“An arts classroom gives children the time and place to confront images of war and violence and decode the multiple levels of meaning (Arnold, 1997) found within them.”
“The third, fourth, and fifth-grade students in my university preservice "after-school-art" class looked at several narrative works by Francisco Goya, Kathe Kollwitz, Frank Gaylord, II, and Pablo Picasso, and discussed the stories and imagery in each.”
“Each student interpreted the many themes found in the artworks within the context of their personal lives.”
“The experience was a time of discovery and a time to confront the multiple realities of their lives.”
“A desire to protect children from the harsh realities of life may cause teachers to avoid showing children art that has difficult imagery. Yet, a strong and powerful understanding of the human condition can be gleaned from the presentation of the array of subjects found in artworks-with an array of emotional expression (Broudy, 1972).”
Exploring Questions-Without-Answers through the Arts
“The teacher and students raised critical questions (Giroux, 1988) in rapid-fire succession. Every voice was heard, yet no set answers were given, only speculation and debate. The students gave one solution and then another as they became involved with the deeper meanings of each work.”
“The students’ discussion and explanations became a way for them to make sense of these large and complex paintings. Careful analysis of the detail and complexity in the paintings provoked ideas and many questions (Broudy, 1987).”
“This collaborative viewing process, where each answer was respected and considered, gave the children time to peel away the multiple themes related to war and reveal greater realities about war: the tragedy, sorrow, loss, and despair. For example, the students' collages revealed that a personal awareness of the aftermath of war was a reality for each child.”
Multimodal Arts Explorations
“After viewing and discussing reproductions of the works, the children experimented with heavy collage materials…”
“Each student moved back and forth between the expressive modalities of speech, drawing and pasting, gesture and movement, and writing with great fluency (Pahi, 2003).”
Re-creating the Guernica Theme with Personal Stories
“The children's art and writing shows a great degree of personal identification with the chaotic aftermath of war.”
Aesthetic Confrontations
“The children seemed to pull inspiration from many realms of their world-from the artwork as well as from their "everyday aesthetic" (Duncum, 1999).”
“There was a level of authenticity in the images that revealed that most of the young artists had placed themselves at the center of the blast, just as Picasso had in Guernica.”
“The art room can be a place of differences and debate as well as shared hopes for the future.”
“Discussing feelings about art can be both instructive and cathartic.”
Examining Beliefs
“Children are continually exposed to traumatic events through the media.”
“Images are too often presented in rapid-fire succession with very little time for processing or reflection. Children can become bewildered and depressed when asked to understand events that are developmentally beyond their years (Elkind, 2001).”
“In the art classroom on the other hand, children have time to confront important themes. The process of viewing, listening, discussing, and then creating, allows the child to place information in a context that makes it more understandable (Bruner, 1977).”
“The artistic process can create a safe place for children to address long-held beliefs and prejudices.”
“Discussion of art with serious themes can encourage a new analysis and understanding and move the theme to a more abstract and universal level.”
“The Prisoners, The Shootings of May Third 1808, the Korean War Memorial, and Guernica are quite different from each other and run through a range of expression, from betrayal and desolation to terror. These images…call for an examination of the essential nature of war: power, aggression, chaos, and loss. They call for a discussion of beliefs about the culturally popular myths that glorify war and create the dichotomies of good-guys/bad-guys, and hero/victim (Giroux, 2000).”
Multimodal Learning
“With time and practice, children become better at expressing themselves in myriad ways.”
“Those with fewer linguistic skills may prefer the medium of the dance, the play, the song, or the visual arts to give voice to their ideas (McGuire, 1984).”
“When several sensory and expressive modalities (visual, auditory, oral and kinesthetic) are combined in a lesson, the potential for perceptual understanding and expression is enhanced (Arnold, 1997).”
“Ideas become more specific and powerful when artmaking and writing are coupled.”
Conclusion
“Children need the opportunity to give expression to life events that are tragic or senseless to them. They need time and permission to reflect in meaningful ways on events over which they have no control. The artistic process can provide such an avenue.”
Showing posts with label Thematic Approach. Show all posts
Showing posts with label Thematic Approach. Show all posts
Notes on Issues vs. Themes: Two Approaches to a Multicultural Art Curriculum
Issues vs. Themes: Two Approaches to a Multicultural Art Curriculum
Author(s): Mary-Michael Billings
Source: Art Education, Vol. 48, No. 1, Content as Method as Content (Jan., 1995), pp. 21-56
Published by: National Art Education Association
Stable URL: http://www.jstor.org/stable/3193557
Accessed: 08/08/2009 17:19
“Though both approaches call for a multicultural curriculum, the issue-oriented approach to art education supports cultural diversity by emphasizing art's potential to promote political change. In contrast, experience of cultural traditions is a primary aim of the thematic approach to art education.”
“…motifs may be developed from observation of natural phenomena (nature), inner psychological experience (self), and social realities (the other).”
“Whereas recurrent motifs and thematic imagery are developed by a culture to express perceptions and ideas about mundane and sacred aspects of reality, an issue develops when ethical questions arise”
“In an issue-oriented approach to art education, the context for making and viewing art requires awareness of immediate political and social realities.”
“While issues are immanent and laden with ethical considerations that require rational discourse, themes in art can be intuitively experienced when the viewer is deeply connected to the cultural context upon which the work is founded”
“In an issue-oriented approach, the focus moves from the artist's (and viewer's) personal experience of aesthetics to development of an ethical point of view. Images are used to communicate ideas to the viewer and therefore it is important to consider the audience and how the work interacts with the viewer.”
HISTORICAL BACKGROUND
“The ideal of the melting-pot, also known as Americanization, was to promote harmony and unity through creation of a distinctly American culture.”
“…discontinuity; this occurs when the school environment represents a culture that differs substantially from the student's and results in the student's alienation.”
“…the reaction against Americanization stems from the belief that the benefits of a culturally diverse society outweigh the benefits of a homogenous culture.”
“…the reaction against disparity in power among different social groups stems from a basic belief that such disparities are unjust.”
“I suggest that the former goal, that of promoting ethnic diversity, per se, may best be realized through a thematic approach to art education focusing on aesthetics. On the other hand, a goal of promoting equality through art may best be realized through an issue-oriented approach focusing on ethics.”
“…the political goals of any particular group may conflict with the cultural traditions of another.”
“…that while preserving cultural diversity and promoting political equality are both goals of multiculturalism, it is difficult to balance the two when developing curricula.”
THE THEMATIC APPROACH
“In a thematic approach to the study of art, the educator begins by presenting an idea or subject to the class which has been or should be explored through visual imagery.”
“In this approach, art is seen as a means by which individuals express ideas and beliefs, and these ideas are seen as part of a cultural aesthetic. The role of the educator is to facilitate dialogue among students and with the artists of various cultures, whose aesthetic views are represented through their artwork.”
“A thematic approach to art education has the ultimate goal of increased awareness and acceptance of a variety of cultural traditions.”
“Values, beliefs and ideas are communicated through art and these ideas are developed within a social context.”
ISSUE-ORIENTED APPROACH
“In an issue-oriented approach, the teacher or perhaps the class as a whole, begins by selecting a matter of general concern. Though this issue might be explored historically, through contextual analysis of complete artworks, the emphasis is on the student's own life experiences and understanding of the current situation in the student's own life and community.”
“In this approach, the power of art not only to shape cultural identity, but also to influence political realities is seen as the fundamental concern of the art educator.”
“…questions of power are among the most central issues discussed in the literature on this approach.”
“Other issues of concern suggested in the literature on this approach to art education include: the ecological crisis, freedom of expression, alienation in a technocratic society, democratization of technology, and feminism.”
“Using an issue-oriented approach, the artist must first recognize his/her own cultural filters and work toward freedom from a limited ethnocentric view of art.”
IMPLICATIONS OF A THEMATIC VS. ISSUE-ORIENTED APPROACH
“…for the artist who defines art in terms of aesthetics or abstract form, an issue-oriented approach to creating art is problematic.”
“Though many advocates of the issue-oriented approach take great pains to expand the traditional focus on "fine arts" to include folk art, crafts, or industrial arts, the reality is that even when the producers of these artifacts insist that they are only concerned with form or that their work is primarily functional and not to be considered art, the social activist will develop a political viewpoint in terms of the context within which these artifacts are produced or used.”
“A related problem occurs when the social activist uses traditional artforms in non-traditional contexts.”
“In seeking to empower students, issue-oriented and the thematic approaches to multiculturalism require a flexible curriculum with attention to the cultural makeup of the class or community.”
“While the thematic approach will focus on cultural differences and commonalties through exploration of themes, the issue-oriented approach will seek to discover ways in which visual images have been used to oppress certain groups in the past, or are presently being used to maintain the dominant culture.”
VALUE OF THE TWO APPROACHES TO CURRICULA
“I would use the issue-oriented approach sparingly. Not only do I find it limited in creating opportunities for individual aesthetic experience in the studio, I see it as potentially ethnocentric when used to study diverse or foreign cultural traditions.”
“I would introduce content because of its educational value, not because it has been previously neglected.”
“I believe that providing an atmosphere conducive to free speech and creative expression will allow for the natural process of cultural change. This does not require an overt emphasis on ethics on the part of the instructor.”
“While I agree that examining one's own cultural filters can be a positive educational tool, it can be destructive and alienating when traditional knowledge is denigrated or lost rather than used as a foundation to be built upon.”
“…each student must be free to create a personal aesthetic, whether or not this aesthetic is perceived as politically correct or socially relevant.”
Author(s): Mary-Michael Billings
Source: Art Education, Vol. 48, No. 1, Content as Method as Content (Jan., 1995), pp. 21-56
Published by: National Art Education Association
Stable URL: http://www.jstor.org/stable/3193557
Accessed: 08/08/2009 17:19
“Though both approaches call for a multicultural curriculum, the issue-oriented approach to art education supports cultural diversity by emphasizing art's potential to promote political change. In contrast, experience of cultural traditions is a primary aim of the thematic approach to art education.”
“…motifs may be developed from observation of natural phenomena (nature), inner psychological experience (self), and social realities (the other).”
“Whereas recurrent motifs and thematic imagery are developed by a culture to express perceptions and ideas about mundane and sacred aspects of reality, an issue develops when ethical questions arise”
“In an issue-oriented approach to art education, the context for making and viewing art requires awareness of immediate political and social realities.”
“While issues are immanent and laden with ethical considerations that require rational discourse, themes in art can be intuitively experienced when the viewer is deeply connected to the cultural context upon which the work is founded”
“In an issue-oriented approach, the focus moves from the artist's (and viewer's) personal experience of aesthetics to development of an ethical point of view. Images are used to communicate ideas to the viewer and therefore it is important to consider the audience and how the work interacts with the viewer.”
HISTORICAL BACKGROUND
“The ideal of the melting-pot, also known as Americanization, was to promote harmony and unity through creation of a distinctly American culture.”
“…discontinuity; this occurs when the school environment represents a culture that differs substantially from the student's and results in the student's alienation.”
“…the reaction against Americanization stems from the belief that the benefits of a culturally diverse society outweigh the benefits of a homogenous culture.”
“…the reaction against disparity in power among different social groups stems from a basic belief that such disparities are unjust.”
“I suggest that the former goal, that of promoting ethnic diversity, per se, may best be realized through a thematic approach to art education focusing on aesthetics. On the other hand, a goal of promoting equality through art may best be realized through an issue-oriented approach focusing on ethics.”
“…the political goals of any particular group may conflict with the cultural traditions of another.”
“…that while preserving cultural diversity and promoting political equality are both goals of multiculturalism, it is difficult to balance the two when developing curricula.”
THE THEMATIC APPROACH
“In a thematic approach to the study of art, the educator begins by presenting an idea or subject to the class which has been or should be explored through visual imagery.”
“In this approach, art is seen as a means by which individuals express ideas and beliefs, and these ideas are seen as part of a cultural aesthetic. The role of the educator is to facilitate dialogue among students and with the artists of various cultures, whose aesthetic views are represented through their artwork.”
“A thematic approach to art education has the ultimate goal of increased awareness and acceptance of a variety of cultural traditions.”
“Values, beliefs and ideas are communicated through art and these ideas are developed within a social context.”
ISSUE-ORIENTED APPROACH
“In an issue-oriented approach, the teacher or perhaps the class as a whole, begins by selecting a matter of general concern. Though this issue might be explored historically, through contextual analysis of complete artworks, the emphasis is on the student's own life experiences and understanding of the current situation in the student's own life and community.”
“In this approach, the power of art not only to shape cultural identity, but also to influence political realities is seen as the fundamental concern of the art educator.”
“…questions of power are among the most central issues discussed in the literature on this approach.”
“Other issues of concern suggested in the literature on this approach to art education include: the ecological crisis, freedom of expression, alienation in a technocratic society, democratization of technology, and feminism.”
“Using an issue-oriented approach, the artist must first recognize his/her own cultural filters and work toward freedom from a limited ethnocentric view of art.”
IMPLICATIONS OF A THEMATIC VS. ISSUE-ORIENTED APPROACH
“…for the artist who defines art in terms of aesthetics or abstract form, an issue-oriented approach to creating art is problematic.”
“Though many advocates of the issue-oriented approach take great pains to expand the traditional focus on "fine arts" to include folk art, crafts, or industrial arts, the reality is that even when the producers of these artifacts insist that they are only concerned with form or that their work is primarily functional and not to be considered art, the social activist will develop a political viewpoint in terms of the context within which these artifacts are produced or used.”
“A related problem occurs when the social activist uses traditional artforms in non-traditional contexts.”
“In seeking to empower students, issue-oriented and the thematic approaches to multiculturalism require a flexible curriculum with attention to the cultural makeup of the class or community.”
“While the thematic approach will focus on cultural differences and commonalties through exploration of themes, the issue-oriented approach will seek to discover ways in which visual images have been used to oppress certain groups in the past, or are presently being used to maintain the dominant culture.”
VALUE OF THE TWO APPROACHES TO CURRICULA
“I would use the issue-oriented approach sparingly. Not only do I find it limited in creating opportunities for individual aesthetic experience in the studio, I see it as potentially ethnocentric when used to study diverse or foreign cultural traditions.”
“I would introduce content because of its educational value, not because it has been previously neglected.”
“I believe that providing an atmosphere conducive to free speech and creative expression will allow for the natural process of cultural change. This does not require an overt emphasis on ethics on the part of the instructor.”
“While I agree that examining one's own cultural filters can be a positive educational tool, it can be destructive and alienating when traditional knowledge is denigrated or lost rather than used as a foundation to be built upon.”
“…each student must be free to create a personal aesthetic, whether or not this aesthetic is perceived as politically correct or socially relevant.”
Subscribe to:
Posts (Atom)
Posts
