ARE 421 Journal Discussion

[Pam Stephens]

This is the place to post yuor chapter responses.

[Kathryn Christensen]

1. Describe in some detail the significant planning decisions that must be made in an art program developed in the following situations:
(a) a sixth-grade classroom in a new, wealthy suburb of a large city
One decision in this art program would be made by considering the community setting. Decisions should be based on respect for the social issues and values of the city. Students coming from wealthy homes may have parents who are more interested in being involved in the school than those who are less fortunate. A school in a wealthy suburb would likely have funding for more and better supplies. As with all classes, the art teacher should assess what the students already know and use that knowledge to make planning decisions.
(b) a third-grade classroom in a temporary school for the children of construction workers in an isolated part of North Carolina
Art teachers would have to consider how long the students would be attending the school. Another decision to be made would involve estimating how many supplies should be ordered when the school may not even exist for a long period of time. It would also be necessary to keep in mind that there would be a large turnover of students in a school such as this one.
(c) a mixed-grade classroom (first through fourth grades) in a mission school for Native Americans located in New Mexico
A classroom containing more than one grade would require additional planning decisions. Every grade level would have to be accounted for by considering the different projects and supplies needed for each. The "written curriculum should provide for differences, allowing teachers to adapt activities to the differences in individuals and groups" (Hurwitz & Day, 2007, p. 338). The older students might be able to help the younger ones. A mission school for Native Americans would also require that the teacher be knowledgeable about and respectful of "local social issues and values" and "issues that might be sensitive" (Hurwitz & Day, 2007, p. 340).

2. Describe how you would constructively handle a situation in which your principal was more interested in having an art program based on a rigid approach of outdated concepts than on a contemporary, creative approach.
If my principal was more interested in the art program being based on outdated concepts than on newer, more creative approaches, I would describe the potential benefits of creating an art program based on a current approach. In an effort to satisfy both the principal and myself, I would plan on using a few of the outdated concepts in contemporary, innovative ways. It might be beneficial to explain how a creative approach would be more interesting and engaging for the students and allow for interdisciplinary connections.

[Pam Stephens]

Kathryn's responses are right on target and she brings up a good point in the response to question 2.

I am wondering how you might use "a few of the outdated concepts in contemporary, innovative ways." Ideas anyone?

[Rib Aswad]

1a. One thing that migh be tried is to apppeal to the students and families as to how diversifying their subject matter might benifit the community. An exchange or visitation program of the inner city schools might be suggested. This would broaden the students horizons of the realities of ther peers sharing the medium of artwork. This could be combined with viiting city art museums and setting up grants and economic foundations that the parents would support because they have a known name atributed to them.
1b.Prepare to be able to find cheap supplies and materials from the community. Apply and appeal to local and federal aid organizations, including churches that may be able to help with some bulk suppplies. Possible even some of the parents companies. Perhaps develop a theme of the history and struggles of the area, but not limited to this. Work with the immediate administration, but also request funding from other resources asap.
1c.Develop a curriculum that involves the local traditional culture. By doing this you may open up to resources from the community, phsyical as well as individuals willing to come in , speak and share. Appeal to the local churches and churches afar in order to recieve more aid, by explaining why it would be benificial to the students. You might try to participatre on line for the students and connect with another classroom in another country to broaden the experience.
2. I would appeal first to the parents and explain why it might be benificial to have more contemporary teachings. However, I would talk over the situation with the principal and present this case before hand. As said before, the parents would have the most significant influence, and by presenting the case in a logical and appealing way , one may be able to compromise inhabing bothe traditional and contemporary forms.

[Tana Mendenhall]

In response to the questions given, the significant planning decisions that must be made in an art program in a sixth grade classroom in a new, wealthy suburb of a large city would be possibly to ask the parents if they would mind contributing either monetarily, or volunteer with art projects. You could submit ideas you would like to teach the class and see if they would be willing to help out in any way possible. A third grade classroom in a temporary school for the children of construction workers in an isolated part of North Carolina would pose an opportunity to utilize the environment for lessons. Research lessons in which you could use found objects from the area, environmental lessons would be an opportunity to use items from the outdoors, ie. trees, wood, sand, anything like that, (you get the idea). In a mixed grade classroom in a mission school for Native Americans located in New Mexico, a teacher could use the same lessons as the children in No. Carolina, and also can expand on the Native American issues and traditions to incorporate into lessons. You must watch and be sensitive about values, religious ideals, and other issues that may pose a problem with the students beliefs and practices though. The main idea for all three situations would be to use what ever is around you to incorporate into your lesson plans. Really get to know your surroundings and use what ever you can as budgets do not always work into your favor.

In a situation where the principal as more interested in having an art program based on a rigid approach of outdated concepts than a contemporary, creative approach, a teacher must address this issue lightly. I would maybe introduce new curriculum a little at a time, or maybe change some of the lesson plans slightly and add a little "spice" a small amount at a time as it is accepted into the curriculum. In a situation where the principal will not budge, I would possibly address the situation at the next curriculum review by the board of edu. or the superintendent. One thing I would do before working for the principal is check out the school and see how they teach. If the principal is too rigid, maybe I would consider working for a different school and district. Check out where you want to teach to find out these things before accepting a position within the school.

[Myra]

1. a) The decision making of this large, new suburban sixth-grade class should involve the community and parent values/morals. If the this community is wealthy, then funds of the art class should go toward learning about other cultures and diverse or different areas dealing with art. I agree with Kathryn when she says that wealthy parents are involved more with their children and school. That is why I feel it is important for not only students to learn about the community they are in, but also expand their learning if they have the resources to do it. The planning should start slowly in that new area, but eventually expand to diverse or new areas. Students could pick an artist of a different culture or even learn about other art in a different continents unlike theirs. ( I guess that is what teachers try to do). Students who have limited knowledge of how other lifestyles are don't gain as much knowledge thats available. I really stress opening up students' to other cultures while keeping their values.
b)This situation is not permanent as the first situation may be. Since the students are in this school temporarily in an isolated place, I agree that they should take an opportunity to explore the land as Tana said. The planning may be by term or even a year depending on the construction. Kathryn brings up a good point about materials. If this school is temporary or may lose a large amount of students, then estimating more than less of materials is key, especially if there is a limited budget. The basis of this class may be decided more by the school district than having the parents involved since it is temporary. But planning should focus on common interests in being involved with construction workers and build upon that with more individual experiences. Again, leading to diverse learning of others and creating work with themes of art and ecology. Somehow combine all these elements to make the most of a isolated location.
c) Plan the curriculum with age appropriate material and try to group with peers of the same age. Maybe even have some of the older students guide the younger ones with previous experience to show leadership. Keeping a task for them as well. Also, plan to incoporate the culture with art projects but finding similarities in other cultures works of art. Help relate students' previous knowledge and experiences with another kind of culture so they can identify with it. It is important also, for a mission school to be aware of other societies and how they differ, but each one has a place in history through art. The planning will probably be more community based with religion and values. Depending on the mission of the school.
2. If I had all these crazy ideas and wanted to think outside the box, but the principal just did not see it my way. I would probably talk to some other teachers to get advice or even ask them to join me in talking with the principal about at least trying a new approach. If that fails, then I would go to the superintendant and bring supporting evidence that the students can not learn to their full potential using out dated concepts. If that fails, then I would quit. Just joking. I would probably ask parents for help or even take the Tana approach and introduce newer concepts slowly. There has to be a way for students to experience newer concepts in learning while keeping the old ones. Not sure if I make sense. My brain is not really working today.

[Brandon Young]

1. Describe in some detail the significant planning decisions that must be made in an art program developed in the following situations:
(a) a sixth-grade classroom in a new, wealthy suburb of a large city?
Speaking optimistically with a new wealthy suburb I would more than expect a semi-progressive curriculum that embraces the arts. Pessimistically however, many wealthy suburban settings are very conservative which could lead to a very traditional curriculum where the arts play a secondary role. Either way having a wealthy community can be a great benefit when looking for supplies and volunteers. You do have to deal with the distinct possibility however that a new suburb outside a large city will be encroaching on a smaller more rural community. This can cause tensions within a school between an upper and lower class of students from a socioeconomic stand point especially in a middle school classroom where clicks tend to form. In an art classroom though, you have the ability to free your students from preconceived notions. You have the ability to show the local traditions and convey them in a respectful way to students who are coming from a wealthy background and may have no understanding of the culture that existed before they arrived in the area.
(b) a third-grade classroom in a temporary school for the children of construction workers in an isolated part of North Carolina?
A very concerning issue for me would be the seemingly revolving door of students attending and then leaving a school like this. I would think it to be very difficult to keep to a curriculum when you have no idea how long the school will even be there let alone how many students you"ll have on any given day of the week. A school like this makes me think of the art teacher and their cart going from one classroom to another and spending an hour with each class once a week. The idea of a certified art teacher at a school like this even seems a little bit of a reach. Getting a budget to order supplies for your class would be very difficult as well considering when the job is done so is the school.
(c) a mixed-grade classroom (first through fourth grades) in a mission school for Native Americans located in New Mexico
Native American culture is rich in a history that focuses partially on the arts and crafts of previous generations. I would think as long as tradition is followed and respected there could be a great arts focused curriculum put into place. Money would seem to be tight but through government grants and trying to get donations however large or small a great art program could be run from a school like this. It would be very challenging though to teach art curriculum to 4 grades at once with keeping in mind prior knowledge of each grade level and each individual student. Teaching in a school like this would prove very challenging from a planning perspective. A classroom like this would also require a lot of one on one time with students as well as having the older students help the younger ones learn new skills which will also help the older students to under stand the concept at a deeper level since they will be helping to teach it.

2. Describe how you would constructively handle a situation in which your principal was more interested in having an art program based on a rigid approach of outdated concepts than on a contemporary, creative approach.
First I would check into whether this is the principals curriculum decision or if it is a decision from the superintendent or board of education. If it is a decision handed down from the board i would gather material that shows how effective having a more free approach to teaching art can be and just ask to allow a few alterations at a time and have progress reports for the board and when there is positive feedback from students, parents, and test scores i would ask for a little more freedom in the curriculum. If the decision is strictly that of the principal i would research the district wide curriculum a

[stephen sokola]

In developing an art program for an affluent urban sixth grade class I would consider the following just as I would for any class I was taking on: What do these students need to know, What do they know? What is their skill level and where are their interests? These are some of the most important factors to consider when designing a curriculum. I agree with Brandon that is optimistic to think that you my have a greater art budget when your school district has an above average tax revenue. Students from affluent backgrounds tend to have certain scholastic privileges over students from moderate and suppressed economic districts. It is conceivable that students from the former district will have more access to certain technologies and importantly, materials than students from the latter districts.
The curricula designed for a third grade classroom in North Carolina is going to differ considerably on many levels than that of a sixth grade class in an affluent urban community but I would begin with some of the same questions. What do these students know, what do they need to know. It therefore seems that educated assessment will always be an important factor when designing any curricula. Assessment will also include understanding the values and expectations of a particular community. So therefore having cultural understanding of a community as well as some historical context of that community would be needed to design a curriculum that serves the students as well the administration of any classroom.


If I had a principle that was more concerned with an art program with a rigid approach that was outdated versus an approach that was contemporary and creative. I would begin on a path of positive communication by letting the principle know that I understood what they were saying. That their ideas are relevant but I would illustrate the importance of creative problem solving abilities which are great life skills for any student to have. Such skills spill over to other areas of academics such as math and English. I would also explain the importance of relevant curricula in the interests of engaging students and how this form of teaching vitalizes learning and contributes to the entire schooling experience. I believe if this principle is at all interested in student success he/she will hear what I’m saying and at least consider updating the approach of the art program of that school.

[Jessica McBrearty]

Describe in some detail the significant planning decisions the must be made in an art program developed in the following situations:

Both fortunately and unfortunately, in all cases, one must consider the state and local standards as well as the politics of the school. The values, environment, and availability of resources all affect a teacher’s lesson. In a.) a sixth-grade classroom in a new, wealthy suburb of a large city, it seems as though one may have a bit more lead way than the other two scenarios. In this school, the budget would be higher and the allowance for school trips to the city museum and great architecture is plausible. Projects can be expanded over a duration of time and local support may be there already or fairly easy to stir-up. In b.) a third-grade classroom in a temporary school for the children of construction workers in an isolated part of North Carolina, on the other hand, projects may have to be limited to time constraints. In a temporary classroom, one may be stuff cart-teaching. There may or may not be resources, adequate supplies, a designated classroom, and all kinds of storage and material issues.
When teaching at c.) A mixed-grade classroom (1-4) in a mission school for Native Americans located in New Mexico, all kinds of considerations arise. Different ages also come with different maturities, both socially and mentally. Learning paces and styles are now multiplied and although it would be best to do all different lessons, funding and time may now allow for this. Group collaborations may be helpful in this kind of situation so that students can form smaller environments in which to trust and cooperatively learn. This may be a difficult environment as well to teach visual culture to and it seems as though there may be serious constraint based on the goals and policy of this school.


Describe how you would constructively handle a situation in which your principal was more interested in having an art program based on rigid approach of outdated concepts than on a contemporary, creative approach.

First, one needs to develop a way to integrate new and better teaching methods while still respecting the district policy goals. If it were possible to get the community involved the task would be a lot easier. It seems that the main feat here is being able to convince the principal that product creation is not the only outcome of well taught art education. To mention only a few, art encompasses creativity, empowerment, and emotional release; it fosters critical thinking and exploration while teaching tolerance, history, visual culture, and the world around students. Teaching through art by incorporating other studies and teachers may rally up some support of faculty. Then, the key here is to come up with killer lesson plans and a way to prove yourself…

[Kayla Tracy]

1. a) If I had a class of sixth graders in a wealthy suburb of a large city, I would make sure I had some cross cultural emphasis in my units. Focusing on the importance of those less fortunate, those from different cultures and countries. Also, because they are a little older we could bring up some really open ended discussion questions about important/significant pieces of art, Mexican revolution, civil rights movement, and genocide in Africa.
b) For a third grade classroom in a temporary school for construction workers, I could really emphasize nature and the different aspects of observation and study of plants and animals. Also, the different areas of design and architecture they might relate to because of their family life. I could expand on that knowledge and familiarity and give them resources and examples of amazing architecture and how they were built.
c) Hard work would be required to fit all these different grade levels together. An idea would be stations or groups and have each grade level be working on different aspects of one big piece that could be put together at the end. Or Kathryn put it well that the older kids could help the younger children to master a specific technique or situation.

2) I would try to explain to him that the approach of rigid art programs do not promote healthy creative thinking and unique and diverse opinions. Also, I would emphasize a well thought out plan to incorporate other subject matters and show him that art is important and does significantly raise awareness and children's knowledge about a certain subject and how it connects to the world at large.

[Laura Pontel]

1a) A sixth-grade classroom in a new, wealthy suburb of a large city.
Decisions that must be made to develop an art program in this area would be what kind of students do you have. What do the students know, how much do they already know about the arts, artworks, and artists. What are you going to be able to afford for art supplies. Since it is a suburb, is there a place near enough in the city to take the students for a field trip, or some place that would
be helpful to take students to see.
b) A third-grade classroom in a temporary school for the children of construction workers in an isolated part of North Carolina.
In planning an art curriculum in this particular area one might think about the location, how hard would it be to go somewhere or have things brought to the school. How long the students would be staying as it is a temporary school. Once again one would have to look at how much the students already know of the arts and also how much funding one might receive. Based on the fact that it is construction workers would one try to wrap the curriculum mainly around architecture or make it as diverse in mediums and styles as possible.
c) A mixed-grade classroom (1st-4th) in a mission school for Native Americans located in New Mexico.
When making decisions in this area one must considered the historical and religious views of the students so as not to offend anyone in this situation. Also when planning one would have to look at how to set up a classroom and teach 1st -4th grade together in one classroom. Each grade level as well as student will have different skills and knowledge level, so one must plan how to go about a lesson plan incorporating all skills and knowledge levels.

2. Describe how you would constructively handle a situation in which your principal was more interested in having an art program based on a rigid approach of outdated concepts than on a contemporary, creative approach.
If the principal of the school I were to teach at wanted me to teach outdated concepts rather than a contemporary creative approach, I would have to take all my previous experience, whether student teaching, practicum hours or years experience as well as research on they outdated concepts to show the principal that a contemporary approach is more helpful to students and they will be able to learn more and be able to apply it to what they are learning now, as times have changed. Being able to compare the outdated concepts with the contemporary concepts would help to show the principal what the differences are, rather than trying to shove a new creative approach at the pricipal and saying my way or the highway. Also try to find ways to update the outdated to show that contemporary is a better program.

[Pam Stephens]

Don't forget that you'll always have the family of art educators who have gone through the program with you. You all as a group can provide help and support to each other.

Also -- joining the National Art Education Association and particiapting in the state and national conferences are two ways to get support for whatever it is you need in art teaching.

[Devin Smith]

Chapter 1.
2a.) In a mountain dew commercial featuring Steven Seagal, the advertisers promote their product through humor and a famous actor. The commercial invites laughter which will later lead viewers to connect Mountain Dew with a having a good time.
b.) The ad promotes a brand of soda to any audience that is familiar with the actor being used, but yet can also be found humorous to viewers that don’t know Steven Seagal. In this commercial, Mountain Dew pushes a famous actor that carries the connotation of “coolness.”
c.) If you buy Mountain Dew, you’ll kick hoodlum butt and be cool like Steven Seagal! Check out the ad on youtube.