A Message for Teachers on How to Exist

Kick the Can memory from Darcy's journal
Kick the Can memory from Darcy’s journal

 

The other day my friend and colleague, Cyra Levenson, said, “Until the teacher has a voice again, no student will either.” I realized that while I coach how to teach writing to children, I have been neglecting to focus enough on the fundamental need for teachers to have a writing voice.

 

There are always great things happening in education, but for a long time now there have also been constraining mandates taking up more and more of our time. I felt suffocated towards the end of my time in the classroom, and today as a teaching coach I hear too often from teachers that they don’t feel like professionals when so much is decided for them. This needs to change. Obviously, you did not go into this job for the salary–so you deserve to feel happy in your job, as you educate the next generation.

 

Teachers: this is where I get bossy. If you don’t have a journal, get one. You need to exist on paper. Draw and write in it every day…not just about your students, but about yourself. Who were you as a child? How would you teach your younger self? What made you want to teach? What are your school memories? What do you love to do today? Write about anything.  Join a writing workshop for teachers like the Summer Institute at the Yale Center for British Art (http://britishart.yale.edu/education/schools-and-teachers), or travel – there are teacher/writer workshops out there (like this one in Santa Fe: http://eefstc.sfprep.org/the-way-i-see-it/).

Reading a Degas painting from Darcy's journal
Reading a Degas painting from Darcy’s journal

 

Share your writing with your students so they see your process, your struggle, your courage, and your voice. And then, watch your students exist on paper too.

 

When we see ourselves as researchers and learners, we gain a deep understanding of the larger picture. We develop strategies to overcome the oppressive red tape and get down to what matters: learning to love learning.

Self-Portrait Study

The “getting to know you” theme that many teachers engage in at the start of the school year is a natural place to introduce the idea of “self-portrait”.  Sylvia, my co-teacher, and I created a display of a dozen self-portraits which show a range of artistic expression for our five year old students to peruse during the first few days of school. Frida Kahlo, Ansel Adams, Pablo Picasso, and Georgia O’keeffe were among those displayed.

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  After the children discussed their observations of the portraits and we recorded them on chart paper, we invited our students to create their own self-portraits. Once they were complete, we had them write a sentence starting with “I am…” and we posted their thoughts with their portraits. This period of self-reflection was wonderful.

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Once this was finished, we thought it would be an excellent lesson to have the children study the faces on the professionally rendered portraits, and decide what the artists would say if they wrote “I am….” sentences. Each child really studied the portraits, looked into the eyes of the artists, and came up with some interesting responses.

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I loved noting the time that each child spent, really studying and thinking about each portrait before writing his/her idea. Overall, it was a meaningful way to get to know each other better.

First Drawing: planning, designing, reflecting

The circle undrawn is never the circle drawn; — Norman Nicholson

The 20th Century  British poet knew of the gap between our eye, our mind, and our hands. This gap, quite  apparent at the beginning of the school year awaits our response.  Integrating a visual strategy into your class can begin anywhere. The point is to start looking and start connecting looking to seeing, seeing to drawing, drawing to words.

For the past two years I have started with Albrecht Dürer’s Melencholia I (Albrecht Dürer – Melancholia I, 1514). I don’t spend a lot of time discussing the work of art as a cultural object; rather, we use the work of art as a beginning of seeing and thinking.  I have chosen the print for a variety of reasons. First, it is a significant work of art that continues to inspire conversation.  Many have tried their hand at its composition. The image also covers a range of objects and ideas: students can draw the entire piece or focus on one particular element.

 

“All her life Mary has been strong, confident and smart. Her parents were always wealthy, and had everything she had ever asked for. She had long beautiful silky dresses, and enough gold for the entire kingdom. Yet, she still felt as if something was missing – not something from her extravagant room, but something missing insider her…”

 

 

 

 

The image can handle sustained observation and the longer you look, the more you see.

“The Story: The woman, her child, and her crew were trying to get to their destination or the light in the distance. Their ship was wrecked and they were the only ones to survive. They washed up on a deserted island and the wreckage came with them. Now they are stuck on the gross uninhabited island and can see their destination in the distance. She is upset and starving. She is afraid she will die before someone finds them.”

 

The drawing work leads to conversation: What did you see? What did you draw? Why are these objects together? What does melencolia mean?  I then can ask the question (and one we will be asking and discussing all year): In what ways is seeing literal? In what ways is seeing metaphorical?

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“Two angels were sent to a small island. On the small island there were about 20 people on two boats which have crashed on the shore due to a bad storm. The boats no longer worked. Everyone was hot, thirsty, and hungry. They were so desperate for help…”

 

Of course, I don’t answer any of these questions, only start the story listening to the new worlds being made. The students are encouraged to speak, to say, and begin ‘showing’ what they see. And this starts our journey for the year. And our conversation…

–James Shivers

 

Primarily Mondrian

Hallie Cirino, 5’s Teacher, CHT Preschool, Westport, CT

My co-teacher, Sylvia Grannan, and I were a bit surprised that some of our students were still unsure of shape names by this time in the school year. A geometry unit was in order, and immediately Sylvia thought of Piet Mondrian. After displaying some of his paintings, the children made observations of Mondrian’s work:

Untitled

Sadie, who has lived in NYC remarked, “It looks like apartment buildings and elevators.” Most of the other children noticed the concrete elements: colors, shapes, and lines. In truth, as we set out to find biographical information on Mondrian, we found that both he and the analysis of his work are so esoteric that it’s difficult to teach the children about the artist. However, we seized the opportunity to emphasize primary colors.

One day, Sylvia had the children close their eyes and said, “Imagine red. Just think about red.” The room was more or less silent for a minute or so, as our 5-year-olds pondered red. Sylvia gave the children a blank sheet of white paper and asked them to illustrate what they saw, and then write about it.

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The children shared their results at circle time and then decided to put it all together into a class poem:

Red Is:

By the Unicorn Class, March 2014

Red is a face,

Red is a volcano erupting,

Red is anger,

Red is a zipper,

Red is butterflies,

Red is fire,

Red is our class color,

Red is a ladder,

Red is a sun,

Red is a meteor.

It was such a successful process; we did the same for yellow and blue. In addition, at the art center, we put out black electrical tape, and tempera paints in the primary colors. We found small, stiff canvasses, and the children went to town, taping their canvasses with vertical and horizontal lines and painting the resulting quadrangles. Here’s a display of several together:

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How-To: Use the Online Collection

The Yale Center for British Art’s vast online collection is a great resource to use in the classroom. Here are step-by-step instructions with images to walk you through a topical search of the online collection.

Step 1: Go to the Yale Center for British Art website. You can click here, or type in http://britishart.yale.edu/ into your web browser.

Step 2: Under “Collections,” select “Search.” You can also click on “Highlights,” “Using the Collection,” and “Related Resources” to find other materials and information that can help you in the classroom. Step 2_Collections and Search

Step 3: After clicking on “Search,” the “Search All Collections” webpage will come up. You might use this search if you are looking for a specific painting or various works by one artist. Searching all collections will give you artwork and literature across all mediums. To narrow your search, look to the right hand column and decide what you are looking for.

Step 3_The search page

Step 4: For this example, we will search the “Paintings and Sculptures.” Selecting this will send us to the “Paintings and Sculptures,” search page. As you can see, selecting a medium will allow for even more options to narrow your search and find exactly what you are looking for.

Step 3_seaching paintings and sculpture

Step 5: Search for the paintings and sculptures that you want to see. By clicking on the “Classification” or “Genre” options, a dropbox menu will appear with various options that have already by pre-selected. These can be helpful in coming up with ideas, or you can choose to type in your own original search. For this example, we will look for Animals in Art. We can see that there is an option for “animal art” in the “Genre” menu.
Step 5_Selecting a genre

Step 6: After selecting “animal art” and clicking on Find, we are sent to a page with all of the paintings and sculptures that are categorized under the “animal art” genre. Remember, you can narrow down your search even further by providing more information in the search page. You can also narrow down your search using the various options on the right side of the Search Results page.

Step 6_search results

Step 7: Select an image from the Search Results page to learn more about the artwork. Many of the pieces that are part of the Permanent Collection here at the British Art Center have images that can be downloaded and used for your use in the classroom. Simply click on the “Download” option underneath the image, and select how you would like to download the image. Images that the British Art Center does not have rights to will not be available to download.

Step 8_Selecting an Image

The online collection is a valuable resource that the Yale Center for British Art provides and understanding how to search the collection is necessary in utilizing this resource. Please feel free to comment with any questions about the online collection and how to use it.

Ode to Rousseau

By Hallie Cirino, 5’s teacher, CHT Preschool, Westport, CT

One of the great joys of teaching in a school which embraces an emergent curriculum is finding artists whose works reflect the interests of the children. Recently, my co-teacher, Sylvia Grannan, and I noticed an emerging curiosity in jungle animals, so Sylvia said, “Why not study Rousseau?”

We hung colored copies of a small selection of Henri Rousseau’s vibrant paintings on a classroom wall, and waited for the children of our pre-K class to take notice. Our students were immediately drawn in, informally pointing and discussing Rousseau’s work. “Look at those monkeys!” “I like the flowers.” “The moon is full.”

The next day, we set out blank white paper, markers, crayons, pencils, and pastels, and asked the children to “write” what they notice about the paintings. Every one of them first drew what stood out to them, and then wrote a sentence about it. The students each took a turn to share what they had drawn and written. 

henr_rousseau1

henri_rousseau2

 

A few days later we revisited their writings, and decided to write a collaborative class poem. The children started the poem by making a list of all the things they noticed in the paintings. We told them that these words are called nouns. The students then added action words to express what the objects/animals were doing in the paintings. Finally, they added descriptive words (adjectives). This was incredibly challenging yet fun for our five-year-olds!  Here is their Ode to Rousseau:

Feathered owl resting

Happy monkey swinging

Leafy flower growing

Red plants waving

Tall trees bundling

Round orange sitting

Furry lion sniffing

White moon glowing

Tired girl sleeping

Stringy guitar laying

Serious person standing

Fun city spinning

Along the way, we read parts of a biography about Rousseau, which included the interesting fact that he had never seen a jungle and painted largely from his imagination.  At the end of our artist study, we put out paints in the colors of Rousseau’s jungle paintings. The children were invited to use their imaginations, and paint whatever Rousseau had inspired. One of the children wanted to entitle his, and pretty soon they all had titles, from “Beautiful Flowers” to “Hiding Jungle”.

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The students of our class are now showing an emerging interest in sharks…

 

 

Inviting the Writing: The Path Between Drawing and Writing

“We just had the greatest class discussion! The vocabulary, the ideas, the connections…BUT, when it came to writing it down, they fell apart.” Does this sound familiar? We’ve all seen how easy it is to lose the magic when they face the blank page. How we handle the delicate transition to writing is the key to getting students to transfer their spoken language to the paper.

We often over-structure this transition, offering sentence starters and writing prompts which only serve to limit the children. Just as often, we give too much freedom, trusting that their enthusiasm for the painting will spill onto their paper. Both approaches usually result in blank pages. Offering the right balance of support is key. Here are two steps that ease the path to writing:

1. Allow time for drawing. With limited time in our schedules, I know it is tempting to jump to the writing. But I can’t overstate the value of taking the time to draw first. Drawing helps them – and us – see what they want to say. After discussing a painting, ask them to copy all or part of it, or they can draw something that the painting made them think of from their own lives. This helps them find their own writing voices.

Below, a third grade student has copied a painting from a postcard.

Garrowby Hill by David Hockney
kaylens-hockney
Third grader’s copy of Hockney’s Garrowby Hill

 

 

2. Provide Writing Invitations. These are key to helping students transfer their ideas to writing. Below are some Writing Invitations that I have used to guide students, while still allowing them enough choice to use their own voices. I always give at least two invitations, and I always “Your choice” (the child who chooses that one has thought of something I haven’t – and I am usually pleasantly surprised).

Sample Writing Invitations:

– Imagine yourself into your picture. What happens around you? Use all your senses to write a description or a story. (Other ways to say this: “Press play as if this painting is a video. What happens when it starts?” Or, “Start by telling what you smell, hear, see, or feel. Be detailed so I can imagine exactly what it’s like.”)

– Describe this painting. Be as detailed and descriptive as you can, and surprise me. (This is where metaphors and similes begin to show up).

– Write about what you were thinking as you drew. Where did your mind take you? What did you wonder and notice? What was easy or hard about drawing this picture? What surprised you?

– (for masks, statues, or portraits) Can you become this person for a while and write about your day?

– Does this picture/art piece make you think of a real place you’ve been, or a moment in your life? Include the sounds, the smells, the feeling of your memory.

– Your choice

There are unlimited Writing Invitations. You will think of what fits the needs of your class. For young children, sentence starters are not the enemy! Giving them the first few words can kick-start things for them (stick to something open-ended such as “I see/smell/feel/hear….” rather than something more constraining like, “I like this painting because…”).

After copying Hockney’s painting, this third grader reacted to the second invitation from above. She wrote:

“There is a squiggly purple road heading south. On the left there is a crowded tree place with one humpy hill. On the right of the road there is a grassy place with a garden. Down south the road leads to a rural kind of place which looks like precious glass.”

For teachers: Copy a painting into your journal, and use an invitation to write about it. What was your process like? What was surprising? Share your experience with your class – and with us!

 

Seeing Perspective

Here’s a classroom activity using Reg Bulter’s Man (early 1960s) from the online collection.

Lesson: Explore the value of location, view-point, and narration.

Activity: class drawing, reading, and writing

Process:  Use all three images from the online collection

Draw image (10 min) whole or detail.  Respond in writing to the following questions (5 min).  What is the mood? What is the story?

 

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Draw second image (10 min) whole or detail.  Respond in writing to the following questions (5 min): What is the mood from this perspective? What is the story?

 

 

Draw third image (10 min) whole or detail. Respond in writing to the following questions (5 min): What is the mood from this perspective? What is the story?

 

 

Reflection and follow up:  If you had only seen one of these images what would you know in terms of mood and story?

In what ways might we use our classwork today towards understanding the effect of location, view-point, and mood when we read literature? When viewing works online? When reading a news story?

 

Example: Although I generated the lesson for the students and their needs, I too benefit from ‘seeing perspective’ and participating with them. Here’s a clip from my journal covering two of the steps.

seeing perspective example1

 

Place in the Classroom

The activity generated quite a bit of conversation in the classroom the following day. Students gained perspective on a range of skills and frameworks — from seeing perspective to the role of location in story telling.

–James Shivers

DRAWING A PASSAGE

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What if? The Odyssey, Bk 5

Poetry is one of our oldest image-makers.  Words paint.  Readers imagine the world of the text.  What if we tapped into this visual process and redirected the output?  What if we began asking readers to ‘give us a picture’ of what they ‘see’ as they read?

What do these words see?  And later, how might words show a place or an emotion?

Crazy how the gods are getting blamed for all this
Crazy how the gods are getting blamed for all this

Poetry attempts to alter our perception through words. By asking students to draw what they see in a passage or a chapter we bring them into the poetic process. Creating a classroom where these drawings are shared and discussed situates each member of the class as an image-maker. By establishing various drawing activities within the study of the language arts we encourage students to explore other versions of ‘image-making’.  The imagination has another platform.  Students have access and place to continue the conversation.

A Map of Reading
A Map of Reading

In class students discussed their planning (“pre-writing”) for their design as well as their hopes (the effect on the audience).  Everyone had words to add.  Later in writing they pursued this question:  In what ways did the activity alter or enhance your understanding of the passage or reading itself? You may discuss your own work or work of your peers.

Choices
Choices
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Which strengths?
The Underworld
The Underworld

For the assignment the students chose a passage from their reading to draw and provide  ‘a visual reading of the passage’.  The examples below are from three different sections of the text we were reading at the time (The Odyssey).  One student wrote later that the assignment was the most difficult of the unit “because we had to draw a picture of what was going on in the chapter and I didn’t really have a good understanding of the chapter that we had to draw which made it tough.”

–James Shivers

 

But I Hate Reading & Writing

After many years in education, it has finally occurred to me that I really need to market the idea of reading and writing to my remedial reading 
students. Reading and writing has always been difficult for them and at the ripe old age of 9, they don't choose either as  free time activities. 
Despite my encouragement of, “practice will make you better” or my pleas:“you’d never say this to your football (basketball/soccer/dance etc) coach," reading and writing remain on the NOT TO DO list for these children. 

So, I decided that I would bring sketch books back to the reading room this year. My goal: Let the kids discover for themselves that they ARE creative and DO have great powers of observation and ideas. For the first 15 minutes of each reading class, the students sketch, write and share ideas. 

 

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Guess what??? They LIKE it! They are beginning to buy into the idea that they are smart…just in a different way from some of their peers.

Very quickly, after the first 3 sessions, I had students requesting sketching/writing time. In the beginning, I collected images from the YCBA collection, book illustrations, and online images from various art museums. I am storing them in what is becoming a rather large power point. Each slide is an image with several writing invitations.

 

Van Gogh: Shoes 1888

Students sketch and write for equal amounts of time.

JWMTurner; The Morning After Deluge 1843

 

Two important observations over the past month:

1) Kids get right to the writing. Not one student (grade 3-5) has uttered the dreaded words, “I don’t know what to write.” Or better yet, “How many sentences does this have to be?”

2) The kids are starting to notice that their writing is getting longer and more detailed. There is pride in their voices when they share. They are excited with the language they are using and making links to literature. They are applying figurative language and making inferences (and actually know what both of those terms mean now!)

Teacher note:

This takes very little planning. Just give students time and opportunity and they will amaze you and, more importantly, amaze themselves.

I sketch and write with my students to model and practice what I preach.