosing one second a day. First, it shows something important in my life which is memorable when I look back. For example, I demonstrated how to make dumplings to my students in Children’s House on Chinese New Year Day. Second, it should be related to artistic life. For example, I am taking color drawing class which is challenged, while I appreciate the life with the new adventure. Third, it shows my appreciation towards life here. For example, I always remember to take video when I cook new dishes. What was challenging about this assignment? First, it is difficult to remember to take video, because sometimes I just stay at home and read books. This is so normal and boring, then I would forget to record the video. Second, sometimes I take so many videos during a day which makes me nervous to choose one. For example, on Chinese New Year Eve, we had so many different activities held on campus and in Chinese-American community. It is really hard to choose which one for presenting my second. What have you learned so that you could structure this process as a successful experience for your students? What I have learned most is that I can see the way how I appreciate my life here in Columbia, and as a student at Mizzou. Time flies, and sometimes I forget to look back the past days in my life. In fact, I do not have this sense. When I look at the collection of one second videos, I have time to review and appreciate my past life. When I present this topic to students, I can tell my personal experience along with my journey. My students would sense how I complete and learn from this project. 3. Write: Class project/topic proposal and post abstract A comparative examination of after-school art programs in China and the United States Background of the Study As the research shows, in 2000, at least 5 million children come home to empty houses because their parents work outside the home in the U.S. Parents worry about their children’s safety and whether they are susceptible to drugs and crime. In order to deal with their concerns, many communities have created after-school programs to keep children and youth out of trouble. However, a research shows that there have not been enough quality programs available in order to meet the needs of the many parents and students, so the U.S. Department of Education and the U.S. Department of Justice release common elements of high quality after-school programs for school-age students, such as goal setting, quality staff, participant ratios, attention to safety, health and nutrition issues. Afterschool programs are becoming increasingly important part of many students’ educational experience nowadays, and the arts are beginning to take a prominent place in after-school learning. Arts-based after-school programs allow for student self-selection based on individual interests, and they allow more opportunities to connect with the community and to provide mentorships with professionals. Meanwhile, art after-school programs provide more opportunities for older students to work with younger students. In the U.S., most of after-school programs are sponsored by the Federal funding and some companies, however, most of after-school programs in China are established and run by private institution. Some surveys show that after-school programs in China have become a supplement of basic k-12 education, while the tuition of after-school programs is more expensive than the tuition of k-12 schools, which has become one of the serious social problems. After-school programs in China has always been seen a common social phenomenon coexisting with the basic education. After entering 21st century, with the competition and the increasingly fierce competition of employment in China, after-school programs have sprung up like bamboo shoots after the rain. Currently, the categories of after-school programs have covered all subjects. Among them, there are not only main subjects, such as language arts (Chinese literature), math, English, but also including visual arts, music, and sports. Some researchers agree that after-school programs play an important role in students’ study, while some criticizes that after-school programs have increased students’ burden of study as more and more parents push their children to go to after-school programs. Purpose of the Study American educational system has been seen as the best educational system from Chinese people’s perspective, and this is the reason why more and more Chinese students coming to study abroad in the U.S. Currently, many after-school programs leaders and administrators in China blindly implement some practice with which American after-school programs have done. Some advanced and modern art curricular are introduced and transplanted by some art after-school programs in China, however, they ignore the most important part – reality – how they apply these new things in the real classroom. The purpose of this study is to compare the difference and similarities of after-school programs in the U.S. and China, and to explore how local after-school programs in China improve their management and quality, and how they design their curricular which fit well with needs of Chinese students. The questions that I want to explore
Researches and articles saying about after-school art programs
Description of Project and anticipated resources required Since my strong suit is making videos, I am going to make a video (documentary) to present this topic in motion. The video would define the purpose of after-school art programs in the U.S. and China based on the literature review. Some local after-school art programs would be introduced, for example, Resident Art in Columbia, MO. Certainly, a local after-school art program in China would be introduced as well. Moreover, some important facts and research results would be included in this documentary. Finally, art teachers from America and China would be interviewed and they would share their perspectives towards their programs. Project plan
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1. Reflect on these readings and how you see a New Culture of Learning emerging in our schools and in our digital culture. What is the new culture of learning? I skim through the book with this question in mind. Roughly, I would say the new culture of learning, to some degree, is “collective learning” as the authors define “collective” as “a community of similarly minded people who help others with a particular set of needs”. (p.21) This is current trend which is popular. The authors believe that this kind of learning can augment current learning practice, which can occur outside of classroom. Certainly, it does not mean that teachers are not important anymore, or learning cannot happen in the classroom. I think the “collective” amplify the space of learning. The authors touch some background of 20th century education style, in which I am not familiar with, but I can definitely envision this picture. As they claim, in 20th century education, the knowledge and information are stable and unchanging dispensed by the teacher, however, the new culture of learning information is not static since technology completely change its form. Nowadays, most teachers may notice that current students catch up the speed of update of technology. More or less, they (iKids) are good at learning new things which is faster than teachers. Therefore, most of teachers have to speed up the pace of learning new things. Last semester, I’ve taken Multiple Applications for Teaching Art which is amazing, because I entered a new world with all technology. What makes me impressed is some tutorials are made by young age people. Additionally, I remember one of my tutoring students taught me how to use the most fashionable photo application (B612) with many different kinds effects and function, while I did not even know what this app is. In short, the old style of learning cannot catch up with the speed of change nowadays, and new media makes peer-to-peer learning easier, and the emergence of technology finally shapes the collective learning with new media. Relatively, John McCarthy sheds light on how different social media tools enhance student’s learning. This article pays attention to the social media tools, meanwhile, it helps educator how to choose the right tool which is vital. To be honest, some tools the author mentions I am not familiar with, even I do not know what they are. From this point of view, I believe this is collective learning example, because I read the article, and practice on different social media tools which fits well with my needs. Back to Thomas and Brown’s book, they demonstrate the balance between the individual(personal) and the collective. They assert that collective is the group constantly playing with and re-imaging its own identity, while the personal focus on who she/he is and what she/he can do. They suggest to fuse the personal and the collective as professionals and amateurs adding up are more than the sum of their parts. Regarding to collectives and education, Thomas and Brown claim that the students involved in the online study group are able to learn much more as a collective than if they work alone. I totally agree, because I have taken some online courses provided by our program which are meaningful and inspiring. Last but not the least, the most interesting statement is tacit learning, in which happens when “we learn by doing, watching, and experiencing”. (p.76) The authors claim that tacit knowledge can be absorbed into the body through the senses by participating in every activity. I have some questions according to this book, first, for the new culture of learning, how do educators assess students? What does the assessment look like? What if we use some digital assessment tools? Second, how can educators, schools implement the new culture of learning? I’ve noticed collective learning has emerged in schools, while I am wondering how we can implement this nature of learning completely? 2. Create: Utilizing a group of the same objects you find at home please create an art piece that visually represents Do Ho Suh’s big idea about “The Individual and the Collective” Artist Statement When it comes to the individual and the collective, it reminds me of the spiral of silence theory indicated individuals have a fear of isolation. It results from the idea that a social group or the society in general might isolate, neglect, or exclude members due to the members’ opinions. This fear of isolation consequently leads to remaining silent instead of voicing opinions. If you happen to know the USA Gymnastics sex abuse scandal, you may have the same question likes I have. Why does this issue can be concealed for over 30 years? Why didn't these victims stand up and speak up? Why is this event now exposed? It is true that the individual should get together so that they could have power, as one of victims said in court “imagine feeling like you (Larry Nassar) have no power and no voice. Well, you know what, Larry? I have both power and voice, and I am only just beginning to use them. All these brave women have power, and we will use our voices to make sure you get what you deserve: a life of suffering spent replaying the words delivered by this powerful army of survivors.” My work is like swirl, the bottom represents the individual while the top represents the collective. Obviously, when more individuals are collected, the collective would be powerful and their voice could be heard. However, most of the individuals are in isolation and they do not want to speak up. I used white color to describe this group people, because white, in my perspective, represents people who is pale with exhaustion. I used red to represent people get together and later they can gain power, like the top with yellow color. If you see inside of the swirl, there are bunch of sequins collected. This is my hope, listen to the individual, make them collected, make their voice being heard. The colorful sequins represent my best wishes, even though the world is not perfect and fair. 3. Reflect on this experience and how creative art experiences like this can be integrated into diverse disciplines.
Big idea is extremely important, because it could across barriers among diverse disciplines. Take Do Ho Suh’s big idea as an example, “the individual and the collective”, to some degree, is related to many subjects, such as social study, communication, journalism, political science and so on. However, artmaking extends people’s knowledge and with hands-on experience. I think objectification is, to some extends, more important than imagination. I know the importance of imagination, while my point here is, when you objectify your imagination, this process is more meaningful than something just in mind. Creative art experiences involve problem-finding, problem-solving, creativities, innovation and imagination, most importantly, creating. Artmaking extends sensory perception, vision, and hearing, which cannot be taught from other disciplines. Educators integrating art into different disciplines is the icing on the cake. Reference: Opinion climates, spirals of silence, and biotechnology: Public opinion as a heuristic for scientific decision making, in Brossard, D; Shanahan, J; Nesbit, TC, The public, the media, and agricultural biotechnology: An international casebook, Cambridge, MA: Oxford University Press, pp. 231–41 Larry Nassar Sentencing: ‘I Just Signed Your Death Warrant’ 1. Man Secretly Photographs Tribeca Residents in Their Homes for Art Exhibit It is very complicated when it comes to art comparing with human privacy and rights. Standing in the photographer’s angle, he did not take photos of children’s face, certainly, he did not divulge personal privacy as he mentioned those photos are very subtle and normal with a little illusion. I think the director of the gallery stood on the photographer’s side. In contrast, for those people who were photographed without consciousness, they were totally dreaded and could not accept these artworks made by the photographers. According to them, this is a violation of people’s privacy and rights without the permission of others when people take pictures. Even worse, the photographer exhibited these photos in public. Obviously, they were hurt by this photographer again. It was frustrating that the photographer was about to sell photos. How could he do this? How to evaluate his behavior? He packed them up and sold them to consumers. Standing on my point, as a photographer, I am so careful when I am taking photos as I know the strict of photo release law. Based on my experience, every time when I am taking pictures or videos, I always ask people’s permission and let them know these pictures would be released online and in public. I always stick to my principles, for example, I never sell my photos (portraits). If I have intention to sell, I do ask the models first. Without their permissions, I do hesitate to sell. What I am concerned most is what if I want to exhibit some photos with many people’s faces in public? For instance, you’ve taken a picture on the street with many passengers. If you want to exhibit it, how can you get these passengers’ permissions? To be honest, I do not anything about U.S. law regarded to photo (media), while in terms of this article, I would say it is important to deal with the gray zone of photography and privacy and human rights. 2. Kara Walker and curriculum Walker is an impressive and remarkable African-American artist. When I was in undergraduate study, some of my professors talk about her work – Gone, An Historical Romance of a Civil War as It Occurred. Walker simplifies the image of things into black and white silhouettes as a means of narration, leading her audience into the dark history of her attention. These series of artworks are similar to Chinese Shadow Puppets. We’ve talk some similarity and difference between these two forms. It is certain that Chinese Shadow Puppets are in motion, while Walker’s series are motionless. However, some of Chinese Shadow Puppets tell some negative stories so as Walker’s. Some people claim that Walker’s work is to flatter the White Racist, and she responded that “what you want: negative images of white people, positive images of blacks?” What makes me more impressed is her work A Subtlety (2014) – a huge sculpture of a naked “white” women. Reeder, explained how to teach “subtlety” as a big idea by using Walker’s work as an example based on NAEA standards. It is difficult to perceive different perspectives since Walker’s work brought up so many controversies. This is the reason why I do not like making some artworks with politics, because as a foreigner in the U.S., artmaking implied politics is risk-taking. Personally, I am concerned if my audience misinterpret my intention, and then I would get trapped into a deadlock. Regarding to Walker’s subtlety, as Jaimeson Daley mentioned, “Everybody who knows of Walker's work has an opinion; it's provocative. However, individuals are much more tight-lipped to discuss the driving force and the societal reaction which stays with the visitor: I love it! I find it entirely offensive.” Why are they tight-lipped? It is interesting to know if the audience’s understanding or lack of knowledge of exhibit when they go to see the exhibit. Why do people misinterpret artist’s work? – because of lack of knowledge about artist. “What does it mean for audience members who had not checked out the Creative Time website before going to the space?" I’d like to ask professors and art-teachers, do you check out the knowledge/background of the artist before going to see the exhibition? 3. Chuck Close Is Accused of Harassment. Should His Artwork Carry an Asterisk? This article is more complicated than last one we read about photography with privacy and human rights. More or less, they are similar, because they are all about art and ethics, but this article is way too complex. From my perspective, it could be divided into several angles. First, if we consider the artwork (content) only (purely), except for something behind the artwork, such as the conduct/behavior of the artist, I would say Chuck Close’s portraitures should be exhibited, no doubt. “You can’t talk about portraiture in America without talking about Chuck Close,” said Kim Sajet, director of the Portrait Gallery. Second, when it comes to ethics, it would be become tanglesome, as we all know that the barrier between ethics and law is not clear. It has a gray zone. It might depend on the audience. Some may protest that the artist behavior has huge effect on people, especially on children, so for the institution like museum definitely needs to take action to avoid those bad-behaved artists. In contrast, some may claim, “oh, it is okay. These artists are different from human beings because they have creative and innovative thinking. They make the art world better.” “Art experts say the National Gallery’s cancellation has a significant impact, akin to rescinding an Oscar from an actor.” Based on this point, it is understandable that these artists’ works should be exhibited in public. For me, I would prefer to see which side is stronger, which means I would be tight-lipped and silently listen to the opposite sides. Personally, I had stereotype of artist as I grew up with negative perception toward artists in China. Most of my teachers in China claim that most artists have too much personality, and some of their personality is not acceptable by public. Here is a simply example with sadness. As you may know the strict of College Entrance Exam in China, some students who are not good at normal subjects may choose art (painting, drawing, performance art, music, calligraphy, filmmaking, etc) as their skills, so they can go to college with lower scores. However, you should know that these art students are considered as “bad” students because of lower scores of main subjects. They “have to” choose art unless they could not be able to go to college. It is so sad current Chinese society has the stereotype of artists, and I believe this is the reason why Chinese art could not stand in the world independently. Meanwhile, this is the reason why I did not identify myself as an artist while a photographer and filmmaker. I got stuck when I was reading the question “what are the decisions that place us on the right side of history?” I want to know! I think those experts’ thoughts are provoking and inspiring, even convectively. I almost lost my own thinking. Emotionally, I would say “NO” to those “bad-behaved” artists, this is my truth-speaking. ![]() 4. Barbara Kruger, discuss how she critically challenge us to consider the commercial messaging that surrounds us Barbara Kruger puts a lot of advertising images from mining magazines, posters, business report to be cut, and she innovates the text which is consistent with the advertisement style, establishing a strong commercial advertising form style. Krueger's experiments blur the boundaries between pure and commercial art. This fully embodies an important feature of post-modern art, which is not bound by a set of beliefs or style, as long as there is a need, in any form can be adopted, there is no inherent distinction between style points. In her works, Krueger seeks the effect of a combination of words and images. Krueger's works attempt to activate the vitality of the audience's thinking and it does challenge the authority of the mainstream culture of male by using the combination of the sharp words and concise and powerful images. Because of the resonance of the ensemble of words and images, Krueger's works have a great charm which is quite different from other works. Reference: Reeder, L. K. (2015). Kara Walker: Subtlety as a Big Idea. Art Education, 68(1), 51-58. Terry Barrett article Interpreting Visual Culture. 1. Reflect on the strengths of his strategy for viewing and responding to art. In this article, Barrett claims that denotations and connotations play significant roles in “visual and verbal communication”. She thinks the construct of denotations and connotations can be considered as “an interpretive strategy to better understand, evaluate, and enjoy” the visual world. I believe that nowadays’ the world is like a screen which is a pervasive aspect of modern human life. It is more visual and visualized than ever before, so it is more vital to interpret visual images and even visual culture than ever before. Obviously, Barrett implemented several applications of visual culture for different age groups. For instance, Barrett engaged a group of future art teacher interpretation of a cover of Rolling Stone magazine. The interpretation developed by this group of age involved the adult level sexual, social, and political issues that were denoted and connoted in the cover. However, in different classroom setting with the kindergartners, Barrett just explained what kids need to do instead of explaining the terms – denotation and connotation. What he did was to sort the boxes into two groups: cereals for adults and cereals for children, and kids are asked to explain how they made the choices. Through the discussion, Barrett learned that the kindergartners attended to the connotations of the imagery on the boxes. These children learned that the boxes were designed to appeal to different groups of people. Barrett believes that children and young people are able to interpret implicit messages in the visual culture of their environment. Therefore, providing initial meaning is important when viewing and responding to art, especially for different group of age. 2. Consider how you provide opportunities for your students to discuss and deconstruct art. As I mentioned before, I think, first, providing initial meaning is significant when we have students discuss art. However, I am concerned about what topics are appropriate in the art classroom settings? I’ve shared my Chinese teaching experience with some American teachers, and I always wonder whether it is appropriate for teachers to talk about reality in the current society. (I have a question for experienced art teacher, do you think the stereotypes seriously affect American people when they interpret visual images? Will you talk about stereotypes when you are teaching in a “white” majority or a “black” majority or a “multi-color” majority?) Therefore, when I prepare for the class discussion, I would be really cautious about the initial meanings (topics). Second, with the appropriate big idea essential questions, and artists’ examples, students are allowed to explore each question and to discuss and deconstruct art pieces. Third, what I am thinking is vital for students is how they compare one example with the other, in which get involved with experimenting required investigation, exploration, solving problems, making decision and organizing information. Experimenting encourages students to use cooperative skills effectively interpreting and communicating findings. Last but not least, is it possible for us to combine media/technology when we have students discuss and deconstruct art? 3. How do you support visual literacy in your art class? I’ve been observing Montessori classroom for several months, and I’ve found the class is involved with many art activities which enhance student’s reading motivation. For example, the head teacher let students plan and make picture books with their writing poems. First, I believe that improving student’s visual literacy is paralleled with the degree they love the book. Therefore, it is important for art teachers to model the love of reading as well as reading for all students, meanwhile, I’d like to design projects based on or connected to good books. For instance, one of children’s house class talks about fall leaves, and the topic is related to one of famous writer’s book Leaf Man (I cannot remember the exact name, and the author is Lois Ehlert). We had students go out for picking up leaves which were able to be used when they designed their artworks. I do really like this kind activity, for sure, students are encouraged to share their works with the class, and classmates are allowed to interpret what their artworks talk about. Second, visual thinking strategies (VTS) is a perfect (I think) approach to get students engaged and to whole-class viewing and talking about art. Third, I recall a book titled Making Thinking Visible, which talks about some routines that help students improve their thinking. I think one of routines is capable for improving students’ visual literacy skills, which is Color, Symbol, Image. This is a nonverbal routine that focus on visual connections, and it pushes students to make connections and think metaphorically. This routine provides students a special way to explain their insights, especially when students do not know how to express their thoughts in words. Moreover, it helps to advance students’ thinking. Fourth, another strategy is encouraged to use in art classroom, which is I USED TO THINK…, NOW I THINK… This routine is an effective way for students to reflect on how and why their thinking has changed over time. This routine opens up a new way, because it consolidates new leaning as students identify their new understandings, opinions, and beliefs. Students will realize that the changing of their thinking is also a leaning-process and they will appreciate the process of learning. Last but not least, there are some applications that support visual literacy, for example, Lino – collaborative corkboard for posting notes, images and videos. 4. What do you believe and hold true about interpretation/responding to art? First, I believe that interpretation of art is the way we understand it in language. Art has it is own language which cross over the barrier between two countries. Second, there is no right or wrong when you interpret artworks, and it could be more or less reasonable, meaningful, personal, and convincing. Third, as viewers, meanings of artworks that we interpret may or may not different from what the artists’ intention, so viewers are not limited to the meanings that artists try to say. 5. Read and blog Design Education Text Introduction and Chapters 1 and 2. Dr. Vande Zande talks about DESIGN in details. When it comes to design, most people would recall the designer who make commercial Ad, however, as she claims that teaching design is to teach the lesson with real-world application. She asserts that it would be beneficial for art educators to teach design in art classroom. Chapter 1 shed light on what the design is, and Dr. Vande Zande shares many examples, such as clothing, architecture, home furnishings, colors, and objects, city planning, and accessibility. “Design is nearly everywhere” (p. 10) However, she mentions that “design” could be recognized as small “d” and big “D”, which I think it is important to have students know the “design” is not what we’ve been thinking about. “We all start each day with some kind of orchestrated plan, and we make decisions in appearance and surroundings. The choices we make in the process reveal our values and beliefs. This the designing with a small ‘d’” (p. 11) However, “designing as a career requires skills that must be learned and practiced. This is designing with a big ‘D’”. (p. 12) This chapter pay attention to the characteristics of design: design is about life, human experience; design exists within a time and place; design is everywhere; design can be small but also can be big. We should believe that everyone has potential to be a good designer. Chapter 2 more or less shares some good strategies that art teachers can implement in the art classroom to improve students’ thinking. Dr. Vande Zande demonstrates the similarity and difference between art and design, which are very impressive for me. From my perspective, design is totally different from art, since design is always about commercial products. I am biased. Dr. Vande Zande also shares some background of principles and elements of design, which is dense and hard for me to understand, because it introduces some history of art that I am currently not familiar with. It is helpful to know now, especially if I want to implement some activities in the art class. I personally am interested in Frederick Froebel’s didactic materials called “gifts” and “occupations” and how it would be taught in the art classroom. Moreover, some activities that the author suggests in the book are compelling, such as Architectural Discussion and Careers in Design (p. 26). What I found interesting is to compare principles of design with postmodern principles. I think most of them are common and can be used either in design and art, while I wonder whether they could be combined when we teach design in art classroom? ![]()
1. please discuss how you can find ways to make your art program viable, visible and valuable to ALL of your students and the entire school community. This question reminds me of the days when I was an assistant producer in a film company in 2014, because we’ve been thinking about how we can make our movie – like the question ask – viable, visible and valuable. In fact, it requires so many steps, actions, and marketing skills. What if we parcel art program up as same as we wrap up movies? It is very interesting that most of people are bored with reading and writing, while if we provide them with a visible, visual movie, they then become more interested in. So my idea is – what if we “create” art program like we make a movie/documentary. It requires us to do some research, interview some impressive art educators, professors, film art classes in public school art classroom, and interview students with their personal perspective towards arts. We need make all students, school, and community convinced, make them believe that the art program is a valued part of students, schools, and communities. Currently, there are some research results claim that everyone can get mental health benefits through art. Moreover, Jensen’s book shares some actions that teachers can do for helping students make success, and arts, athletics are included. In addition, there are many ways building up the reputation of art program, for instance, art show, online gallery, open house, hallway displays, legacy project, field trip, and so on… 2. How can you make your art program indispensable? When I was asked about this question, I ask “Why don’t people think art program is indispensable?”. That is because the “why” would help us to make art program indispensable. Except for the system - the value of society (hard science is dominant), family value is one of the factors that educators should perceive. The way you change your student’s family (I mean, their value towards art) would finally make art program indispensable. To put it simply, you’ve got support from family, for your community. Here comes up a question, how can we change or influence the perception of student’s parents? How can make them believe that art is important for students? Some artworks from my friend's art class in China ![]() 3. How are you endeavoring to design your curriculum to meet these new standards of Creating, Responding, Connecting and Presenting art? Well, this is what I’d like to learn more from our class. I’ve noticed that there is a shift from teaching individual lessons to infusing big ideas across the curriculum. This is a big change. Currently in China, art lessons are still taught by individual lessons in K-12 classroom settings. I’ve interviewed some art teachers from Shanghai private schools who never study abroad, and they are requested to use school-design based curriculum which is old-fashion style. When I introduced how we teach art in the U.S. with big idea, they seemed so surprised and wanted to learn more. Moreover, I’ve noticed that we do not teach the new standards in isolation, because they are somewhat related to each other, like echoing to each other. In addition, I am curious about the standards of art curriculum in China, so I browsed some online. Standards of art curriculum of in China pay attention to art and life, art and emotion, art and culture, and art with science. It seems like these standards to some degree are different from the U.S’s. I am curious to know how we could design and use American art curriculum which also meets the standards required by China? 4. After reading Jensen’s book Teaching with Poverty in Mind, how do you endeavor to meet the needs of ALL of your students especially those from disadvantaged backgrounds? It’s really hard to sense how unprivileged students think towards life at school, in the classroom. I do not have much experience teaching students from disadvantaged backgrounds, while I recognized it is important to know about “poverty” when I was leading the group from GMS students to China. One of the students, “A” (let’s call her A)’s backpack was broken when we was traveling in Shanghai, and no one knew her background, therefore we thought she might buy a new backpack when we was shopping. However, it was so surprised that one of parents who accompanied us bought a brand-new backpack for her. I was curious about the reason, and I then asked the lead teacher who was RBHS teacher. Her response shocked me. She said A is from a single-mom family, even doesn’t know her who her dad is. She has many sisters and brothers (same mom, different fathers). Actually, I did not know how to handle with this situation, but luckily the lead teacher knew every student’s background well and she knew how to communicate with them. I was impressed by this issue, and later on when I was taking Reflective Teaching course with Amy, I’ve got opportunity to learn more about “poverty”. It is obvious that teachers to know the types of poverty at first, so that they can further study more and take actions in the classroom. Most importantly, we’d better to know their background. I do not know whether it is appropriate to ask student’ background from other teachers in the U.S.? Is it sensitive? Background check is the first step, and next, as Jensen mentions in the book, embody respect, embed social skills, and have students be inclusive. I remember some thoughts from Introduction to Reflective Teaching, and the author suggests teachers to speak “we” instead of “I”, and she claims that dualistic thinking creates separation. Jensen’s book mentions some steps that schools can make them happen, while for teachers he asserts some good actions, such as supporting the whole child, using hard data, retaining accountability, and build relationship. These actions are practical seemingly, while I haven’t tried before. For me, it’s vital to improve personal sensibility, and to gain more practical experience about students from unprivileged background. 5. What new insights about poverty have you gleaned from this book? I highlight some awesome insights when I was reading this book. Jensen states that “it is much easier to condemn a student’s behavior and demand that he or she change it that it is to help the student change it. Every proper response that you don’t see your at your school is one that you need to be teaching” (p. 19). SO TRUE. However, he also claims that “expect students to be impulsive, to blurt inappropriate language, and to act ‘disrespectful’ until you teach them stronger social and emotional skills and until the social conditions at your school make it attractive not to do those things.” (p. 19) Certainly, all expectations you set would be realized until we teach, our schools make changes. “The reason things stay the same is because we stay the same.” “For things to change, we must change.” (p. 46) So we go back to the question: how could we change? Jensen talks about many steps and I do not want to explain more here, while I’d like to add one more question: is it possible for teachers and schools to change family values? There is a book named a framework of understanding poverty, talks about how families who are from poverty tend to view education, and they see education as a threat to their family unit. Usually the mother is at the head of the unit, and they see their children as "property" expected to contribute to the income of the family. So if their children become educated, they fear that their children will abandon the family in the long run. Therefore, when we think about how we teach with poverty in mind, however, it is important to improve those poor family’s values. 6. Choose a contemporary artist and define the big idea (enduring understanding) explored by the artist.
Artist: Yayoi Kusama Big idea: Obsession Essential question:
Yayoi Kusama’s Dots Obsession is in attempt to free herself from obsession, because her art-making has been a private, atavistic ritual, a necessary inducement to repetition that leads to catharsis. Do you have you own obsessions? What are they? Do you feel good or bad sharing your obsessions with parents/friends/people? Why? If you’ve got a opportunity to explore your obsession, how would you embody it? |