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Grauer, Kit, Ed.Windows into Art Classrooms.International Society for Education through Art,Arnhem (Netherlands).ISSN-0268-2346Apr 9529p.; For related theme issues, see SO 025 107-109.Photographs may not reproduce well.International Society for Education Through Art, P.O.Box 1109, NL 6801 BC Arnhem, The Netherlands.Collected Works Serials (022)INSEA News; v2 nl Apr 1995

MF01/PCO2 Plus Postage.*Art Education; Classroom Environment; *ClassroomTechniques; Early Childhood Education; ElementarySecondary Education; Foreign Countries; LearningStrategies; Teaching ExperienceAustralia; Brazil; Hungary; Japan; Singapore

An editorial by Kit Grauer introduces this collectionof articles which establish that these is no such thing as a simpledefinition of art education even within one culture, and thatpeople's views can be reflected by art educators across the world.The first article, "A Window on Three Singapore Art Classrooms" (JaneChia; John Matthews; Paul O'Shea), provides a view of art educationin a nursery school, a primary classroom, and a special Art ElectiveProgram at the secondary level in Singapore. The plight of art as asecond class subject at the elementary level and the problems anddifficulties of the educators echo a common familiarity. "A Classroomin OZ" (Chris Parmenter), looks at art in two secondary classrooms inAustralia. "A Look Over the Diversity" (Mirian Celeste Martins),describes the use of three philosophical and pedagogical orientationsat work in Brazilian elementary art classrooms. Other articlesdiscus.: "A Personal Window into an Art Class in Budapest" (IstvanBodoczky); "'A Funny Jungle Gym': In the Front Line of Japan's NewPolicy for Individualization" (Toshio Naoe); "American Arts Educationin Elementary Schools: Craft, Child Art, and Fine Art" (LioraBresler); and "A Day in the Life of an Elementary Art Specialist inRural Midwestern America" (Leah H. Morgan). The articles are followedby reports and news from the International Society for EducationThrough Art (INSEA) members of various world regions. (MM)

Reproductions supplied by EDRS are the best that can be madefrom the original document.

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ISSN #02682346InSEA is the International

Non-Governmental WorldOrganization for Education

through Art in consultative relationswith UNESCO

InEMInSEMInEMENEWS

The child art illustrating this cover is includedin the InSEA slide sets from the Montreal WorldCongress. This window is from Kenya.

VOLUME 2, NUMBER 1,1995EditorialKit Grauer Canada

Theme :

U S DEPARTMENT OF EDUCATIONOrhce of Educat.onal Res011,Ch anC),,,P,OverN".

EDUCATIONAL RESOURCES INFORMATIONCENTER .ERIC

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Windows into Art ClassroomsA Window on Three Singapore Art ClassroomsJane Chia, John Matthews & Paul O'Shea Singapore

A Classroom in OZChris Parmenter Australia

A Look Over the DiversityMirian Celeste Martins Brazil

"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY

b. to. SeTO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC).-

A Personal Window into an Art Class in BudapestIstvan Bodoczky Hungary

" A Funny Jungle Gym" In the Front Line of Japan's NewPolicy for IndividualizationToshio Naoe Japan

American Art Education in Elementary Schools Craft,Child Art, & Fine ArtLiora Bresler USA

A Day in the Life of an Elementary Art Specialist in RuralMidwestern AmericaLeah H. Morgan USA

NOMINATION FORMS &ELECTION INFORMATIONENCLOSED IN THIS ISSUEREPORTS & NEWS RAPPORTS ET NOUVELLESWorld Directory of Collections & Archives of Children's ArtResearch Board Report InSEA Congress Taipei (94)InSEA/ASIAN Regional Congress 1995 call for PapersInSEA WORLD CONGRESS 1996 Call for PAPERS ChildArt Exhibit Information

Coming InSEA ConferencesInSEA Asian Regional CongressNovember 10-15, 1995WORLD CONGRESS 1996July 8-14, 1996

BEST COPY AVAILABLE 2

Taiwan, R.O.C.

Lille, France

III 'I INSEA NEWS April 1995

INSEA NewsVolume 2, Number 1, 1995Editor : Kit Grauer

Editorial Board

Doug Boughton, AustraliaAndrea Karpati, HungaryMeri-Helga Mantere, FinlandNorihisa Naskase, JapanIvone Mendes Richter, BrazilEnid Zimmerman, USA

layout & design Peter Scurr

INSEA News is the official publication ofthe International Society for Educationthrough Art.

Reprinting for educational purposes isencouraged. Credit should be given to InSEA.

Articles and regional reports are welcomeat all times. Please send copy toKit Grau?r, Faculty of Education,The Univr:rsity of British Columbia,2125 Main Mall, Vancouver, BC, CanadaV6T 1Z4.e-mail grauerk 0 unixg.ubc.ca

Abstracts are welcome with articles.Authors are encouraged to submitphotographs and/or art work.

Themes for articles for 1995.1996 are:Community(June 15, 1995 deadline)Research Issues(October 15, 1995 deadline)InSEA History & Directions(March 15, 1996 deadline)MulticulturalismJune 15, 1996 deadline)Gender IssuesOctober 15, 19% deadline)

EXECUTIVE REPORT

World Council convened in Houston, Texas

InSEA's World Council met in Houston on April 11, during the 35th annualconvention of the National Art Education Association. The most important points to bediscussed were the forthcoming regional congress in Taichung, Taiwan, R.O.C., in Novem-ber 1995, and the next InSEA World Congress in Lille, France, in July 1996. The WorldCouncil was impressed by the way the organizers of both congresses - Ann Kuo and Marie-Noel Thirion-Wattin - handled the organizational and financial problems.The congress inTaiwan will present keynote-speakers from all over the world. Congress languages will beChinese and English.

The Lille Congress has the active support of UNESCO and many French authorities,and the financial support of none less than 22 national French companies and organizations.Simultanious translations will be provided in English, German and Spanish, which willmake this congress a real world congress. Special provisions are offered for the housing ofstudents. Additional ways to sponsor students are being explored. The enormous brand-new Lille congress center offers sufficient space for large exhibitions of student work. Amajor event, unsurpassed in InSEA's history is to be expected.

The World Council supported the proposal presented by Mr. Stuart MacDonald, toorganize a European regional congress in Glasgow, Scotland, in July 1997. At that congressspecial attention will be given to architecture and design.

The World Council discussed the financial situation of InSEA, which is healthy, butneeds continuing review. Additional funding is needed. A structural solution for theproblems of ever changing office addresses, membership handling and costly internationalfinancial transactons is highly needed.

The World Council agreed to revise the text to InSEA's Rules and Constitution inorder to eliminate gender bias and to adjust the formal structure of the organization to actualpractice. The new texts will be presented to all members next year and submitted for voteto the general assembly in Lille next year.

Many other issues were discussed, including reports from world councillors from allcontinents who were able to be present in Houston.

The World Council expressed its appreciation for the executive board of the NAEAthat kindly supported this meeting and paid its respect to the World Council.

Diederik Schonau/ Peter HermansSecretary/Treasurer

2 INSEA NEWS April 1995 InSE

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Editorial

Windows into Art Classrooms

Kit GrauerUniversity of British Columbia, Canada

Our view of art education is very muchshaped by our experience in art and artteaching in our own schools and communi-ties. This issue of InSEA News provides us

with both outsiders and insiders "eyes" aswe enter the worlds of the art classroom insix different countries. Collectively, the arti-

cles display the similarities and diversitiesof art education for children in a variety ofschool settings. Our insights into both theculture of the school and the culture of whatart means in that context are sensitively and

careful articulated by each of the authors. To

understand what art education can mean inan international organization such as InSEA,

theseart education worlds allow us glimpsesat the social institutions which influenceand are influenced by art in schools.

What this collection helps us realize

is there is no such thing as a simple defini-tion of art education even within one culture

and that our own views can be thoughtfully

reflected by art educators half way acrossthe world. These descriptions and interpre-

tations tell us about the values of those de-

scribed and of those describing. In thai way,

we gain insight into our own beliefs. Whatwe gain is a window into the world of others

and a reflection of ourselves.

The first article by Chia, Matthewsand O'Shea -novides three window into arteducation in Singapore: a nursery school; aprimary classroom and a special Art Elec-tive Program at the secondary level. Eachview shows us something about the cultural

values in Singapore and something aboutthe values of the three authors ; all teachereducators in the only institution which pre-pares art teachers in Singapore. The plight of

rt as a second class subject at the elemen-tary level will come as no surprise to many

of Is from most parts of the world. Theproblems and difficulties sound very tamil-

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iar and will be echoed throughout this issue.

On the early childhood side of this art edu-cation experience at the nursery school theview is decidedly more regional in nature.With minor adjustments, the elite art elec-tive program description could be of similar

programs situated on any continent at thistime of our history. This appears to be a time

of change and promise for art education inSingapore with developments at the terti-ary level that open future windows of op-portunity for art teaching.

The windows on Australia are openinto two secondary classrooms. This view is

decidedly culturally based and gives us aglimpse at the unique characters and char-acter of Australian art classes. Here the atti-tudes of "irreverence and individuality" that

Parmenter suggests permeates Australianculture are played cut by adolescent artstudents as we glimpse their art educationunfold.

Mirian Celeste Martens undertakesto open the diverse windows on art educa-tion in Brazil using the key of three philo-sophical and pedagogical orientations. Thefirst, teacher centered and technique en-trenched will he tamiliar to many as will the

child centered model described next. Thethird window is where learning and under-standing are built by an interaction of teacher

knowledge and student interest and illus-trated with samples of children's work.Martins asks, There are many windows

and they are so different. Are there win-dows with similar views in other places ofthis planet?"That affirmative answer is found

in the pages of this issue and in art class-rooms in every region.

From Brazil to Budapest and the win-

dow opens on the secondary art classroomof Istavn Bodoczky. This personal view per-

haps echo's the third orientation that Mar-

4

tins' describes in Brazil. Here, students andteacher build an art education experiencebased on teaching through art where physi-cal and intellectual experience meet.

In Japan, we are privileged to watcha master teacher as he teaches a model les-son around the theme of a "funny Junglegym" Our "eyes" Toshio Naoe describes thelesson with great clarity and then focuses itwithin the context of Japan's new educa-tional policy on "individualization".

Finally our windows open into el-ementary art education in the United States.In the first article, Liora Bressler identifiesthree orientation( shadows of Brazil?) thathelp clarify her observations made in a sus-tained and systematic analysis of art educa-tion by generalist classroom teachers from a

three year ethnographic study funded bythe National Endowment for the Arts. Theviews described will seem very familiar toanyone in the North American context andperhaps also ring surprisingly true on othercontinents as well. The analysis is insightful

and meaningful.Leah Morgan, an elementary art spe-

cialist, provides us with a more personalview. A Day in the life" is a tour of the mc.ny

demands and decisions faced by an art spe-cialist on an average day.

These articles are the reflective win-dows of a much larger house of art educa-tion. They open vistas that are both informa-

tive and familiar and they sharpen our un-derstanding of the world of art classrooms.Together, they provoke us to look furtherinto the multiple perspectives that InSEArepresents.( orrection: Apologia, to 1)r. Rachel\ lason tor the misprint in Vol. 1, Num-ber 3 I 904..:leveral columns ol her artit le weretransposed. Alert readers \\A11 easilyreadjust the text.

111900 INSEA NEWS April 1995 3

For the Singapore contribution to thisedition of the INSEA Newsletter, we havedecided to create three windows on art class-rooms: one pre school, one primary and onesecondary. The writers are all faculty in theDivision of Art, Nanyang TechnologicalUniversity which is the only institution inSingapore that prepare art teachers. Weprepare art teachers for primary and second-ary schools across a range of programmes;under-graduate, post graduate and (increas-ingly) higher degree programmes. Our "win-dows" are our perceptions, gained over sev-eral years of close and regular contact withschools in Singapore and elsewhere in theworld, as visual educators and researchers.An Art Lesson in a Singaporean NurseryClass

The scene is a Singaporean nurseryclass of 2.5 children aged between 3 years 6months and 4 years. The children are sittingon the floor in front of their teacher - afriendly, smiling, young Singaporeanwoman. She is asking the children to pro-duce a drawing of fish in an aquarium, usingonly the shapes she draws on the whiteboard;a square, oblong, circle, oval, triangle andstar. She dra ws a roughly rectangular shape,telling the children that they should drawthe aquarium like this. Inside this shape, atthe bottom, she makes a series of dots, ex-plaining that this is the sand. At the top, shedraws a wavy line, saying that this is howthey should draw the water. At equidistantintervals along the "sand" she draws a seriesof circular shapes in groups of three. Shesays these are "stones." Midway betweenthese shapes she draws three elongated ovalsfor water plants. She draws fish composedof combinations of two or more Euclideanshapes in her repertoire, for example, shedraws a fish using a circle for its body with atriangle for its tail. She gives all the fish astereotyped human "face." She explains allthe while to the children that she expectsthem to make their pictures in this way,using these shapes and drawing them in thesequence she used.

The children return excitedly to theirseats and some start drawing, using pencilon A4 size paper. This initial excitementquickly dissipates however. Some of themhave immediate difficulty remembering the

A Window on an Art ClassroomJane Chia, John Matthews and Paul O'Shea

Art Division, National Institute of EducationNanyang Technological University

Singaporer

order in which to draw the shapes. One boy,for example, starts by drawing a large circu-lar shape and trying to attach a triangle to it.This configuration nearly fills the page.Belatedly remembering the aquarium, heplaces a vertical line on each side of theseshapes. All the children continually refer tothe teacher's drawing on the whiteboard.Many of the children constantly call out tothe teacher for help. One girl's repeated cry"Teeeeeeeachee regularly punctuates theentire session. Some children look at theirneighbours drawings, trying to find a draw-ing procedure they are capable of imitating.One girl can only draw a series of closedshapes, and she looks anxiously around theroom, unconsciously and nervously screw-ing up and unscrewing the corner of herpaper.

The children who are more success-ful interpret the teacher's exemplar intodrawing schemes they understand; a wavyline is translated as a dynamic zig-zag; acircle as an irregular closed-shape; a trian-gular fish tail as a U shape.

The teacher is continuously onthemove, trying to help the children. Some

times she actually grasps the child's handin her own, completely enclosing it, forcfullymanipulating the child's arm movementand completely controling the drawing. Inother cases she simply takes the drawingfrom thechild and draws the shapes herslelf.When these children are left to continue,they sit nervously, pencils hovering uncer-tainly in their hands, unable to draw.

It turns out that some of the draw-ings have exciting qualities, partly the prod-uct of the children filtering the teacher'sexemplar through theirown schemas. How-ever, it is not clear that the teacher appreci-ates these - she tends to perceive thesevariations as errors, and tries tp" correct"them. All the drawings, even those whichexcape her interference, are of the sameformat as her example.

The physical manipulation of thechild's drawing (not atypical in Singapore)is only a more extreme example of an ap-proach to teaching which takes the processcompletely out of the child's hands in the .deepest sense. In this case, we have a well-intentioned, friendly teacher adopting anextremely prescriptive approach which to-

4 INSEA NEWS April 1995 InGE2

Agma.:s2

tally dominates and oppresses her pupils.Every stage of the process is planned inadvance, with it-1 understanding of the chil-dren's own approach to the drawing me-dium or the task-demands which may con-front them. Like so much so-called "art-teaching" in Singapore, it is a series of rigidstages towards a pre-envisaged end-prod-uct of the most banal and stereotyped kind.

The children are being drilled in anextremely restrictive drawing practice whichwill damage the development of their abili-ties to organize their own drawing strate-gies. Research shows that very young chil-dren pass through an important sequence ofapproaches to visual expression and repre-sentation (Golomb 1992; Matthews 1994).The teacher's method completely sabotages

this process. If continued, such methodshave far-reaching effects on later art-educa-tion and probably on other aspects of devel-opment. Those children in the class moresuccessful at producing a drawing are sobecause their modes of visual representa-tion fortuitously overlap with the teacher'sdrawing actions and shapes. They can"copy" the shapes insofar as they them-selves are spontaneously generating simi-lar forms.

The way out of this had practice willonly occur if there is a genuine concernabout identifying vital processes of visualrepresentation and expression in early child-hood and to provide art experiences whichwill promote, rather than destroy these.The damage will continue as long as poor

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teaching is erroneously justified in terms of"cultural variation" or "theSingaporean con-text.An Art Lesson in a Singaporean PrimaryClass

Primary art classes are large in Sin-gapore, there are usually over forty childrenin any group, and facilities and materialsscarce in most schools. Usually, art teachingwould be in an ordinary classroom whichmeans no basic facilities such as a sink.Children are responsible for purchasing mostof their own materials and equipment whichcreates the familiar problem of what to doabout students who do not bring their mate-rials to class. Under such circumstances,and with a time allocation of about one hourper week, art experiences are understand-ably very limited. Teachers are worriedabout emess' when the room is used bymany other subject teachers and rarely inte-grate art making with other aspects such asart history and evaluation appropriate to theprimary level. Similarly, little cross-curricu-lar work involving art will be seen in pri-mary schools and the opportunity for longterm projects in art classes are limited.

The Ministry of Education sets outthis syllabus for Art teaching at the Primarylevel in its Arts and Crafts Syllabus, 1992,and states that the Arts and Crafts pro-gramme should follow this weighting interms of time allocation:

Picture Making 30%Design 20%3-D Activity 15%Handicrafts 15%Art Appreciation 20%

Additionally, the Ministry of Educa-tion, through its Curriculum DevelopmentInstitute, publishes a series of visual resourceguides to help teachers with this art pro-gramme. These guides are professionallyproduced in colour and are very attractivevisually. Typically, over 10 weeks, studentswould be involved in a range of activities forabout an hour each week and the Primary 5guide (10-11 year olds) will give an idea ofthe diversity of the art content:

Unit 1: Collage (imaginative)Unit 2: Stencilled Wrapping PaperUnit 3: Painting and Drawing/Collage (imaginative)Unit 4: Kite MakingUnit 5: Charcoal Drawing(imaginative)Unit 6: Poster DesignUnit 7: StyrofoamSculptures (barges)Unit 8: Miniature GardensUnit 9: Painting and Drawing(imaginative)Unit 10: Graphic Layout(using commercial postcards)

InSE2 INSEA NEWS April 1995 5

The following statement, made by atrainee primary teacher in his journal afterhis final teaching practice, is sadly all toocommon a situation faced by our studentsand newly qualified teachers. The prepara-tion of generalist art teachers for primaryclasses, although reasonable, cannot everbe sufficient when these young teachersencounter a typical situation as the onedescribed.

Art is certainly not valued as highlyas other subjects in schools such as english,maths and science. Partly this is due toteachers perceptions and lack of training inart. They see art as a pastime and notacademic. They do not see the value of thesubject and are unable to motivate theirstudents. Their students tend to be leftvery much to their own devices with the

r

'stand by' favourites which have little edu-cational purpose to them.

There is a sense of aimlessness aboutart teaching in many primary schools.Children soon become aware of this lack ofpurpose. At primary level, there is a needfor proper training for teachers who willteach art at either the pre-service or in-service stage. There is a need for more timeto be allocated to the subject and a need forresources such as a realistic budget formaterials, specialist art rooms and betterdisplay areas for the children's workthroughout the schools.

Unless art is planned profession-ally and thoughtfully, it will always be asecond class subject. There are too manytalented students of art in the schools whoare simply turned off and away from thesubject as early as the primary level. The

rtl-

minimum of guidance. But how can ateacher with little or no training in art giveguidance? The teaching of art skills andconcepts is inadequate and art/history/appreciation is simply not even attemptedby the majority of primary teachers. Again,this is due to their lack of training.

This lack of status for the subject ismade worse by the fact that there is noexamination in art at the primary level. Asa result, teachers take time away from art touse for the exam subjects. No wonder thestudents get the message that art is unim-portant. As the time is so limited, teacherstend to get students to do art work at home.This is not satisfactory as very often stu-dents hand in work which is not their own.Students are generally eager for art lessons,certainly at the lower primary stage. Thissoon wears off as they encounter apatheticteachers. Teachers who rely on their old

INSEA NEWS April 1995 InSEM

result of this is that we lose talent. Can weafford not to develop talent? Particularlycreative talent.

Having described a rather dispirit-ing situation, our students leaving NTUwith some art background and a greet dealof enthusiasm, are making a difference -slowly! However, serious attention doesneed to be given the issues discussed soeloquently by the student such as time allo-cation, in-service programmes and re-sources.

An Art Lesson in a SingaporeanSecondary Class

This window opens onto an Art Elec-tive Programme (AEI') class. There arefifteen Secondary Two boys in the class,

InSEEsmall by Singapore standards, where artclasses of forty are the norm, even up to thepublic examination level. The art class wallsand flat areas display a wide variety ofwork, including photographs, mixed-me-dia constructions, ceramic sculpture andstructural and environmental designs. Theteacher is showing slides of various 19thand 20th European art movements whilethe students identify their salient character-istics, questioning the teacher and exchang-ing information and points of view witheach other as they discuss the project whichthey have been set. The slide sequencefinishes, and following some final advicefrom the teacher, the students move to alarge worktable where relevant books andpostcards from the AEP library have beenset out After scanning the material andfinally selecting an image from the 19thcentury which appeals, each student beginsa 90x120cm masonite board which he willdivide into twelve rectangles. Starting witha faithful rendition of the image each stu-dent will then begin to interpret it in elevenother art styles of his choice: e.g. J.L. David'sOath of the Horatii' might undergo varioustransformation, complete with appropriatecostume as well as stylistic changes, fromDelacroix, through Courbet, Seurat,Gauguin, van Gogh or Cezanne to Picasso,Munch, Da li, Mondrian or Hockney. Thestudent also has to decide on and explicatethe best medium for each transformation,the art historical background to which willbe thoroughly researched.

This project will continue for the bestpart of a term (about 10 weeks) and can beworked on in the student's spare time. Atthe end of the project each student willexhibit his piece with all the relevant re-search and give a presentation to the rest ofthe group and the other AEP classes.

As can be seen from the above de-scription AEP takes a similar approach tothat advocated in the General Certificate ofSecondary Education (UK) or DisciplineBased Art Education (USA) that is a creativeinterface of the practical and theoretical/critical aspects of art and design located in asocio-economic historical framework. Stu-dents are encouraged to find their own path-ways, with thinking and problem-finding/solving skills emphasized as prerequisites

in the production of their work.The Art Elective Programme (AEP)

developed out of the general changes in arteducation initiated by the then Parliamen-tary (Education), Mr. Ho Kah Leong in theearly 1980's (Ho 1981). In the revised Gen-eral Art Programme (GAP), design educa-tion, art appreciation and aspects of local artand architecture were to be integrated withcraft and drawing and painting. It washoped that this approach would broadenthe scope and give more rigour to the teach-ing of the subject while endowing it with amuch-needed measure of intellectual re-spectability, a concatenation of historicalcircumstances and cultural attitudes, com-bined with the pragmatic education needsof a rapidly developing society having rel-egated art education to a lowly ehand-eye'craft status in the curriculum. The AEP wasset up in order to cater for the needs of themore able students; to develop "well-rounded" persons who would exercise lead-ership favourable to the development ofaesthetics and creativity in society, and set astandard for other schools to emulate (Ho,1983). In 1984/85 the AEP was set up in fourprestigious, high entry-threshold schoolsand one junior college.

The AEP has succeeded admirablyin its first two aims, but its success as a rolemodel is rather more debatable, given that ithas an all-graduate staff teaching smallclasses of well-funded, highly motivatedstudents in elite educational establishments,whereas conditions in the GAP schools willbe deficient in at least one of these advan-tages at any one time.

The "new" art syllabus has now beenoperating, with some minor revision in 1991,for approaching twelve years. During thistime many exciting developments in thefield of visual education have been initiatedat tertiary level. For example, the NationalInstitute of Education (NIE) part of the newNanyang Technological University since1991, is running a four-year modular BAwith Diploma-in-Education programmewhere undergraduates can pursue Art asthe main of two Humanities subjects, whilethe two local Colleges of the Arts have affiliatet1 with degree-awarding institutions. Inthe polytechnics there has been a massiveupgrading in theareas of Mass Communica-

tions and Design. All in all, this would seemto be an opportune time to review what ishappening at the secondary level in Singa-pore 's art education, both philosophicallyand practically, in order to aim for excel-lence in the next century.

References

Matthews, J. (1994) Helping ChildrentoDraw and Paint in Early Childhood: Chil-dren and Visual Representation 0-8 Series,Series Editor Tina Bruce, Hodder &Stoughton, England.Golomb, C. (1992) The Child's Creation of aPictorial World. University of CaliforniaPress.Art and Crafts, Primary 5. (1987) Curricu-lum Development Institute of Singapore.Art and Crafts Syllabus, Primary. (1992) Cur-riculum Planning Division, Ministry of Edu-cation, Singapore.Ho, K.L. (1981, September) Review of Artand Craft Teaching. Singapore Ministry ofEducation.Ho, K.L. (1983, July) The Art Elective Pro-gramme. Singapore Ministry of Education.

InSB2 INSEA NEWS April 1995 7

A CLASSROOM IN OZChris Parmenter

From the air, one Australian HighSchool looks much like any school aroundthe world, with some buildings set out inordered rows, and other buildings added onas the school expanded. But the things thatmake our classrooms special is what hap-pens inside. The attitudes and lifestyles ofboth teacher and students interact to createan art classroom that is uniquely Australian.

Looking in on the classroom revealssome distinctive physical features. For in-stance, there are planty of wide, clear win-dows. Australians are seen as outdoor peo-ple, and the classroom relects this by beingas open and light as possible. The windowsare rarely covered with artwork, as the sun-light is seen as an intrinsic part of the artclass. The Australian impressionists of theHiedelberg school and their fascination withthe effects of Australian light did more thaneffect the course of art history, but also theattitude of people toward the positive ef-fects of natural light upon the students.

Let's look at two different art classes.The first is filled with Year 8 students. Thisis their first year at High School, and they arehaving to make personal adjustments tobeing the youngest ones in the school, aswell as starting on the path toward adoles-cent discovery. For them, art is compulsory,and they have yet to see its value. In primaryschool, art was seen basically as a fun sub-ject, and now they have to work harder toproduce project books, preliminary sketchesand essays on famous artisits or art move-!wants.

The students start arriving soon afterthe bell rings, and stand outside the door.The teacher, who is in the staff room next tothe classroom, finishes up some last details.One of the students at the door, a year 11boy, decided that to pass the time he wouldjump up and push the ceiling tiles out ofplace. This just seemed to be a habit withhim - he wasn't looking around for atten-tion, and he seemed to be able to do it andmaintain a conversation at the same time.They enter the class as a group, as all youngpeople seem to find comfort and confidencein numbers. There are around 20 or 30 stu-dents in this class, and they seem to fill everynook and cranny of the classroom. They areall wearing light, summery uniforms. Theclimate in most parts of Austrailia doesn't

create a need for a definite winter uniform,and the freedom suggested by short sleevedsummer shirts and cotton dresses, combinedwith the large windows and open play-grounds, adds to the students' feelings ofcasualness, as if the whole process of educa-tion is not to be taken seriously.

These students are working on de-veloping basic drawing skills. The teacherhas placed a couple of interesting objectsaround the classroom, and the students aregrouped around them. They need to movearound the room, drawing each object usingtechniques such as contour lines and shad-ing that they have studied over the past fewweeks. Each student has their own pencils,and there are more in a box at the front of theclass. There is plenty of paper stacked on atable, and students can just go up and helpthemselves. There is no real danger thatstudents will abuse the use of materials likepaper, as they can't yet see its value. Tothem, the paper means more work, and formost students that is to be avoided. Eventheir finished art works are not seen as valu-able, and can just as easily be thrown awayat the end of class like their uneaten sand-wiches at the end of lunch.

One student sits down and avidlystarts drawing. Another student sits suck-ing a pencil and regaling the others withstories from last night's T.V. shows. Allaround the class, students are in variousstages of completion, from those who are ontheir third drawing, to those who have yet tomake a mark. The teacher wanders around,gently urging and encouraging, exchanginginsults with some students, anecdotes withothers. The job of the teacher here is tobefriend the students, to win their confi-dence. The teacher wants to create an at-mosphere where the students can be them-selves and explore their developing person-alities. This will hopefully lead to one of themost fundamental reasons for art - the ex-pression of the artists personal perceptionof the world for others to set'. The nextfifteen minutes consist of three students start-ing to paint, four girls asking the one boy attheir table why he would bother dating thegirl he was apparently in love with, wheneveryone knew she was no good, and theteacher wandering the class giving miniversions of "How To Draw An Object FromThe Inside Out" to several students.

8 INSEA NEWS April 1995 InSE2

As these students continue with thedevelopment of their basic skills and techni-cal exercises, in the classroom next door,older students are completing their finalyear of art studies, as they move towardgraduation. There are only a few studentshere, as the subject is no longer compulsoryat this level. Each of the few who havechosen art have done so for very differentand individual reasons. Some have chosenit because they wanted a subject that re-quired little academic work (they were sur-prised) and other because they felt the needto seek answers from within themselves,and this was the only place in the syllabuswhere they were more important than thetextbook. This reflects the individual natureof each of the students. One was a newlyconverted vegetarian, another an avid sci-ence fiction fan. One of the girls is gregari-ous, regaling anyone who will listen on themost exciting things happening in her life,while another girl retreats into the corner tofocus on her internal dialogue.

One or two of the students are ex-ploring three-dimensional structures, whilethe others concentrate on traditional two-dimensional media. The teacher here ex-horts them to experiment, push the bounda-ries of what they think Art should be, andalthough few of them go far beyond thebounds of tradition, they do as far as theycan allow themselves. They know at the endof this final year, their work will be assessedby strangers, and for the first time their markwill not depend on answers that are right orwrong, or how well they have memorisedformulae. It will be their skill and under-standing on display, and their result willdepend as much on who they are as whatthey've done.

Australia was originally settled byconvicts who had little regard for authorityand traditional values. This has led to whatmany see as an attitude of irreverence andindividuality that permeates our modernculture. This can best be seen in the develop-ment of the relaxed, jovial, intense and socialatmosphere of our Art classrooms, and theunique views of Australian artists.

9

A LOOK OVER THE DIVERSITY

Mirian Celeste MartinsInstitute de ArtesItINESP and Espaco Pedagogico, Sao Paulo, Brasil

"Come closer and behold the words.Each onehas thousands of secret faces under the neu-tral faceand asks you, not caring for the answer,poor or terrible, that you give:Did you bring the key?"Carlos Drumond de Andrade

Modern windows, with large glasses, cleanor dirty...Small and old windows, opened to well orpoorly kept gardens...Free spaces, yet covered, adequate or "ar-ranged" to art works...Different windows. Different geography.Different "keys" to the reading.

Looking through art class windowsin Brazil is like facing diversity. Not onlybecause it comprises distinct material sup-port possibilities for pedagogical work anddifferent levels of access to knowledge, butmainly due to the contrast among art andteaching philosophies. These philosophieswere designed, peacefully or not, by institu-tional directors as well as teachers, studentsand the community: contemporary philoso-phies or those rooted in the past, which aredisconnected from the present reality, eventhose divulged by art-ed ucation associationsand recent publications.

The inquisitive look through class-room windows can read the reality fromvarious angles using different keys. Amongthem, I propose a reflection exercise overpossible conceptions of education and artteaching, trying to classify them into threelarge block`, centering the analysis on theeducator viewpoint. I believe in this way itwill be possible for us to look into our ownhistory as student and as art educators; andreview our own conceptions and actions.

1. From any window, modern or old,conserved or deteriorated, it is possible tofind teachers with plans prepared manyyears ago. The content of learning is definedand imposed on the students. Students areexpected to always give the same answers,or to use the same colors for painting. Moreemphasis is put on discipline than on knowl-edge, because the knowledge will be trans-mitted in a frightening and respectful at-mosphere towards to the teacher. There is

silence, but a silence endowed by omission,apathy and the lack of interest by a personwhose thoughts are beyond the classroomboundaries.

Learning is evaluated by memoriza-tion of concepts and by rule obedience. Aes-thetic and artistic conventions are repeatedas the "correct" way to draw something, asthe rules to "look like the reality", the renais-sance perspective as the unique way to cre-ate depth illusion, the models copies, etc.The search for homogeneity is the maingoal. Equal exercises, equal folders and, ifpossible, equal attitudes. What is different isconsidered random, thus, must be reorgan-ized and controlled.

The conception of arts in an authori-tarian education, emphasizes the figurativeand loyal reproduction of the reality. Artteaching focuses on the process of learningtechniques. They aim is making the studentexpress himself through the "correct:" useof things. So, there is a claim for enlargingthe art folders, for learning perspective ruleson the purpose of "drawing well", rules tostage, to "speak correctly", to rehearsescripts, poetry, music, to be presented incommencement day, at Christmas's andNew Year's parties, or cillc dates.

The images that illustrate the contentare absorbed, but not actually read. Theteacher instructs" the meaning of a work o.art, established by theories. The lessons onsome works of art are imposed and followedby inflexible questionnaires, usually re-peated. The expressive action proposed islinked to re-reading of works, frequentlychosen without clear goals. The use of con-temporary facilities such Xerox, computer,videos, etc., sometimes just conceal the au-thoritarianism. It is possible to use van-guard methodologies and theories, but theattitude remains unchanged.

2. A pedagogical revolution, speciallyfortified by movements that began at theend of last century, was responsible for thechange of the scenario we have just de-scribed and that we can still see throughother windows in many schools. The rela-tionship with authorities was weakened.The teacher is called "uncle"", as a memberof the family. The task of the pupils is toparticipate and to create without modelsand interferences. They avoid repetition,

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figure 1.

stereotypes and controlled activities. Theimportant point is the pleasant involvementwith knowledge, that is not systematized orsocialized, because the model, the "shape",is a ghost. Stereotypes are fought like dis-eases. Any influence is considered to bedamaging in the search for identity andindividuality. The student evaluation iscentered on the lived process, exposed byself-evaluation.

Pre planned proposal and the workwith consecrated pieces of art can be reject atthis school, because it can take away "vir-gin" eyes from children. The teacher is awitness of the student's development. Hisrole is restricted to providing opportunityfor action and creating a positive atmos-phere towards learning. The results can beexcellent, because in this case personal ex-pression is valued by the attentive educator.But this is rarely possible, especially in classeswith a large number of students and short intime (forty five minutes in average). Thecontact with works of art, videos, materials,in classes are being randomly lived. Thingshappen...

3. There are other types of pedagogi-cal views. But we can retain ourselves on aattitude that is built today, with the passionto teach and learn inherent to the educator.No matter what are the material conditions,

In5122 INSEA NEWS April 1995 9

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figure 2

there is a new attitude being constructed.The educator is recovering authority, with-out neglecting the interest and the needs ofthe student, on a search for a substantiallearning. The democratic conception (socalled by Madalena Freire Weffort), chal-lenges the student to build knowledge, ar-ticulating their own thinking, through theirsymbolic system, mediated by the educator.The educator challenges the students to re-late their ideas to the group's ideas, includ-ing historical knowledge. The teacher helpsin this process pointing and returning to thegroup similarities and differences of thoughtand provides that the group continually con-struct meaning always open to new enlarg-ing. This is what I consider significant learn-ing. In this process, students build a sym-bolic outline for reality, trying to influenceand transforming this reality.

Through this third window, in sim-plified or sophisticated versions, we see thechallenge of the attentive teacher upon theinterest of each student and upon his need ofknowledge, developing constant evaluationof the class, generating the learning situa-tions disco. sed herein, in order to effecttransform, ion.

figure 3

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This pedagogical view can be illus-trated by the photos above. Through thephotos we can see the path which studentsand teachers followed, perceiving the com-prehension of texture, of the mark of thedrawing and painting of each person. Fromthe explorations of colors, children betweennine and ten years old, discover strokes witha brush. In the next step they investigateVan Gogh, entering in contact with his paint-ing and his trajectory (fig. 1-2-3). The inves-tigation headed, then, to texture, us;ng onlyblack and white, with black pen or watercolor (fig. 4 -5) discovering tonal values.Experiences with clay also were done (fig.6), for the perception of texture and move-ment. After a planned visit focused on per-ception of different texture, we returning tothe color content. In M ASP, Museum of Artof Sao Paulo, headed to rococo "The Bet ry'sDuke and the Province'.. Count' of Francois-Hubert Drouais and the impressionist "['inkand Blue" of Renoi-, the aspects studiedwere questioned again. After that a newseries of works were created, not related tothe analyzed paintings (fig. 7 -9); openingspace for personal search as the case of a girl

10 INSEA NEWS April 1995 InSE2

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was enchanted with the ballet-dancer. Inthis way, during five months, children in-vestigated and found some elements ofvisual language in a meaniful way.

In other window in a class we canfind another example of this pedagogy of artin relation to the evaluation process. Evalu-ation, in this case, is considered an impor-tant step towards the acquisition of knowl-edge generating new possibilities of newlearning challenging students to hal. e deepmeaningful encounters with art. The evalu-ation occurs during all process, with theteacher and student reflecting upon theirlearning actions re- planning to adjust thepaths to get to the planned goals. At the endof unit of work there is a more formal andsystematized evaluation that is built uponthe other ones. An example of this can beseen through the following text wrote bychldren five to six years old after a workdeveloped during three months:

We love to make works of art. Welearn a lot of things for example: drawingpeople in different ways, before we onlydrew people standing up. Now we knowhow to draw people in differmt positions.We draw people laughing, crying, running,jumping lying, on knees, etc... We learnedthat when we don't know how to draw acertain thing, we just look at it and try tomake it equal. We can search in books,magazines or if it is a natural object, we onlyneed to look at it to draw it the way we can,or even we dev:.There are many indows... And they are sodifferentAre there windows with similar views inother places of this planet?

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A Personal Windowinto an Art Class in Budapest

Istvan BodoczkyBudapest Vocational School for Fine & Applied Arts

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figure 1 Drawing, paper, acrylic paint. Emese Benczur, 16 years old

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figure 3 Group work

figure 4 Group work

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figure 2 Study drawing, paper, crayon. ZsoltFejer, /7 years old

The school where I have been teach-ing art for many years in actually the oldestart institution in this country. The BudapestVocational Secondary School for Fine andApplied Arts was founded in 1778. Mystudents are between 14-18 years old. Apartfrom all the subjects children learn in asecondary school (like literature, math, phys-ics, etc.) they learn a certain chosen craft(eg., pottery, textile, print making, compu-ter animation, etc.) and they all have to take"drawing classes" as an art foundationcourse throughout the four years.

Through one of the more positivetraditions of art schools is to give consider-able freedom to the art teachers, the generalconcept of teaching drawing in Hungariansecondary art schools (there are six similarsecondary art schools in Hungary) seems tobe fairly homogenous. It is based on thetradition of drawing after nature. One mayhave a lot of good arguments to defend this,however, I find it far too "cra ft-centered" ;toomuch attention is payed to perfecting skillsanc; not enough to creative thinking). So Istarted to introduce certain changes in myclasses. I believe art teaching - or teachingthrough art - in any type of school has thegreatest possibility to help the students'personal development, helping them to be-come an "all-round human beings", for artteaching fuses physical and intellectual ac-tivities, helping the students to experience(much desired) wholeness.

Of course I also find it important thatmy students learn to "draw well". Butdeveloping drawing skills is only one as-pect to art teaching. Apart from being ableto depict their experiences, they should alsobe able to create new experiences.

InSEA W orld Council Conseil Mondial de l'InSEA 1996 - 1999

In ELECTIONS

Notes for Guidance

Proposals for Nominations

To be eligible for nomination members must:

1. Be current members of INSEA.

2. Have served as World Council member for a periodnot exceeding three consecutive terms of office.

3. Have signed the proposal attached indicating theirwillingness to accept the nomination.

4. Submit a brief curriculum vitae, e.g. name, date ofbirth, place of work, PNSEA service, other national art educa-tion or affiliated body service, educational leadership, textswritten, papers written and presented in different countries,commissions served, countries travelled and conferencesattended or organised - maximum 100 words.

Notes:

A. For the office of President, the nominating Commit-tee will confine its choice to persons either serving or whohave in the past served on the Council of the Society.

B. Elections shall be by postal ballot conducted at least60 days before the opening date of the General Assembly.

C. World Councillor should aim to:

1. Foster the aims and objectives of the Society

2. Act as a catalyst to promote the aims and ob-jectives of the Society

3. Serve on committees that promote the devel-opment of art in education

4. Attend World Council meetings once peryear

5. Attend Regional Council meetings and actas liaison for World Council.

Propositions pour les Nominations

Pour 'etre eligibles les membres doivent

1. Avoir regle leur cotisation a l'INSEA.

2. Avoir servi comme membre du Conseil Mondialpendant une periode n'excedant pas trois mandats consecu-tifs.

3. Avoir accepte et signe le formulaire ci joint par lequelils acceptant la nomination.

4. Soumettre un bref curriculum vitae indiquant nom,adresse, date de naissance, adresse professionnelle, role dansl'INSEA, responsabilites dans l'education artistique nation-ale et les organismes associes, responsabilites dans le systemeeducatif, travaux ecrits, communications presentees dansdivers pays, participation a des commissions, voyages aFeta nger, participation a des congres et organisations. Maxi-mum 100 mots.

Notes:

A. Pour la fonction de President, le comite de nomina-tion devra limiter son choix a des personnes en service ouayant servi auparavant dans le Conseil de la Societe.

B. L'election se fera par bulletin postal, retourne 60jours au moins avant la date d'ouverture de l'AssembleeGenerale.

C.

14

Un Conseiller Mondial a pour mission:

1. De defendre l'ideal et les objectifs de la So-ciete

2. D'agir en tant que catalyseur pour pro-mouvoir cet ideal et ces objectifs

3. D'etre membre de comites qui encouragentle developpement de l'art dans l'enseignement.

4. D'assister aux reunions du Conseil Mondialune fois par an

5. D'assister aux reunions du Conseil Regionalet servir de liaison avec le Conseil Mondial.

Eligibilidad para Nombramiento

1. Los miembros deberan haber pagado las cuotas desocio de INSEA.

2. Deberan haber servido como miembros del ConsejoMundial durante un periodo consecutivo sin exceder de seisanos en este cargo.

3. Deberan haber aceptado y firmado la hoja adjuntaque indique su consentimiento ce aceptar el nombramiento.

4. Deberan presentar un breve curriculum vitae, indi-cando, por ejemplo, su nombre, fecha de nacimiento, lugar detrabajo, servicio en INSEA, otra educacion nacional artisticao servicios afiliados, responsabilidades en el aspecto educa-tivo, temas escritos, ensayos escritos y presentados en difer-entes paises, participacion en comisiones, paises visitados yasistencia a conferencias o congresos organizados por elloshasta un maxim(' de 100 palabras.

Notes:

A. Para el cargo de Presiden,e, el Comite debera limitarsus nombramientos a personas que sirven o hayan servidoanteriormente en el Consejo de la Asociacion.

B. Los votos para las elecciones se haran por correo ydeberan enviarse como minimo, sesenta dias antes de la fechado apertura de la Asamblea General.

C. El papel del consejal mundial puede ser el siguiente:

1. ... de fomentar los propositos y los objetivosde la Asociacion.

2. ... de servir do catalizador para fomentar losdichos propositos y objectivos de la AsociaciOn.

3. ... de formar parte de los comites quo fomen-tan el desarrollo del arte en la educacion.

4. ... de asistir a las reuniones del ConsejoMundial una vcz al ario.

5. ... de asistir a las reuniones de ConsejosRegionales y servir de enlace con el Consejo Mundial.

Himweise fur die Nominierung

Nominierbar sind Personen, die die folgenden Vo-raussetzungen und Bedingungen erfullen:

1. Mindestens INSEA ZugehOrigkeit als zahlcndesMitglrlied.

2. Tatigkeit als Weltratsmitglied wahrend hochstensdreier aufeinanderfolgender Amtsperioden.

3. Erklarung des Einverstandnisses mit der Nomini-erung durch Unterschrift auf den beigeftigten Nomini-erungsformularen.

4. Einreichung eines kurzen Lebenslaufes von nichtmehr als 100 Wortern, der Angaben zu folgenden Punktenenthalt: Name, Geburtsdaten, Tatigkeit, Beschaftigungsort,Tatigkeiten im Dienste der INSEA, Tatigkeiten im Diensteanderer, nationaler Korperschaften/Vereinigungen imBereich der Kunsterziehung, fiihrende Funktionen auferzieherischem Gebiet, Veroffentlichungen in schriftlicherForm vorliegende und in verschiedenen Landern gehalteneVortrage, Dienste als ofhntlich Beauf tra gter, bereiste Lander,besuchte Konferenzen.

Notes:

A. FUr das Prasidentenamt soil das Nominierungskom-itee seine Wahl auf Personen beschranken, die im Rat derVereinigung entweder noch dienen oder in der Vergangen-heit gedient haben.

B. Wahlen sind als Briefwahlen abzuhalten und sollenspatestens 60 Tage vor dem Eroffnungsdatum ciner Gener-alversammlung stattfinden.

C. Die Rolle des Weltratsitzenden wiirde folgender-massen sein:

1. die Ziele und Absichten des Verbandes zupflegen.

2. als Katalysator die Ziele und Absichten desVerbandes zu fordern.

3. an Komitees teilzunehmen,sterziehung waiter zu entwickeln.

4. einmal jahrlichteilzunehmen.

urn Kun-

an Weltratsitzungcn

5. an Regionsitzungen teilzunehmen und diesemit dem Weltrat in Verbindung zu setzen.

This form when completed should be sent to / Une lois rempli, ce formulaire devra etre renvoye a / AusgefuilteFormularesollen geschickte werden / Una vez cumplimentada esta hoja de dittos biographicos debera ser enviada al:

Ana Mae BarbosaR Monte Alegre 1003

Ap. 41, PerdizesSao Paulo, SP Brazil

05014-001Tel/fax 55-11-62.8055

Before August 15, 199515

NOMINATION FORM

(To be completed by a member wishing to make a nomination; Ce document sera rempli par toute personne desirant

proposer une candidature)(This form may be photocopied as required; ce document peut etre reproduit si besoin)

Please use type letters; Veuillez taper votre lettre a la machine

I wish to propose the following nominations:Je desire proposer la candidadature suivante:Ich schlage hiermit folgende Nominierungen vor:Desearia proponar la siguiente nomination:

1. WORLD PRESIDENT PRESIDENT MONDIAL WELTPRASIDENT PRESIDENTE MUNDIAL

Name/Nom/Name/NombreAddress/Adresse/Anschrift/Direccion

Country/Pays/Land/Pais

2. VICE PRESIDENT STELLVERTRETENDER PRASIDENT VICEPRESIDENTE

Name/Nom/Name/NombreAddress/ Adresse/ Anschrift /Direction

Country /Pays/ Land /Pais

3. WORLD COUNCIL MEMBERS MEMBRFS DU COUNSEIL MONDIAL WELTRATSMITGLIEDER

MIEMBROS DEL CONSEJO MUNDIAL

1. Name/Nom/Name/NombreAddress/Adresse/Anschrift/Direccion

Country/Pays/Land/Pais

2. Name/Nom/Name/NombreAddress/Adresse/Anschrift/Direccion

Country/Pays/Land/Pais

Name and Address of Proposer. Nom et Adressqdu proposeur. Name and Anschrift des Nominierenden. Nombre y

direcciOn del proponente:

16

NOMINATION FORM FOR WORLD COUNCIL OF INSEA 1996 - 1999

(To be completed by member accepting nomination; doit etre rempli par la personne acceptant sacandidature)

(This form may be photocopied as required; ce formulaire peut etre reproduit si besoin)

Please use type letters; Veuillez taper votre texte a la machine

Biographical Information to be included on ballot form/

Renseignements biographiques fournis lors de l'election/

Biographische Informationen auf den Wahlzetteleinzutragen/

Datos Biograficos, a ser incluidos en la papelata de voto

PhotographBlack and White

PhotographicNoir et Blanc

FotografiaFoto

1. Name/Nom/Name/Nombre

2. Title/Titre/Titel/Titulo

3. Address/ Adresse/ Anschrift/Direccion

Telephone Fax No

4. Country/Pays/Land /Pais

5. Occupation and place of work/Profession et lieu de travail/Beruf und Arbeitsort/Profesion y lugar de trabajo

6. Previous INSEA activity (eg World or Regional Council, INSEA membership, attendanceat Congress); Role anterieur dansI'INSEA (Membre du Conseil Mondial, Membre du Conseil Regional, Membre de INSEA, Assistance au Congres); Fruhere IKVTatigkeiten (z.B. Welt-bzw. Regionalrat; IKV Mitgliedschaft, Teilnahme an Tagungen, usw.); Actividads anteriores en INSEA

Any other information (maximum 100 words)/ D'autres renseignements importants (jusqu'a un maximum de cent mots);Sonstige Informationen (hochstens 100 Worte); Otra informacion (hasta cien palabras como maximo)

I am willing to accept nomination for: World President; Vice President; World Council (delete as applicable) and agree to undertakethe responsibilities listed overleaf.J'accepte volontiers la nomination pour: President Mondial; Vice President; Membre du Conseil Mondial (barrer selon le cas).Ich erklare mich bereit, als Weltprasident, Stellvertretender President, Midglied des Weltrats (Nichtzutreffendes bitte streichen) nom-iniert zu werden und die umscitig aufgefiihrten Verantwortungen zu ubernehmen.Estoy dispuesto a aceptar el nombramiento para: Presidente Mundial; Vicepresidente; Cosejero Mundial (tachese lo que no interesa) yme comprometo a cumplir todas las responsabilidades inscritas al dorso.

Signature Signature Unterschrift Firma

tions of the length of the corridor thus visu-ally blocking it (illustration no.3).

Later they were asked to "create a"conceptual shell" for the class inside theschool". I remained totally passive, a mereonlooker - with a video camera. (With thehelp of this video documentation we couldanalyze the group dynamics afterwards).They built a tent-like construction from sticksinside the studio (illustration no. 4). Later,wanting to make it more like a real shell,they covered it with paper and painted it onthe outside, emphasizing it as a positiveform as well as a negative one. Group worksarevery unusual in art schools. Most artisticwork is based on individual efforts, which -to some extent - is isolating. So no wonderthey welcomed these activities.

Their next task was to "create thesmall scale model (200 cm high) for a toweras an art work, a dynamic construction em-phasizing the directions: "up and down".

figure 5 Tower, cardboard, acrylic paint. 200cm high. Krisztina Bognar, 16 years old

It is impossible to give a realistic pic-ture of a teaching process through one project.Therefore I will shortly explain a series ofrelated projects done with the same classduring the four years I was teaching them.

While !earning all the possibilities ofdepiCtion and expressions in two dimen-sions (illustrations 1 and 2) is always presentin the curriculum all through the four years,projects of totally different character alsoplay a part. For example from the secondyear on I started to give the students tasks inwhich they had to not only study and inter-pret the space (the model) around them, butactually make changes to it. This meantworking in three dimensions. First theywere asked to "change the meaning of acertain space (in the school) by minimal in-tervention". I divided the class (15 students)into three groups. One of the groups usedstrips of white tracing paper taped across thecorridor at different heights at different sec-

figure 6 Pyramid, aluminIgnacz, 17 years old.

Each student was given a sheet of card-board (200x100 cm) and they were restrictedto useonly that and paint (illustration no. 5).

The next 3D project (in their thirdyear) was to design a three dimensional artwork econnect; ng Earth and the Skyi. Theclass would then execute the best two - lifesize - in a park, the scene of a student festi-val. This time there were no restrictions(other than financial and technical of course).The class acted as the "jury" and decided onthe "Pyramid" and the "Mast" (illustrationsno. 6 and 7). The actual constructing workwas done after school. They enjoyed them-selves the most when we worked all throughthe night to have the work ready for thefestival next day. Though this was notstrictly speaking art education, it was a greatexperience for all of us, helping to enhancegroup cohesion.

18

If they liked group activities, theyalso liked to have a lot of personal attention,for tney were very keen, (like all of us) to findthe right balance between being part of agroup and defining their own "personalspace". I was surprised myself how populara small pile of pebbles, brought back frommy holiday, became in the class. I told themI had collected a pebble for each of them atthe seaside, one that I felt could be related tohim or her. I put the pile on the table andasked them to find their own. If they gotstuck, I helped them by reading out a shorttext (I had previously prepared) describingeach pebble. With this help they easily foundtheir own.

771, strong, paper 800 cm high. Designed by Erika

figure 7 Mast, paper model for the 500 cm highconstruction. Designed by Marton Cserny.

InSE2 INSEA NEWS April 1995 13

"A Funny Jungle Gym"In the Front Line of Japan's New Policy for Individualization

Toshio NaoeUniversity of Tsukuba, Japan

This 3rd grade (8 to 9 years old) les-son in Art and Craft class in a unique one inseveral aspects, the University of TsukubaElementary School was founded in 1873,one year after the first legislation of thenational education system by Japan's mod-ern government. The school has been affili-ated with the leading national institute foreducational research. In the history of theeducation system which has a strong featureof centralization by the government, thisschool has been recognized as an authorityon the elementary education in Japan.

The teacher's in this school work asresearchers / teachers. Most of them areengaged in developing the national Courseof Study, writing nationally authorized text-books, and experimenting with new teach-ing methods.

The students at the University ofTsukuba Elementary School are pre selected.Many candidates apply to the school for itshigh reputation. These students have al-ready won in the hard competition for en-trance.

The school has special events to showmodel lessons and hold the conferences twicea year. The lesson was held on February 18,1995, the last day of "The Open Day and theResearch Conference on Elementary Educa-tion". More than 4,000 educators through-out the nation visited this school of 960pupils during the 2 days conference.Therefore, you cannot expect to see a typicalschool lesson in a typical regional schoolhere. On the other hand, to see the experi-mental lesson in the school that leads na-tional elementary education may give ussome clues to foresee the future of the edu-cation in Japan.Before the bell rings:30 minutes before the lesson starts, pupilscome to the art room bringing their on goingwork and their own water color tools. Theirwork mainly consists of wires, clay in twocolors of white and pink, transparent tubes.The organic and complex structures havebeen built on the plywood. Some pupilsapply small ornaments or pastas to the clay,and others make small animals or figures ofthe clay. Now we can see the works are onthe theme of "funny jungle gym", the title iswritten in a decorative form on the black-board. One boy goes to the teacher and tells

him that one letter of the title on the black-board does not seem correct. At first, theteacher does not care for it, but later herewrites it, representing his attitude to re-spond to the children's mind. Mr.Hattori,an experienced art teacher, calmly tells pu-pils to prepare for the lesson, to bring water,to put the tool boxes under the desks, and towait. He has created many new topics andmaterials that try to realize children's dreamsand wishes in art lessons. This is the 5th hourof his newest topic, "funny jungle gym",planned as a 6 hours unit.A temporary gallery:

At 9:10, the class begins with a bowbetween the teacher and pupils. About 40pupils sit in 6 groups of 4 to 8 members, eachgroup has one large desk. The teacher be-gins to talk to the class. "I am lookingforward to see how your works will de-velop. By the way, you were too concen-trated on your o wn works. Let's walk aroundand see others' works."At this moment, about 30 visitors are ob-serving the class. Pupils seem to be used tosuch situation, for most of them do not looktense and some are talking to each otherwhile the teacher talks. But the teacher is notoverbearing, and draws the pupils' atten-tion to the lesson naturally.

He points at the words on the black-board and shows 2 "hints" on how to seeothers' works. Pupils are told to try to find"amusing ideas" or "good usage of mate-rial" in theirclassmates' "jungle gyms". Thenchildren stand up and walk around flockingtogether, talking to each other, and visitorsfollow them with cameras in their hands.'A few minutes later, the teacher tells chil-dren to sit down and asks them. "Have youfound any good ones?" One pupil recom-mends the work of a girl called Aiba. Theteacher tells her to come front with her work.Some pupils sa. "It's the second time forher!" "She is str:. ig enough." The teacherasks the reason o recommendation. Thepupil points out that she is making a mov-able part of wire like a swing. The teacheragrees and adds that he is also interested inthe shape on the top of her work. "It lookslike petals, a spaceship, or a bathtub..." Butshe answers shyly that it has no meanings..

The teacher shows another girl'swork and asks, "1 think this one is also

14 INSEA NEWS April 1995 InSEE19

fantastic. Can you tell what I think is won-derful in her work?" Some children raisetheir hands at once. "She uses some beadsand they move along the wire." "That'sright." "She twists the clay around the tube.""Oh, I didn't notice that point."Thus, the classroom changes into a tempo-rary gallery, and children begin to recognizethe value of other pupils' works throughdiscussions.Attractive presentation:

In this lesson, we can see some goodexamples of teacher's presentation thatcauses excitement among children aboutlearning.The teacher moves theblackboard and showsanother one. The words "How to make thejungle gym more amusing?" appears. Chil-dren say 'To color it?" 'To pour the coloredwater into the tube!" We see that a transpar-ent tube is clipped on the blackboard. Theteacher has a transparent plastic bottle ofwater, and he drops green ink into it. Thescene of diffusion of the ink into the water isattractive in the sunshine.Then he pours the colored water into thetube on the blackboard. The green watergoes down and up along the winding shapeof the tube. Children burst into speaking,"Oh!" "It goes up!" "Of course, the waterpushes from behind ..." "What fun!" See-ing the children's excitement, he begins totake other bottles of colored water one afteranother from the space under his desk. Red,blue, yellow, violet . . . when a new colorappears, children give shouts of joy and talkabout which color they prefer.At this stage, about 50 visitors are almostfilling the space in the classroom. Sur-rounded by the enthusiasm of the observers,one of the biggest show in this lesson ha:,been done successfully. Children seem to beattracted and wish to do it soon. The teachertells that each group can use the coloredwater in turn, and others should paint on theworks while waiting.

At 9:40, when the excitement is cool-ing down and most of the pupils are begin-ning to paint on the clay, the teacher drawstheir attention again. He says he will givesome "hints" on painting. Three kinds ofdrawing of a cloud and rain in blue color arehung on the blackboard. The first one is adownpour, the second drizzling, the thirdsprinkling. "Like rain has several kinds,you car, try different ways of using waterand brushes." Then he adds another draw-ing. The raindrops have many colors. "If therain is so colorful, it may be wonderful. Youcan also try different colors in your work".The teacher never imposes a particular tech-nique on children. Using a sort of allegorysuitable for their age, he suggests them to trytheir own way.

Talking about theirclassmates' works

Pouring coloured water intoa tube in her "jungle gyn"

Mr. Hattori, with the fourallegories of rain drop

I

I IL.fr, lo 411iitisA.

Sympathy and antipathy among children:We can sometimes see the cases that

the development of relationship among themembers in a group influences the qualityof their activity in their art lesson. Forexample, one group of 3 girls and 1 boyseemed quiet at first. But when they get thebottle of colored water, they begin toaztivately engaged. One girl pours the wa-ter into the tube, but air comes into it and thewater is divided into two parts in the tube.The boy helps, "You can pour from anotheredge." Of course the situation is the same.The water is almost spilling, and the boyshouts, "Stop it!" A little later, the teachercomes and drops color ink into the water inthe tubes. Soon they t _come interested inthe work and begin to talk, "Yours, only apart has a deep color." "Yes, it's beautiful.""Mr. Hattori did it ..." Aiba, the girl whosework was introduced at the beginning ofthis lesson is a member of this group. Sheseems to have gained confidence after theappreciation. Site tells what she found tothe next girl while painting. "My yellow isso lovely." "Yeah, it's true." In this group,their relationship is matured and they canaccept others' expression with sympathy.

In another group of 4 girls and 4boys, the situation is more strained. Oneboy begins to complain that the bowls ofwater on the desk for washing the brushesare closer to the girls, and the girls stronglyobjected to him. This quarrel between boysand girls on the territory is probably de-rived from the selfish attitude of some mem-bers and the undeveloped relationshipamong the members that cannot prevent it.Eventually, another boy mediated it byputting the bowls in the center of the deskand settling the border between boys andgirls. It seems to be still hard for them toappreciate the value of others' works.Conclusion:

The special 40 minutes lesson fin-ished successfully. The teacher showed hisvery experienced teaching to the full, hiswell prepared presentation brought excite-ment to the pupils, and the children appre-ciated others' works guided by his sugges-tion and through group activities.

At the same time, we could considersome questions on the relation between gov-ernment's policy for "individualization" andthe Art and Craft lessons in the new age.The theme of the conference held after thelesson was 'To Express intention in 3 Di-mensions", the phrase was taken from thegovernment's new Course of Study. Mr.Hattori presented that Art and Craft in thenew Course of Study emphasizes childcentered learning and development of inte-grated sense of making. His unique lessonshad names like "fantastic planets", "amus-ing cakes", "imaginary creatures", "won-

InSEM INSEA NEWS April 1995 15

der islands" and "funny jungle gym" - theselessons were planned to interest children, aswell as to provide them broad experience ofmaterials. He proposes new type of 3-Dlessons other than "old fashioned" sculp-ture (modeling and curving) of figures andanimals.One question for this proposal was a sort ofcontradiction between the lesson's aim atthe individualization and the resemblanceof the pupils' works made of the same kindof material and the structure. We couldclearly see the teacher used his creative im-agination to present a happy child's dreamin the lesson. Probably he expected that thechildren's enthusiasm devoted to the workwould develop their unique imagination. Inthat sense, the resemblance of the appear-ances of the work does not necessarily meanthe lack of individuality, if each child usestheir own imagination within the providedmaterial and structure. This also reminds usthe well known phenomenon that the pu-pils' mutual reference of the works and theteacher's direct / indirect suggestions forma sort of "style" in a classroom, in spite of thelesson's aim to develop each pupil's unique-ness (Elfland).

The other was the relation betweenthe child centered learning and the profes-sional art areas. Educators who want toemphasize child centered principle includ-ing this case sometimes tend to deny therelation between their art lessons and the"adults art. However, we could see thateven his topics can be included in the mod-em concept of art. For example, "amusingcakes" reminds us that some Japanese tradi-tional sweets are recognized as "art" today.Other topics have many things in commonwith the contemporary art scene in the con-cept like "mixed media", "installation", or"environmental art". I suppose that someed -..ators think that using the term "art"mc. -ns to impose adults' standard on chil-dren. However, we could see the "art" inour age also share the concept of individual-ity and use of mixed media, which wereintended to emphasize in this lesson. Theappropriate relation between individualityand instruction, and between "asobi" (play)and art may be some of the basic questions inArt and Craft lessons under the Japan's newpolicy for the individualization in educa-tion.References:Efland, A. 'The School Art Style: A Func-tional Analysis" Studies in Art Education,1976 vol. 17, no. 2, pp. 37-43.Ministry of Education, Science and Culture,The Course of Study for Elementary School,1989, Ministry of Finance.University of Tsukuba Elementary School,The Open Day and the Research Conferenceon Elementary Education, 1985.

16 INSEA NEWS April 1995 InSEM

InSEA has its own e-mail network called InSEA-L. InSEA-L'spurpose is foster international communication, collaboration, andresearch in arts education and related issues. The Canadian Societyfor Education ThroughArt and the University of New Brunswickestablished InSEA-L for InSEA.

Currently (April 1995) InSEA-1 has about 200 subscribers rep-resenting ten countries. Subscription is free and open to all with aninterest in arts education.

If you can send e-mail to the Internet you can subscribe toInSEA-L. Send e-mail to InSEA -L- server @UNB.CA with the follow-ing command as the one and only line in your message: SUBSCRIBEInSEA-L your name]. For example: SUBSCRIBE InSEA-L MarionRichardson.

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American Arts Education in Elementary Schools:Craft, Child Art and Fine Art

Liora BreslerUniversity of Illinois at Urbana Champaign

This paper explores the nature of artseducation in school settings. Historicallyrelated to religion and spirituality, to na-tionalism and patriotic values, art also ar-ticulates highly personal themes and is asso-ciated, perhaps more than any other do-main, with creativity and expression. Whichof these various aspects make it into theclassroom? What shape does art take interms of contents and forms, emphases, andvalues?

Obviously, arts instruction is aboutart. It is also shaped by teachers' back-grounds and knowledge, by the largerschool goals and their compatibility witharts programs, and by human and finan-cial resources. This paper provides aglimpse into art education in two Ameri-can elementary schools. The selected siteswere ordinary schools,2 selected to touch avariety of demographics in a large city(Chicago) and a small "blue-collar" town(Danville). The schools had no art special-ists and art was taught by classroom teach-ers. In each school, I observed art instruc-tion in grades K-8 for one academic year,encompassing different levels of abilityfrom the gifted to the lowest tracks, includ-ing special education classes. In order tounderstand underlying assumptions (inpractice) about school art and the nature ofteaching and learning in the arts, I exam-ined structures, pedaogies, contents, andevaluation practices.5

Within the heterogeneous contentsand activities of the day-to-day curricu-lum, I identify three orientations in thevisual arts: (1) the rote, (2) the open-ended,and (3) the cognitive.

I. The Rote OrientationMrs. Jones, a second-grade teacher, takes

out crayons as students move chairs to formhorizontal lines facing her. She hold high hermodel bunny hat. "Let me show you what we'regoing to do." She motions to Johnny to stand upand places on him her hat. (To class]: "Do youwant to do one of these? (Approving voices.] Ialready traced the pattern. First, you need to putsome eyes on it. I'm going to give you a choice.You can have pink eyes or blue eyes."

With heavy demand for pink, Mrs. Jonesgets more pink paper from her desk and hands itto Matt to distribute. Ears, eyes, nose, and

whiskers are manufactured in that order. Bun-nies multiply and proliferate as children cut,glue, and paste. Passing from one student toanother, she checks that things have been donecorrectly, compliments ( "1 see some real nicebunny ears here.") and staples the hat.

The rote orientation permeated thecurriculum across all grade and ability lev-els. Activities were fully prescribed by theteacher, aimed at imitating a "model." Theproducts often revolved around holidayand season themes: a colored turkey, aChristmas decoration, Valentine heart,Easter bunnies or roses for Mother's Day.Teaching typically consisted of a list of in-structions to be followed step-by-step, leav-ing little space for experimentation withideas or materials. Criteria for evaluationinvolved dexterity and fine motor skills,neatness, memorization of directions, andmost important: good behavior. Allocatedtime ranged from 25-40 minutes.

My observations of the general cur-riculum suggested that this art orientationimitated the practice of academic subjects:arithmetic, spelling, and social science, em-phasizing procedures, following directions,and memorization. Like these academicdisciplines, arts activities were procedureoriented. Art products were rather uniform,differing only in marginal details: precision,colors.

IL The Open-Ended OrientationLily Jones, a second grade teacher, pours

glitter, yarn, cotton balls, and other materialsinto little plastic bowls and arranges them neatlyon a back table between scissors and pine cones.Laura makes green stems from yarns and cones.Christopher glues cones on a newspaper. Allisonglues glitter on cardboard. Mark folds paper fora magnificent lamp. Each folds separately, Sarahhelps. Children visit with each other and areinterested in what the others are doing. Jonessummons Allison to help assemble more bowlson the table. Jacob accidentally hits a box and thewater colors spill out. Jones: "Just clean up,please." Jones slides from one group to another,compliments, and offers suggestions to the lostones.

This class featured open-ended as-signments, freedom to pursue and exploreindividual projects, and a supportive feed-back. The pedagogy reflected Jones' sensi-

22

tivity, respect and caring, and attention tothose children who needed more specifichelp. As we were talking, Jones highlightedchild independence and ownership of art-work. "These are their own art projects.They can make anything they want. What Itold them at the beginning of the week is tobring any supplies they want to, anythingthat they would like for art." In addition,Jones went out of her way to secure what-ever materials were available in the schooldistrict.

The open-ended curriculum was fea-tured in those classes which had less pres-sure for achievement and accountability:primary grades, ESI. , and special education.Outcomes varied, r anging all the way fromschematized holiday decorations to originalideas such as magnificent lamps, computerand junk sculpture skillfully executed.Though irregular, lessons were longer, rang-ing between 60-90 minutes. This allowed fortime for thinking, and working thoroughlyon projects.

III. The Cognitive OrientationHelen Brahos, a first-grade teacher, car-

ries a thoughtfully-arranged bouquet of flow-ersa variety of colors, textures, and forms.Placing it in front of the blackboard, Brahosinserts blue paper as a background, then squintsher eyes and adds a pink tablecloth for contrast.Standing at the side of the vase, Brahos promptsthe children to look at the shapes and colors, toperceive, then to "recreate."

"This morning we're going to try andcapture these flowers on paper the way they looktoday. Let's take one flower. Now we've beentalking about flowers before, haven't we? (Shemotions toward a group of pictures near the black-board, products of a previous project.) We wantthe flowers to become more important than thevase. So we are going to make the vase just a littlesmaller. Now, I've brought two old tulips from mygarden. I know they are dying, but today we wantto paint a spring picture. You can make the tuliplook more alive if you use a bright red. You're anartist, so you can change your colors around. Butwe also like to stick as much as we can to the colorand shapes of the little flowers here. Now remem-ber, you can put in the flowers you want and leaveout the flowers you don't like. It's not importantthat you put in every flower. You can create yourown arrangement of flowers."

1n522 INSEA NEWS April 1995 17

InSEEBrahos' art instruction drew upon I

specific knowledge (and often subject-mat-ter) to art discipline. Students were ex-pected to function as artists. The artist's rolewas presented as central to the activity: ob-serve, plan, create, develop skills, reflect,and evaluate. Unlike the first twoorientations, making art was neither spon-taneous nor prescribed. It required inten-sive teaching, as well as concentration, ef-fort, and experimentation on the part of thestudent. Techniques were equally impor-tant. The acquis.don of skills was a neces-sary tool for expression. Brahos used aes-thetic concepts to provide guidelines withwhich to conceptualize and construct inter-pretation. The attention to aesthetic quali-ties was manifested in the sensitivity to form,shape, and balance. Teaching consisted ofevaluation and specific feedback, typicallyof technical, formal, and expressive quali-ties. He7e, the art curriculum was sequen-tial, drawing on previously taught skills andconcepts. Lessons were long, taking some-times a whole morning.

4 These orientations reflect prolif-eration of values, differing with their viewof what is worthwhile art knowledge, theorganization of leaming opportun ies, andthe suitable pedagogies for these teamingopportunities.

The most prevalent of theseorientations, the rote orientation, draws onthe view of the school as a preparatory foracademics and social control. Educationalgoals highlight good working habits anddiscipline, shunning elitist ideals and highculture. Art often serves as an instrumentto Americanize children by inculcatingcommon symbols and a shared culturalbase. Here, art was interpreted as craftavery diluted one, requiring few skills andlittle aesthetic sensitivities.

The open-ended orientation can betraced to the progressive orientation in art(e.g., Lowenfeld, 1947). Teachers' empha-sis on self-expression, creativity, and spon-taneity reminiscences early childhood theo-ries: Art is seen to provide a safeguardagainst the routine by promoting thehealthy channeling of feelings. Here, art is

follows a "proto art" or "child art" model.The cognitive orientation can be traced

to the cognitive revolution of the early 1960s.This revolutii..., turned attention to percep-tion, conceptualization, and problem solv-ing. Art was identified as one of severalindependent intelligences (Gardner, 1983).Accordingly, art teachers provide studentswith specific skills, symbols, and discipline-based knowledge to facilitate perception,interpretation, and problem solving. Artfollows the model of "fine art." This orien-tation was the rarest because teaching re-quires sophisticated knowledge of art as adiscipline, it is typically practiced by teach-ers with extensive artistic backgrounds.

Each of these orientations reflectsdifferent concepts of what is art (craft, protoart, fine art), and different pedagogical ap-proaches (teacher prescribed, child centered,scaffolding). All three fulfill important roleswithin the schools. In the hands of inexpe-rienced teachers, the marginalization of the"fine art" orientation perpetuates a void inartistic visions, skills, and sensitivities.1 This paper is based on a three-year ethno-graphic study (Stake, Bresler and Mabry,1991; see a'.so Bresler, 1993,1994), funded bythe National Endowment for the Arts.2. Though as case-studies go, there is noclaim of representativeness.3- Additional data sources included inter-views with 39 teachers, as well as principalsand students.4. The discussion of any categorization war-rants caution. The orientations are theoreti-cal constructs. Practice, however, rarelypresents itself purely, rather it is eclectic andcan combine two, or even three of theseorientations at various stages. However,these orientations are relatively independ-ent of each other. Teachers do not deliber-ately develop all of them, indeed, they maybecome habituated into one of them and notpay much attention to the others.

18 INSEA NEWS April 1995 UnSE2

ReferencesBresler, L. (1994). Imitative, complemen-

tary, and expansive: Three roles ofvisual arts curricula. Studies in ArtEducation, A Journal of Issues and Re-search, 35(2), 90-104.

Gardner, H. (1983). Frames of mind: Thetheory of multiple intelligences. NewYork: Basic Books, Inc.

Lowenfeld, V. (1947). Creative and mentalgrowth. New York: Macmillan.

Stake, R., Bresler, L., & Mabry, L. (1991).Customs and cherishing: Arts educa-tion in the United States. Council ofResearch for Music Education, Urbana,IL: University of Illinois.

Thanks to Karen Andrews for her out-standing secretarial/editorial help.1 This paper is based on a three-year ethno-graphic study (Stake, Bresler and Mabry,1991; see also Bresler, 1993, 1994), funded bythe National Endowment for the Arts.2 Though as case-studies go, there is noclaim of representativeness.3 Additional data sources included inter-views with 39 teachers, as well as principalsand r;tudents.4 The discussion of any categorization war-rants caution. The orientations are theoreti-cal constructs. Practice, however, rarelypresents itself purely, rather it is eclectic andcan combine two, or even three of theseorientations at various stages. However,these orientations are relatively independ-ent of each other. Teachers do not deliber-ately develop all of them, indeed, they maybecome habituated into one of them and :totpay much attention to the others.

A Day in the Life of an Elementary Art Specialistin Rural Midwestern AmericaLeah H. Morgan,Orleans Elementary School, Orleans, Indiana, USA

Before I can get my so-called typicalday started, I must give you some informa-tion about our small community. In ourelementary building, where I teach, we haveabout 447 students in grades K-6. We arelocated in a rural section of beautiful south-central Indiana with mostly working classfamilies of European background. This timeof the year, some classes in the 5th are in-volved in studying art education in othercountries.

A typical day in the art room beginsat least a year in advance. Like many otherteachers, I am always thinking and planningmentally or jotting down ideas for next year.

I arrive at school early in the morn-ing to confer with a fourth grade teacherwho works with me on a project, and after abrief discussion I head to my classroom.

Today's First lesson is already laidout, including all necessary resource materi-als and supplies. We are studying Franceand the Eiffel Tower today. Quickly I go intothe storage room to check the kiln, whichwas fired the day before soon, a 5th gradeclass is ready and waiting for me. Thestudents are excited about studying France.We have a discussion about the geographi-cal location and some students use referencebooks to find additional information. Wediscuss d ifferences between the job of a struc-tural engineer and an architect. One studentreminds everyone about the Eiffel Tower ata local amusement park and different vaca-tion stories are told. Some of the studentsmention siblings who have gone to Francewith high school French Club. After thisdiscussion, I pass drawing paper and in-struct students to draw their interpretationof the Eiffel Tower. They are to add colorand/or shading and may add surround-ings. Next, I p ass around a cardboard modelof the Eiffel lower to provide a hands-onactivity. Many of the students like the mod eland try to create a drawing that looks three -dimensional When this class leaves anotherfifth grade class takes their place and workson a similar lesson.

.dIMMINIV

About the middle of the morning afourth class arrives and the fifth class leavesmy room. This class is completing an illus-trated recipe book containing the best cook-ing secrets of their grandparents. Whencompleted these books will be sold locally toraise money for the school.

This class is studying the same thingsas the fifth grade, but each is working on adifferent project. Sometimes I try to keepthem doing the same lessons so they areexposed to the same materials, but this is notalways possible. We have missed manyFriday classes because of holidays and Per-formance Based Accreditation (State man-dated) meetings for staff and communitymembers. Also, because of the many differ-ent classroom teaching techniques, someclasses have not been exposed to the samematerials. The teachers at our school believeone of our strongest assets is having thefreedom to teach as individuals and exposestudents to a more diverse curriculum whilethey (teachers) can share many areas moreindepthly.

Now its time for lunch, and do I needa break.

I finish lunch and rush back to myroom so that fourth graders, who need extratime to come and complete assignments theyhave not finished during art class, can returnto my art room to complete their work.

Next a fourth graders class arrives.The students have some trouble settlingdown because they have just finished re-cess. Today, they have a lesson to finish fora logo contest for our local Dogwood Festi-yal that the town celebrates every spring. Iusually choose one or two contests per yearand have had some wonderful results. An-other class is finished, and it's for the lastclass of the day. The class beings with acritique of work in progress. Most studentsbase recommendations for improvement fortheir peers. Then the students get to worksoon,.

It's a third grade class and the stu-dents are finishing painting paper machemasks they made last week. I show thestudents reproductions of masksaround theworld. A lively discussion ensues aboutwhy the masks look the way they do andhow they are similar and different from eachother, we also discuss how students wear

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masks at Halloween time in the United States.The students finish painting their masks,clean their work areas, and are ready for theclassroom teacher when he arrives so thatthey can get ready to get on the schoolbusses that will take them home..

The regular school day ends and thestudents in the Art Club arrive. These sevenstudents are working on ceramic pottery.Some are glazing, while others are puttingfinishing touches on their products. I alsohave two students come to work on a draw-ing program on the computer. All of thesestudents are lively and active. With such asmall group, I can converse with them on amore adult level and they learn more ad-vanced and difficult concepts and terminol-ogy than they can in their regular art classes.Before we know it, it's time to go home. Thistime period is just not long enough. Theyclean up their work areas, put chairs on thedesks, and are ready to leave.

During this day I have had over 125students and I am worn out. I now havetwenty minutes before I can leave for theday. But i first I must double check lessonsand materials for tomorrow. Most days Idon't leave until 4:30 or 5:30PM. Gradinghas to done at school because I do not wantto carry home masks, pieces of pottery, or ahundred portfolios. It is now 4:45 PM andtime to b. gin another work day as I leaveschool and stop at the grocery store, visit mymother for a few minutes, pick up my sonfrom baseball practice, fix dinner, do thedishes, throw in a load of laundry But, thenext morning when I see the students in myart room, I'm excited about teaching themart, and the process begins again.

InSE2 INSEA NEWS April 1995 19

Regional News

InEEMFrom the RESEARCH BOARD...mb.d1. Call for Papers Evaluation ofCommunity Center Art Programs.

The InSEA Research Board has undertakento produce a special issue refereed journalfocussing upon the theme Evaluation ofCommunity center Art Education Programs: International Views" This iussue will beedited jointly by Kristen Congdon and DougBoughton. The Series Editor is Robert Stake.The editors are interested in receiving arti-cles from authors in various countries thatpresent views about the nature of commu-nity centers and evaluation issues arisingfrom them. Deadline for submission is De-cember 15, 1995. Papers should be sent toboth: Dr. Kristen Congdon, Art DepartmentVAB, University of Central Florida, Orlando,FL, 32816, USA andDr. Doug Boughton, University of SouthAustralia, Holbrookes Road, Underdale, SA5032, Australia

2. InSEA Approved Research Projects.InSEA Researach Board offers to approveresearch projects that are consistent withInSEA aims. Such evidence of approval fromInSEA may provide researchers with assist-ance in securing funding from other sources.While InSEA itself is unable to provide fundsfor research it is committed to assisting re-searchers in the field. Those interested insubmitting theirprojects for review and ap-proval should send them to Dr. DougBoughton, Chair, Research Board, addressabove or e-mail doug .boughtonedu.au In the event that projects do not meetInSEA objectives or appropriate researchstandards advice will be provided to re-searchers to assist further development oftheir project.

Invitation to Contribute to aWorld Directory of Collectionsand Archives of Chil drenis ArtNancy Retallack-Lambert &Rita L. Irwin

This is an invitation to contribute toa World Directory of Collections and Ar-chives of Childrenis Art being collected byNancy Retallack-Lambert and Rita L. Irwin.Our interest in child art has lead us to under-take a listing of all current collections ofchild art in the world. It is our hope that youcan assist in updating this important Direc-tory for the benefit of interested individualsand groups worldwide.

The first edition of the Directory cameout several years ago as a World Register ofChild Art Collections. Since that time wehave rethought the format of the work withthe help of our publisher. the second editionof the Directory will be bound in such a wayas to allow for ease of updating. The cost ofthe Directory will include provision for regu-lar updates.

Our intention is to publish the Direc-tory in order to make the extent and diver-sity of interest in the phenomenon of childart apparent to others in the related fields ofart and education. As well, the Directoryenables art educators to identify those in thefield who share their specific interest whilealso permitting scholars ready access to arich and useful resource.

The interpretation used here of theterm "collection" is very general and refersto an available accumlation of child-art madeobjects. In other words, a collection belong-ing to a parent who has methodically datedhis/her child's work over the years is no lessimportant to the Directory than is a collec-tion gathered by an art consultant and rep-resenting the work of an entire art centre orschool. However, in order to assure theusefulness of the Directory, it is importantthat each collection mentioned by to someextent accessible to interested others. Thismeans that the collection or caretaker of thecollection should be willing to allow view-ing of the collection.

If you are interested in participatingin this project please contact Rita Irwin formore information. Also, if you know of anycollections in your country which may havebeen over looked in the first edition, wewould appreciate any i nform atio n you mighthave on who we might contact. In closing,we wish you good luck and pleasure in yourprojects.

Dr. Rita The University of British Co-lumbia,Depatimentof Curriculum Studies.2125Main Mall,Vancouver, British Columbia,Canada V6T 1Z4, (604) 822-9366 fax, (604)822-5322 work

20 INSEA NEWS April 1995 InSEE

Successful 1994Asia Regional INSEA Congressin Taipei, Taiwan

V 111.L, I

ft..'A. . .,:, ,

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3. A

1994 Asia Regional INSEA Congresswas held in Taiwan between December 26and 28 last year. It was a great success. Morethan two hundred art educators from Tai-wan, Japan, Korea, China, Malaysia,Hongkong and USA were together at theTaipei National Central Library Hall andtheTaipei M u n icipal Teachers College. Maintheme of the Congress was Prospects "ArtEducation in the 21st Century" and subtopicswere "Environment, Life and Art Educa-tion" and "Social, Culture and Art Educa-tion".

The 25th Annual World School Chil-dren's Art Exhibition in R.O.C. was held andArt Education Resources was exhibited.

Thirty-five art educators made pres-entation; and keen questions and answersmade audience very excited. .

This was the first Regional INSEACongress which was formally approved byINSEA. In this sense, it was remarkable andalso memorable.

Secretary General Long-Rong Wu or-ganized the Congress very well and art edu-cators in Taiwan enthusiastically supportedhim. Overseas participants were warmlywelcomed and everyone of them was deeplymoved by seeing and feeling that interna-tional relationshipand exchanging programshad been successfully proceeding.

INSEA ASIANREGIONALCONGRESS, 1995Taiwan, R.O.C.November 10-15 , 1995

.1994 32:.$11110012'1111*.Asaria1.91, l$J. ME.A leg,.

Welcome to Taiwan, R.O.C. and to theINSEA -ASIAN REGIONAL CONGRESS,1995

The 1995 Regional Congress of theInternational Society for Education throughArt Asian Region will be held in Taichung,TAIWAN, R.O.C. on November 10 -15.

This regional congress is organizedby the Taiwan Art EducatorsAssociation(TAEA) in cooperation with vari-ous cultural organizations, educational andgovernmental agencies of the Republic ofChina.

We are very happy to have INSEAmembers from all over the world, as well asthe delegates from the Asian region, here inTaiwan for this conference. It is sure to bestimulating gathering of art educators fromdiverse cultures and with different educa-tional experiences.

The city of Taichung where the con-gress will be held has the best climate inTaiwan and is located 130 kilometres southof Taipai with and altitude of 50 metersabove sea level. The area is endowed withbeautiful scenery and a rich variety of nativecultures.

Regional and national exhibitions of youngpeople's art and crafts.

Tours to historical and cultural landmarksand museums.

Cultural presentations and performancesassociated with the native Arts.

Dinner and banquetsTours to local beauty spots.

CAT L FOR PAPERSTheme of the congress:Culture Society Art EducationThis provides an opportunity for art educa-tors to share and discuss theories, practices,problems and trends of art education intheir own countries based on each country'sunique cultural background and tradition.

ARTEDUCATORS INTERESTED IN PRE-SENTING A PAPER OR WORKSHOPARE ADVISED TO REQUEST A PRO-POSAL FROM:

ti

THE SECRETARIATINSEA ASIAN REGIONAL CONGRESS,TAIWAN, 1995National Changhtv University of Educa-tion, Art department1 Jinnder Road, Changhua, Taiwan, R.O.C.5005?Tel:(04)721-1101 Fax:(04)721-1185

Final date to return accomplished form andpaper Sept. 15, 1995

CONGRESS LANGUAGEThe official Congress languages are Chineseand English. Translation into Japanese willbe provided.

RETURN SLIPMay I request the following information:

RegistrationCall for papersExhibitsAccomodationsPost Congress Tours/Events

12:1 Others (specify)

Name

Home Address

Title/PositionOrgari.,ationBusi; .e.ss Address

Telephone (Home)(Office)(Fa)

RETURN TO1NSEA-ASIAN REGIONAL CONGRESS,TAIWAN, 1995National Changua University of Educa-tion, Art Department, 1 Jinnder Road,Changhua, Taiwan, R.O.C. 50058

InSEE1 INSEA NEWS April 1995 21

The 29th World Congress for Education through Arthas already the pattronage of

Monsieur Federico Mayor, Directeur, General de l'UNESCO, Monsieur Daniel Tarschys, SecretaireGeneral du Conseil de I... Europe, la Decennie Mondiale du Developpement Culture!, organisee de1988 a 1997 sous les auspices de l'ONU et

de l'UNESCO. le Ministere de l'Education Nationale

Call for papers INSEA World Congress Lille 1996

You are invited to participate in theWorld INSEA Conference 1996 at the LilleConference centre from the 8th to the 14thJuly 199, and the Research Pre-conference 6-7 July 1996.

The general theme of the conferenceis the relationship between three concepts.

"Art, Science and Environment in the 3rdMillenium: Divorce and Reconciliation"

At the dawn of the 3rd millenium, inan age of advanced technologies, of rapidlychanging planetary awareness, what direc-tion should Education through Art be tak-ing?

The proposed paper should show aclear sense of direction and purpose, iden-tify possible problems and concerns, raisewquestions and propose lines of research orcurriculum development relevant to themain subject: Please indicate clearly if yourpaper is intended as a research paper fro thepre-conference or a general paper for themain sessions.

Education through Art, the social stakes,policies

Art and the Natural EnvironmentArt and the Artificial EnvironmentAwareness of the EnvironmentArt and Design

DEADLINE FOR SUBMISSIONSPost marked no later than 30th October 1995.Send your proposal to present a paper orworkshop to:

Marie-Ndel Thirion-WattinINSEA 1996 World CongressMaison de la RechercheUniversitE Charles de Gaulle Lille IIIB.P. 14959653 Villeneuve d'Ascq - FRANCE

AN&

Presenters must register to attend thi (in-ference and assume all related expenses.

Vous 'tes invites a participer auCongres Mondial de INSEA 1996 au Palaisdes Congres de Lille du 8 au 14 Juillet 1996.

Le theme general du Congres soulevela question due rapport entre trois concepts:

"Art, Science et Environnement au 3emeMillenaire: Divorce et Reconcilliation"

A Tube du 3eme Millenaire, a uneepoque de technologies avancees, d'nc con-science de la planate en pleine mutations,comment se pose lorientation de l'EducationArtistique?

La communication propos& doitdemontrer une orientation claire dans unchamps dela recherche, questionner certainspoints afin d'etablir une problematique, etd'ouvrir un cadre de recherche relarif ausuject essential: l'Education.

Education Artistique, Enjeux Sociau,Politiques...

Art et Environnement Nature]Art er Environnement ConstruitPrise de Conscience de l'environnementArt et Design

DATE D'ECHEANCE POUR LARECEPTION DE VOTRE PROPOSITION:

Marie-Noel Thirion-WattinCongres Mondial INSEA 1996Maison de la RechercheUniversite Charles de Gaulle - Lille IllB.P. 14959653 Villeneuve d'Ascq FRANCE

Les personnel dont les propositions serontretenues devront obligatoirement s'inscrireau Congres et assurer les fais d 'nscriptions.

Veuillez completer le formulaire

22 INSEA NEWS April 1995 InSEE

CHILD ARTEXHIBIT

Each country should submit a projectplan as quickly as possible to illustrate thedimension of artistic practice in the teachingof plastic arts.

Our venue, the Grand Palais in Lille,provides an exhibition area of 18000 m2,larger than that available at the annual FIACevent (International Fair of ContemporaryArt - 13000 m2) in Paris.

PRACTICAL ORGANIZATION1) Each country will be provided

with an exhibition area of 100 m2 in the formof a 10 x 10 m square. Picture railing will beprovided at a height of 2.50 m for displaypurposes.

2) Artistic works sent in may beframed: in this case, the frames must be alikebi.c may be of different size.For unframed artisitic works, we can makeavailable empty frames of the following sizes:0.90 x 0.90 m or 1.80 x 1.80 m, with black orwhich backgrounds, in which you have todisplay the works.

3) Each country must provide theirown picture title labels in French.

4) Material for framing and mount-ing will be made available by the organizers.

5) All proposals for display aids anddemonstrations will only be accepted withinthe space reserved for each country.

6) The displays, scenography, direc-tional and descriptive aids will be the re-sponsibility of the exhibitionis organizationmanager.

7) The works selected and presemedfor the exhibition will constitute the firstNational Foundation of ContemporarySchool Art and will not be returned. How-ever, their entire collection will be availableto each country for the purpose of roganizingexhibitions.

EXHIBITOR DIARYCOMPULSORY SUBMISSION IN LILLE offramed works: from 1st to 30th June 1996INSEAUniversitE de Lille 111 Maison de RechercheB.P. 149;9653 VILLENEUVE Di ASCQ CEDEXFRANCE

Tel: (33) 2(133 65 0,i Fax: (33) 20 33 64 60

CALL FOR PAPERSConference July 8 - 14, 1996 Research Pre-Conference July 6 -7, 1996

INSEA WORLD CONGRESS LILLE 1996

Family Name

First Name

This document can be filled in French, English, German or Spanish

Name of Institution or affiliation

MAILING ADDRESS

Street

Postal Code

PHONE

Work

Fax

City

Country

Home

Telex

TITLE OF PAPER Please 10 words maximun Presentation 45' Workshop 1.30 hour

ABSTRACT Please 100 words maximum typed only

The presentation is of special interest to registrants interested in

Curriculum Methodology

Experience of Practice

Contents of Teaching I Reflection /Theoryri

Research Congress

The presentation is of special interest to registrants interested in

jPrimary University

Artists Art Coordination

Junior High; Secondary

Special Education L I Parents

Museum Educators Directors L

Art Curriculum Specialists Politicians

Maximum number of participants 25 40 2(X) 300/5(X) 750 1500

Audio-visual material requested Overhead projector Slide projector 35mm Lecteur video VHS PALVHS NYSC Video VHS SECAM U MATIC VideoBVU Video BETA Video Others (specify)

Insert your CV one page only

Signature Date

InSEM INSEA NEWS April 1995 23

8

InSEEIINTERNATIONAL SOCIETY FOR

EDUCATION THROUGH ART

PresidentJohn Steers, United Kingdom

Vice-PresidentsAna Mae Barbosa, Brazil

Kit Grauer, CanadaMaryl Fletcher de Jong, USA

Joint Secretaries & TreasurersPeter Hermans & Diederik Schiinau,

The Netherlands

World Councillors

Africa and Middle East}Carnal El Masry, EgyptAmeur Makni, Tunisia

Zineb Lehman, Morocco

AsiaAnn Cheng-Shiang Kuo, Taiwan

Norihisa Naskase, JapanKong Zhong Qi, People's Republic of

China

EuropeRiitta Heikkinen, FinlandAndrea Karpati, Hungary

Britt-Marie Kuhlhorn, SwedenMeri-Helga Mantere, Finland

Elisabete d.a Silva Oliveira, PortugalPeter Wolters, Germany

Chair, European RegionUlla Arne 11, Sweden

Latin AmericaJose Ramon Gonzales Perez, Venezuela

Ivone Mendes Richter, BrazilNorman Oscar Tornini, Argentina

North AmericaKristin Congdon, USA

Judy Freedman, CanadaDuane Hagen, USA

Enid Zimmerman, USA

Chair, North America RegionMary Stockroki, USA

South East Asia and PacificDoug Boughton, Australia

Geoff Hammond, AustraliaPhil Perry, Australia

Chair, South East Asia and Pacific,Alice Panares, Philippines

SEEmembership

MEMBERSHIP APPLICATION FORM DE MANDE DE CARTE DE MEMBREFees/Cotits in $ US Fundsnew member/nouveau membre renewal/reconduite

Student/Etudiant $15.00

Regular member/membre regulier

Organizational/Institutional/Library subscription:Organisations/Instutions/BibliothNues et archive:

$25.00 ( lyr./lan)$45.00 ( 2yr./2 ans)$60.00 ( 3 yrs./3 ans)

550.00 ( 1 yr./lan)S90.00 ( 2yrs./ 2 ans)$120.00 (3yrs./ 3 ans)

Make cheques or Ix, tal orders payable to CitolInSEAEnvoi d'un mandat postal ou d'un cheque international a Cito /InSEA

Peter Hermans & Diederik Schiinau,do Cito/InSEA, PO Box 1109, 6801 BC Arnhem, THE NETHERLANDStel./ FAX : (31) 85 521202

Name (Nom)Address (Addresse)City (Ville)

State, Province (Etat, Canton,Province,Departement)Country (Pays)Postal Code, Zip (Code Postal)

AMOUNT ENCLOSED ( somme incluse) $

Methods of payment:

1. Bank cheques in American dollars drawn on a North American Bank only. Please make thosecheques payable to: InSEA.

2. Cash. in American dollars or Dutch guilders (registered mail)3. Traveler's cheque, preferably in American dollars or Dutch guilders4. Eurocheque in Dutch guilders. Make Eurocheques payable to: Oto /InSEA5. International Postal Money Order, in Dutch or US Currency (Via Post Office facilities).

Please send all cheques, applications or renewals to:Cito/InSEA, P.O. Box 1109, 6801 BC Arnhem, The Netherlands.

24 INSEA NEWS April 1995 InSE2

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