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Re: Questions about choice-based TAB teaching (long)

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  • Clyde Gaw
    Thanks Kathy for your quick reply and comprehensive answers to these important questions! Hi Judy and Ken! Best wishes to all! Clyde ... of SCHOOL ... Be ...
    Message 1 of 6 , Apr 1, 2008
      Thanks Kathy for your quick reply and comprehensive answers to these
      important questions! Hi Judy and Ken! Best wishes to all! Clyde

      --- In art_education@yahoogroups.com, TwoDucks@... wrote:
      >
      > You may have read the Point of View article in this month's issue
      of SCHOOL
      > ARTS magazine. (Vieth, K. & Bush,D. (2008, April). Should We
      Be
      > Concerned? School Arts Magazine, 107(8), 14)
      >
      > We were surprised at the tone of the article, and at the sources
      at the end
      > of the article, only one of which actually relates to our work.
      We were very
      > pleased, however, to read the eight questions that closed the
      article. For
      > those who are interested in this philosophy of teaching, I post
      our response
      > here. Note that the authors use the abbreviation CBAE, which we do
      not. (it is
      > commonly used to denote Community Based Art Education--something
      completely
      > different)
      >
      > 1. How does CBAE differ from the classic laissez-faire art
      programs of the
      > past?
      >
      > It is not clear to which 'laissez-faire art programs' the authors
      refer. In
      > choice-based learning and teaching, all students are problem-
      finders,
      > developing their own ideas and following their own path of
      inquiry. The open-ended
      > structure allows students to work as artists do, developing and
      refining their
      > expression over time. Exhibition preparation and display are
      > student-centered, providing valuable assessment of student
      learning. By putting
      > decision-making in the hands of the student, many higher order
      thinking skills are
      > required of the learner. Students justify their choices through
      class
      > discussions, journals, artist statements and portfolio reviews.
      >
      > 2.To what extent is the teacher’s attention divided by the
      number and
      > diversity of problems arising from the multiple activity centers?
      >
      > Successful student-centered learning requires complex planning.
      Studio
      > centers contain techniques, materials and references that have all
      been introduced
      > to the whole group in focused brief demonstrations. Menus, lists
      of
      > procedures and vocabulary and highly organized materials are found
      in these studio
      > centers. Students who need help access these resources and peer
      coaches in
      > addition to seeking teacher attention. Students are coached in a
      variety of
      > approaches to solving their own problems. In non-TAB classrooms,
      to what extent
      > is a teacher’s attention divided by behavioral problems that
      arise because
      > students are frustrated by the teacher’s assignment? How is
      student
      > disinterest/apathy handled in the teacher-directed classroom?
      >
      > 3.How can the teacher provide for students who need greater
      structure?
      >
      > Choice teachers observe their students in action and assess what
      they know
      > and can do every week. Students having difficulty for whatever
      reason,
      > including learning and behavior issues, show us and we respond
      with prompts for
      > investigations pertinent to the child’s interests. Studio
      centers provide a good
      > structure for differentiation with written and illustrated
      directions,
      > flexibility with materials and varied options for working
      styles. Because a
      > majority of students are working independently, the choice teacher
      is freed up to
      > instruct in small groups or one-on-one. Students working in self-
      selected study
      > groups support one another through shared strategies and critique.
      >
      > 4.How does the teacher deal with students who choose to handle
      subject matter
      > deemed as inappropriate for the school setting?
      >
      > Like any good teaching professional, choice teachers discuss
      subject matter
      > in a developmentally appropriate manner. Students understand that
      the classroom
      > is a public art space and as such, there may be limits placed on
      content due
      > to school rules. Students who are interested in topics
      inappropriate to the
      > school setting are encouraged to pursue their interests in their
      home studio.
      > In upper levels, controversy in art subject matter is addressed
      through
      > current relevant issues. The artist’s role in commenting on
      social and political
      > issues is tied to history lessons. Students are encouraged to make
      > connections to the very important role the artist takes in
      commentary.
      >
      > 5. How can the teacher foster the making of expressive art by
      students who
      > are working in a variety of different media?
      >
      > If a student’s artwork is authentically expressive, the teacher
      does not need
      > to 'foster' its making; instead, the teacher should be responding
      to the
      > needs of the artist. Choice teachers know that the students’
      ideas are central
      > to their art making. We value children’s choice of subject
      matter, no matter
      > how simple it may be. Developing confidence in one’s ability
      to have an idea
      > leads to deeper thinking and more complex content for art making
      in any
      > media.
      >
      > 6. How much of the teacher’s responsibility should be composed
      of teaching
      > the technical proficiencies and lower order skills, such as how to
      join together
      > two slabs of clay or how to mix paint?
      >
      > When students work independently as opposed to working to follow
      teacher
      > directions, what they know and can do becomes very evident.
      Choice teaching is
      > directly responsive to the needs of the learners. Instruction is
      purposely
      > flexible to address student learning in all areas. Much time is
      therefore
      > available for idea generation, discussions of “artistic
      behaviors” and personal
      > meaning. In the upper levels, critique is the best means to
      address
      > communication.
      >
      > 7. Does the compartmentalized environment of the multi-activity
      centered art
      > room in CBAE diminish opportunities for sharing and group problem-
      solving on a
      > class-wide basis?
      >
      > No. The learning environment is organized into studio learning
      centers, not
      > 'compartmentalized.' Students move freely among the studio centers
      as their
      > chosen work evolves. Students collaborate with one another
      naturally. They
      > assist, share ideas and work together in supportive study
      groups. Like many
      > adult artists, students who prefer to work alone on their artwork
      are encouraged
      > to do so. Work and ideas are shared throughout class and often
      at the end
      > of class.
      >
      > 8. Is the CBAE model more or less effective in helping students
      meet
      > established state and national standards for art education?
      >
      > It is no more or no less effective than any other good art
      program. The
      > professional teacher who knows his or her standards makes certain
      that they are
      > covered through instruction, assessment and careful curriculum
      planning. In
      > Massachusetts, the Visual Arts Frameworks contain multiple
      references to
      > 'choosing materials and subject matter.' How does that happen if
      the teacher
      > chooses the problems to solve and the materials to use for this
      purpose?
      >
      > THANKS FOR ASKING!
      > http://teachingforartisticbehavior.org
      > References
      > Douglas, K.M., Crowe, J.V., Jaquith, D.B., & Brannigan, R.
      (2002).
      > Choice-Based Art Education. The Knowledge Loom.
      > http://knowledgeloom.org/tab/index.jsp
      > Teaching for Artistic Behavior. (2008).
      www.teachingforartisticbehavior.org
      > Pink, D. (2007, March 16) 2nd General Session. Lecture presented
      to the
      > National Art Education Association, New York, New York.
      >
      > kathy douglas
      > http://groups.yahoo.com/group/TAB-ChoiceArtEd/
      >
      >
      >
      >
      >
      > **************
      > Create a Home Theater Like the Pros. Watch the video on AOL
      > Home.
      > (http://home.aol.com/diy/home-improvement-eric-stromer?
      video=15&
      > ncid=aolhom00030000000001)
      >
    • bethany_simonson
      One of the administrators at my school worked on a clay mug with a different art teacher they know (the mug is for an anniversary gift). The teacher had him
      Message 2 of 6 , Apr 2, 2008
        One of the administrators at my school worked on a clay mug with a
        different art teacher they know (the mug is for an anniversary gift).
        The teacher had him use vinigar to smooth the clay, and had him create
        the mug by forming a slab into a cylander. He scored and sliped, and
        again, used vinigar to smooth the piece together. HOWEVER, not extra
        clay was added (like a coil) to support the joint. The mug was already
        dry (but not fired) when the administrator brought it to me, and it has
        a crack (all the way through) along the joint. He is wondering if
        there is anything that can be done to salvage the mug and I am hoping I
        can find the answer for him! (brownie points! brownie points! :)

        Any advice? Also, I am not familiar w/using vinigar to smooth
        clay...can anyone explain why this teacher had him use it?

        ALSO, I asked if he dried the clay out slowly and he said yes,
        supposidly very slowly...

        THANKS IN ADVANCE!,
        Bethany from VA
      • Jeff Pridie
        Bethany, Not a ceramics expert here but using vinigar to smooth it is new to me. If th piece has not been fired you can gradually take a spray bottle and bring
        Message 3 of 6 , Apr 2, 2008
          Bethany,

          Not a ceramics expert here but using vinigar to smooth
          it is new to me.
          If th piece has not been fired you can gradually take
          a spray bottle and bring it back to a level that wet
          clay could be added to repair it. It would have to be
          done gradually and the wet clay compatible to the damp
          surface in order for it to not crack again. It would
          have to be dried slowly in order for it not crack. I
          have done this with my elementary students who make
          mugs and then are gone a lot and the piece drys out
          and they have to add things, it has worked well.

          Jeff (Minnesota)




          > One of the administrators at my school worked on a
          > clay mug with a
          > different art teacher they know (the mug is for an
          > anniversary gift).
          > The teacher had him use vinigar to smooth the clay,
          > and had him create
          > the mug by forming a slab into a cylander. He
          > scored and sliped, and
          > again, used vinigar to smooth the piece together.
          > HOWEVER, not extra
          > clay was added (like a coil) to support the joint.
          > The mug was already
          > dry (but not fired) when the administrator brought
          > it to me, and it has
          > a crack (all the way through) along the joint. He
          > is wondering if
          > there is anything that can be done to salvage the
          > mug and I am hoping I
          > can find the answer for him! (brownie points!
          > brownie points! :)
          >
          > Any advice? Also, I am not familiar w/using vinigar
          > to smooth
          > clay...can anyone explain why this teacher had him
          > use it?
          >
          > ALSO, I asked if he dried the clay out slowly and he
          > said yes,
          > supposidly very slowly...
          >
          > THANKS IN ADVANCE!,
          > Bethany from VA
          >
          >



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        • Michele
          I have used vinegar to repair dried (but not fired) clay. It reconstitutes the clay better than a spray bottle. However, it bubbles and fizzes and some clay is
          Message 4 of 6 , Apr 3, 2008
            I have used vinegar to repair dried (but not fired) clay. It reconstitutes the clay better than a spray bottle. However, it bubbles and fizzes and some clay is lost/damaged in the process.  Its great for small repairs (chips, small cracks) but for reattaching pieces I wouldn't try it. If there are two separate pieces I would fire them to bisque separately. Then use glue to put them back together. Then apply the glazes needed over the mend and hope it stays together (I have done this for handles, etc). The glue will burn out but not before the glaze starts melting and holding the piece in place. Its risky and not always successful, but the piece is a loss if you don't try to fix it anyways.
            Hope this helps
            Michele NY


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          • optional
            The recipe for clay glue I believe it works for greenware and bisqueware - definitely greenware; mix equal parts vinegar and dry clay to a paste
            Message 5 of 6 , Apr 4, 2008
              The recipe for "clay glue" I believe it works for greenware and
              bisqueware - definitely greenware;
              mix equal parts vinegar and dry clay to a paste consistency, mend
              cracks and broken pieces then bisque.

              As for your description of the fabrication of the mug - not sure why
              they used vinegar at all in the first place (never heard of doing
              that) - the best method is scratch and slip - without slip the parts
              are bound to not adhere.
              Laura
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