Monday, 22 August 2011

Introduction

WELCOME to ArtsTarts!
This blog was specifically created as an assessment item for an arts education unit ( UTAS Master of Teaching). Items demonstrating our "sophisticated, nuanced and highly articulate discussions for assessment" are written in black. Toolkit entries are coloured, and include examples of original artwork; links to websites; Youtube clips; as well as a comprehensive list of resources and places to find arty facts (in blue) at the end.
We hope you enjoy this Blog as much as we have enjoyed putting it together!

First


 and then have a listen to Miss. D. Criteria singing Generating, realising, responding 
WARNING: YOU WONT GET IT OUT OF YOUR HEAD!

Sunday, 21 August 2011

Arts in the curriculum: a brief look at the argument for wide use of arts as a learning tool across the curriculum, and the daily inclusion of creative and physical disciplines for a more rounded, engaging education.


Tucker's thoughts:

There seems to be considerable debate at the moment regarding the level of skills being taught within arts education and whether the use of the various arts as learning tools negates their value as important bodies of knowledge within their own rights (Wiggins, 2009; http://www.theadvocate.com.au/news/national/national/education/national-arts-plan-too-heavy-on-feelings-too-light-on-skills/2187020.aspx). I believe that any use of the arts to support learning is a positive step towards increasing the value of the arts in the wider community. Its integration, whether simply through thematic association or in a more holistic way (Wiggins, 2009) builds valuable skills enriching the student's capability to participate in the artform itself. The essential foundation in the core subjects of the curriculum can also be enhanced with the inclusion of creative and physical disciplines for a more rounded, engaging education (Sinclair, Jeanneret, & O’Toole, 2009). This has sound scientific grounding in brain research on how people learn and how skill development in the arts (particularly in music) can affect brain circuitry (Smith, 2004; Baker & Tamplin, 2006; Retsak, 2004). And as Wiggins explains (2009) “ the ability to analyze and synthesize in one discipline will impact the children’s ability to engage in the same processes in another discipline.” (2009, p. 282). As valuable forms of expression for communicating as well as strengthening student understanding, the arts also provide a range of evidence for assessment that caters better for human diversity than many of the more traditional means.
 Provided that the arts are also given their allocated time and attention individually, and other subjects are also used as supporting tools for greater understanding of these creative disciplines, there is no reason that I can see to exclude their integration in varying degrees over the whole curriculum.


One of the issues is that the arts are often seen as something that only artists do; an elitist activity that the rest of us either enjoy observing or don’t. I would like to see the arts enter our daily lives as something that is as important to everyone as much as water, food, clean air and physical exercise. Something with which our awareness varies: sometimes it might capture our attention with breathtaking urgency, at other times it can be experienced as subtly as a breeze blowing past our cheek. There are times we make a big deal out of it and others when it’s simply relegated to the status of natural, human, bodily function.


As educators we have the opportunity to introduce the value of the arts to our students on all levels, and we can do this by the seamless inclusion of arts activities (making, presenting and responding) into daily practice.




And now…for a little home-grown poem inspired by/responding to these thoughts!


Let music accompany life and not halt it

Let music accompany life and not halt it
Let it enter our hallways, our kitchens, our homes
Let it mingle with guests at a generous table
sailing through voices in various tones
Let it share in the wine and the water and bread
We can gaze in it’s eyes, even take it to bed!
Watch it shimmy up curtains and slide along sills
bounce off the pictures, walk up the walls
May it absorb us and us absorb it:
a part of our makeup…our cells…and our breath
Let us become one and not separate from
This music is something we all can become

References:
Baker, F., & Tamplin, J. (2006). Music therapy methods in neurorehabilitation. London, UK: Jessica Kinsley Publications.

Retsak, R. (2004). The new brain: how the modern age is rewiring your mind. London, UK: Rodale.

Sinclair, C., Jeanneret, N. & O’Toole, J. (2009). Education in the Arts: teaching and learning in the contemporary curriculum. South Melbourne, Vic: Oxford University Press

Smith, A. The brain’s behind it: new knowledge about the brain and learning. UK, Stafford: Network Educational Press.

Wiggins, J. (2009). Teaching for musical understanding. (2nd ed.). Rochester, Michigan: Center for Applied Research in Musical Understanding

Downham's Response:
Patty (2009) writes There is great concern that there is an emphasis on the arts being used as a tool for learning rather than unique bodies of knowledge worthy of learning in their own right’.

My own arts experience has been the arts as separate entities.  While I agree that time should be focused on each of those individually, any opportunity should be taken to increase understanding of literacy and maths for example, and I believe that these can be accomplished through use of the arts.

It wasn't until taking EMT694 that I really understood how to integrate the Arts into areas of the curriculum and use arts to support this learning.  I remember at school maybe drawing our favourite characters out of a book or something similar as a follow up, and before this unit, that is perhaps as far as my integrating may have gone. 

References:
Patty, A (2011, June 07) National art plans ‘too heavy on feelings, too light on skills’.  The Advocate.  Retrieved from http://www.theadvocate.com.au/news/national/national/education/national-arts-plan-too-heavy-on-feelings-too-light-on-skills/2187020.aspx

 

Our Arts Experiences

Posted by Tucker
Philosophy of Arts Education when Tucker was at school:


My schooling was at an all-girl Catholic institution during the 1970’s and early 1980’s. The dominant philosophy within this context seemed to be that education was to make nice young ladies out of us: in preparation for future careers as secretaries or librarians and then as wives- either to professionals or to Christ. I do not remember the arts and other creative endeavors as being particularly nurtured, although students who could play a piano, flute or violin were often praised. I do remember the shock, after discovering the joys of creative writing in grade one only to find that it was no longer wanted in grade two. From thereon, the purpose of writing seemed solely to copy factual text from the board for later regurgitation at exam time. I still have some of my workbooks with very little of “my” work in them except for the handwriting. Coming from an extremely creative home (my mother used to do a TV show on how to make toys out of discarded objects: she was an obsessive compulsive creative), I longed to “do” art but was told that, because I was naturally good at it, I should extend myself and do typing instead. I was stuck in the typing class for two years, followed by another two of stenography. It was agony and I never did learn how to type. Meanwhile the art room beckoned every time I passed. An old sandstone building, it had windows on three sides and always seemed bathed in natural sunlight. How I yearned for the smell of paint; to run my fingers over table tops made rough with decades of paint and glue and varnish; the sight of paintbrushes in jars on the sink and random splashes of colour that defied generations of cleaners. Such art rooms still fill me with that same sense of hope, excitement and longing.
            Despite this I have always worked in creative disciplines across a wide range of professions: as circus performer, stained glass designer, swimwear maker, voice actor, singer and songwriter, and more recently as a teacher (in my opinion, the most demandingly creative and exciting profession there is!). While it is impossible to know what impact it would have had on my life if the arts had been valued and cherished in my old school, I’m sure that, with my creative needs met, I would have applied myself more willingly to other disciplines at the time, and school would certainly have been a happier place to be.

Posted by Alysha Downham
Most of my experience in arts comes from years at school.

I especially loved any visual arts activities, I loved to paint, draw, sculpt, mosaic, even just colour in a picture. After doing some readings for this unit and then looking back at my arts experience, I’m not sure whether I truly ‘expressed’ myself through art – I think that I just wanted to do something that looked good and might impress my peers. Most of the time I was never truly happy with what I created. There was always a better example in the class.

I say that I ‘loved’ these because I don’t really do these things anymore, now that I have left school. I guess I got to the point in my life that I realised I’m not very artistic or creative and gave up on myself.

I did participate in dancing from the ages 10-14, but I certainly do not feel that this has given me any basis to teach dancing (especially since I was usually up the back, hidden away – ha-ha).

My musical expertise dates back to when I played recorder in primary school. School provided me with a chance to test out other musical instruments, but I suppose, again that because I didn’t have much (any) talent I gave it up.

I participated in drama in high school, but I was quite shy and didn’t enjoy it. I had a teacher who was very forceful and would make me go up on stage – not the sort of teacher I wish to be. Again, I didn’t really see it as a way to express myself, but I can see how other students benefited from it, and I always enjoyed watching the students who did enjoy it.

So...I'm very hopeful that I will learn a lot from this unit (and Eleanor) and that I can eventually help to inspire my students.

Eleanor Tucker said...
Hey Alysha- You say you felt uncomfortable being pushed up on stage and I'm really curious as to whether you have any suggestions on how to coax young people who are uncomfortable with performing to give it ago - how would you do this? Recently I have been thinking quite a lot about the importance of being able to stand up in front of an audience and speak about something - and how tremendously empowering (for some reason I don't like that word but I can't think of a better one right now) it can be for a young person...for any person to have this facility. While I have witnessed it encouraged in schools, I have not seen any active teaching of this skill. This leads to students mumbling through microphones, heads down and fidgeting - clearly showing signs of feeling very uncomfortable. Would you have been more comfortable if, during everyday classes, your teachers had prepared you for this type of experience? (By asking you to read aloud more often; by teaching you how to project/play with your voice; by regularly having everyone in the class give presentations and other activities that encourage the skill set required for being in front of an audience.)  Do you get nervous teaching?
Alysha Downham said...
No, I don't get nervous at all teaching, I love it and I'm still at the stage where I get a bit of a buzz from it. I think that is because (unlike when I was at school) the children don't judge. I'm not a shy person now, but I was and I honestly don't know if there was a way that I would have felt comfortable enough in myself to ever enjoy getting up on stage and performing. From what I experienced in being forced on stage I know that I would NEVER, EVER do that to one of my students. I would encourage and support them and find other means for them to express themself. I'm not sure if that's exactly what a good arts teacher does. Hopefully I'll find out soon enough.

Music

Our Thoughts on Music

Enhancing students' experiences in music composition through music notation software. [Pan-hang B. Tang, Deakin University.] post by Tucker

I read this article this week about the benefits of using music notation software to compose music in schools. It advocates using it in several ways, including as an experimental device which I thought was interesting. I had always thought that first student's should learn to read and writie music and then use such software, but thinking about it further has made me realize that working the other way around (explore and learn how to read and write music by 'seeing' it unfold on the screen while also hearing the music) is just as valid and could perhaps even provide a stronger learning experience in the long run.

Reference:

Tang, P.B. (2006). Enhancing students' experiences in music composition through music notation software. Australian Online Journal of Arts Education, Vol. 2, 3, 1-16. ISSN: 1833-1505

Comments by Alysha Downham:
Hi Eleanor, I agree that it could provide a stronger learning experience for students.  I think the software would be so engaging and students could have so much fun! I know that I would which is what I base a lot of the arts on.  Is that wrong? mmm...


Tuckers Tunes
I think I've FINALLY uploaded some of my own tunes! I put up three that I recorded with my band, Dreamboat. It's always so strange listening back to yourself on a recording - a very different sound than what you experience when 'doing' it. This is something to be aware of when working with children too - sometimes they are not happy listening back to their own sounds as others hear them.


This site posterous.com was a very easy site to navigate and has various privacy settings that would make it a great site for use with students.


Money Making Time Machine - I wish it was!

Here is a piece hot off the press that came out of the workshop I facilitated today with a group of adults with acquired brain injury. 



1 comments:


Mary Ann and Maureen said...
Just had to pop in here again, laydeez - top stuff, Eleanor. This was absolutely amazing to listen to and thanks for making it happen. Boyo, am I loving this Blog... and learning so much too. Thanks for this effort and commitment to it, Eleanor and Alysha.
*****Behaviour Management Tucker Style (check out this video taken with my students on my last prac- the Samoan clap dance.)
There are heaps of these types of clapping games on Youtube. They take a bit of practice but well worth it!


Week 3 Reading - Sinclair Chapter 8
Posted by Alysha Downham
I think it is very true what Sinclair (2009) mentions in Education in the Arts about play within music. She questions why there is such a big focus on play and exploration in other areas of learning, but music lessons are so often teacher centred.

This made me think of my own musical history and whether I ‘played’ with music. While I don’t have a huge musical history, I do remember how much I loved the keyboard. I used to play it often at home and attempt to compose my own music. While I admit that I had/have no musical talent, I still remember how much I loved it. However, I can’t remember ever loving music classes like that. From what I can remember music in primary school, it was just as Sinclair describes it – teacher-centred and whole group. I wonder if I would have enjoyed music more if I were able to explore more on my own terms.

I’m not sure that things have changed much since I was at school either. In each of my three placements I sat in on each music lesson (which was always taken with a specialist teacher) and I never experienced children simply playing with music. Any music made by the students was always as instructed by the teacher and would generally involve the whole class. In each lesson there always seemed to be at least one group singing session with the teacher on the piano. I always thought it was interesting watching the teacher get so involved in the song and children were not interested at all. Maybe if the teacher actually played something that the students liked listening to then they would be more enthralled.


Sinclair, C., Jeanneret, N. & O’Toole, J. (2009). Education in the Arts: teaching and learning in the contemporary curriculum. South Melbourne, Vic: Oxford University Press

Tucker responds:
Yes Alysha - It is a common scenario isn't it - the one where the teacher is the one playing all the music. I do understand how this situation occurs  - with a large group, 'free play' music making can become very hard to manage.
It was interesting for me to read the article as I have always come from the 'free-up and discover' music school, rather than the "whole-group, teacher-centred" style as described in Sinclair (2009), however, I am becoming increasingly aware of the necessity for both styles of teaching for successful, rounded music education.
Class size can be a huge issue with everyone wanting to make music at the same time (there is only so much space in one classroom for sounds!), yet why not have combined art workstations? One group could be exploring some sounds/instruments; the next could be working on some visual representation of what they are hearing; another group could be exploring the sounds that are coming from the music group through movement or puppetry; and those who may need a moment to work alone could be writing stories - all simultaneously in the same classroom!
The point you make about how students might participate more if the music was something they might listen to, is an important one. My eight-year-old son is extremely musical yet will only happily participate at school if  the music moves him. I have always been an advocate of using 'hip' music with children (provided the lyrics are suitable), yet I can also see the benefits of drawing on the more traditional children's folk songs and games, as employed by the 'Kodaly' and 'Orff-Schulwerk' methods, to teach understanding of pitch, rhythm and musical notation. Therefore, I think we best serve our students if we aim to provide a wide scope of musical experiences including: varied listening (live and recorded) and associated activities; a mix of experimental and structured music making (for process and at times, performance) as well as short, regular sessions building music literacy skills.


Sinclair, C., Jeanneret, N. & O’Toole, J. (2009). Education in the Arts: teaching and learning in the contemporary curriculum. South Melbourne, Vic: Oxford University Press

Bobby McFerrin
In this video, Bobby McFerrin demonstrates the power of the pentatonic scale. This performance was given at the World Science Festival as part of a presentation titled Notes and Neurons: in search of the common chorus (Gerald Lynch Theatre, John Jay College, NYC, June 12th 2009).
I have shown this to all sorts of people, all ages - it always seems to resonate. I wonder why?



Beardyman - Beatboxer
I'm certainly no expert when it comes to music. But, have a look at this video on youtube, the musician's name is Beardyman. I just think that he is so talanted. Not only is his music really good (not that everybody likes that kind of music) but he is making all the music with his mouth. I'm not sure how exactly I could incorporate into a lesson. Have a listen and let me know what you think.
http://www.youtube.com/watch?v=VQqTsMKa7ow&feature=relmfu




Media Arts

Our Thoughts on Media Arts:


Tucker's response:
Here is an example of what I might use as a pretext for a multimedia arts project. This one I call "Sweet Man". I like to take pictures of street signs and explore their ambiguities by taking them out of context (ie - looking at them as images...what are they communicating? In which ways can they be interpreted? What do they remind us of when they are not in the street?). I had an idea to one day use this as a fun teaching project: to make a sort of Chaplinesque video of someone on a bicycle totally misinterpreting these signs and getting into all sorts of trouble. It's been done before of course ( characters like Mr Bean make such mistakes all the time) but I haven't seen it done with local symbols and street signs, and I think that students would have great fun writing the script/acting/filming/producing it - and would learn a lot about symbolism too!

Dance

Our Thoughs on Dance

Downham's Thoughts:

At the beginning of this unit I was quite nervous about teaching dance since I was so bad at it myself (always up the back row L).  The readings in this unit have made clear to me that dance isn’t necessarily about co-ordination, rhythm and choreography; it is about finding other ways to communicate and express yourself. 

As children begin generating dances they will learn about the processes and language of creative dance through problem solving (Russell-Bowie, 2005).  Some examples given by Wright (2003) include, creating the movement of a spider, the movements required to make breakfast and what movements would toys make if they came to life. (Sounds like so much fun!)

As children realise their dances they perform their movements to either a single peer or for their whole class.  This gives them an opportunity to engage and reflect on their performance (Sinclair, Jeanneret & O’Tool, 2009).

When children respond to dance they are able to develop an understanding of what the dance is trying to communicate (Russell-Bowie, 2005).  As their teacher I will need to encourage discussion about dance is different to normal movement and how it is used to express ideas and feelings (Sinclair, 2009).

Through these readings I have began to develop confidence and understanding that I do not need to be a great dancer to teach dance.  I simply need enthusiasm, creativity and a desire to have fun. I think I can manage that!


References:

Russell-Bowie, D (2005).  MMADD about the arts! An introduction to primary arts education.  Frenchs Forest, NSW: Pearson Prentice Hall.

Sinclair, C., Jeanneret, N., & O’Tool, J. (2009). Education in the arts: Teaching and learning in the contemporary curriculumSouth Melbourne, VIC: Oxford University Press.

Wright, S. (2003).  Children, Meaning-making and the ArtsFrenchs Forest, NSW: Pearson Prentice Hall.

Tucker's Comments

Yes Alysha - it's interesting isn't it - how we immediately think of the formal applications of dance when we think of 'teaching dance', whereas really it's about movement and being present in our bodies and allowing and encouraging children to be the same. I think half the battle is to make it a regular activity - so that we all get moving without feeling self-conscious about it, and really learn to enjoy that freedom rather than worry about what we look like. 
I also think there's a lot to be said for learning simply steps and choreography though - it can bring with it a great sense of achievement as well as a cooperative spirit and a sense of belonging (must try and find some references/writings on this!)
Here is a link to an example of some Dalcroze (music educator) exercises aimed at embodying musical rhythm and feel. More fun ways to learn!
Dalcroze eurhythmics example








Drama

Our Thoughts on Drama

Posted by Alysha Downham
I’ve just spent some time watching the Drama and Literacy Video at:
http://www.schoolsworld.tv/videos/ks1-ks2-english-drama-in-the-classroom


And also the Drama and Maths Video at: http://www.schoolsworld.tv/videos/ks1-drama-in-maths-drama-for-learning


These are two videos that we are expected to watch in week 2. While I often struggle to find time to watch every video that is posted for my classes, I am so glad that I watched these. And I already feel that I’m developing an understanding of how to use drama in my classroom.

As I’ve gotten older, I guess that I have simply forgotten what it is like to have such a vivid imagination, where anything and everything is possible. It reminded me of when I was a child and would play with my Barbies or teddies; I would play a role and I would give them a role. I remembered how much I loved drama.

I really liked what the teacher from the Drama and Literacy video says about teaching drama “You don’t have to be a good actor at all. You have to feel confident with what you’re doing and you have to feel secure with your class. But definitely not a good actor”. I really understood what she is saying and believe that a teacher has to feel comfortable with their class all the time. For example, when I was on placement and reading my students a story, to make it enjoyable for myself and for them, I needed to feel comfortable enough to put on accents or scary voices. It took me a few lessons to really feel comfortable in myself as a teacher and story teller, but once I could immerse myself in the role of teacher it was more enjoyable for everybody and students were more engaged.

Watching these videos has changed my past understanding that drama was simply about taking on a role and pretending to be somebody else. These videos have helped me recognise that drama can be incorporated into so much of what we teach and has made me excited to test some out on my next placement.



Chapter 7: Question 1 - By Tucker

What strategies would you use in teaching a drama workshop like Fox to primary children?

This would depend on the text. I might even start by working with the children to first to write their own story. I’m thinking grades 3/4/5. Artifacts, such as stuffed toys from the opp shop, or photos from a magazine could be used as starting points for characters with a story built around these characters: their profiles formed collaboratively. We would give our characters a ‘space’ such as a home environment, perhaps send them on a journey – decide where and why etc. and gradually build our storyline together. Alternatively, the story could come out of some current issue  i.e. behaviour in the playground etc.

After the story was written (this initial part of the process would probably take part in literacy lessons – we would need at least two), we would then start to explore it as a piece of process theatre. The freeze frame strategy (found in this Drama and Literacy Video ) could be very useful for breaking the story up into its main parts/scenes. The concept of a storyboard could be discussed. This could also be added to with music/sound effects.

Following this we could have a brainstorming of the sort of things the characters might think/feel and say.Then small groups could improvise scenes, with the teacher leading the session and recording responses on the board, or it could be done in groups with students responding to a series of set questions (such as the examples given on pages 60-61 of the Sinclair et.al text (2010) . Depending on the story, decision alley , found at this Drama and Literacy Video, could be used. This idea strongly resonates with me as I think it really links up with how children make decisions (such as Mum’s voice versus peer pressure). Writing in role is another powerful tool. Perhaps as a formal writing exercise, students could be required to either write the story in the form of a series of letters (each student taking on one scene), or alternatively they could have a go at writing a script from the improvised dialogue previously created and recorded.
Work would then be shared and issues discussed. It could be further developed into a performance piece, a musical score, a series of paintings, put into a storybook form, comic strip – or simply finish there!

Possible difficulties:
Difficulties in carrying out such workshops/lessons can often arise when several children have strong opinions about what they want to convey – and the teacher is left in the unenviable position to make the decisions as to whose contribution will be included and whose will be left out at each step of the journey. One way I have found to tackle this problem is to give individual student ownership, or ‘decision making rights’ as it were, to different sections of a story. The group is encouraged to share ideas and opinions, but ultimately the student of the moment is given the ultimate say. Although it does take time to successfully establish such working relationships, I believe this is a very powerful way of sharing ownership – and the students, when supported this way with group guidance, are usually capable of making very discerning decisions.
That said, it is very hard to do this when faced with a large group of students. In fact, all strategies employed by the teacher must take into consideration the size, age, experience and dynamic of the class.

Another issue here is in the nature of improvisation – in my experience, some people think faster than others in such situations and can tend to dominate such sessions, making other students feel alienated. Other students may think of what to do/say (often very witty/entertaining/profound) but can’t seem to let it out in front of the group, and some students, once you ‘open the door’ to improvisation, become so completely involved that they become carried away, finding it difficult to ‘come back’. It is important to be aware of these issues when teaching drama in the classroom.

References

Sinclair, C., Jeanneret, N., & O'Toole, J. (2009). Education in the Arts: Teaching and learning in the contemporary curriculum. South Melbourne, VIC: Oxford University Press.

Schools World TV. Accessed, July 27, 2011
http://www.schoolsworld.tv/videos/ks1-ks2-english-drama-in-the-classroom

Visual Arts


Our Thoughts on Visual Arts:

My Arts Journey with Sketchfu (By Alysha Downham)
Thanks to Eleanor, I have been having fun with Sketchfu and have documented a clip of my arts journey. Have a look at http://sketchfu.com/drawing/4120821-my-arts-journey


After experimenting with this website, I can see how beneficial this could be to use in the classroom. In Education in the Arts, Sinclair mentions how important it is to give each student an opportunity to express themselves and achieve in other ways (Sinclair, Jeanneret & O'Toole 2009). Sketchfu would be very benefical for those students who have trouble expressing themselves through writing or speaking and gives them an opportunity to creativly express themselves (Sinclair et al., 2009).


Sinclair, C., Jeanneret, N., & O'Toole, J. (2009). Education in the Arts: Teaching and learning in the contemporary curriculum. South Melbourne, VIC: Oxford University Press.


Tucker's addition:

Another GREAT resource for constructivist teaching ideas that link in with the Arts is Edward de Bono's book called Children Solve Problems (1972). It argues that we should give children problems to solve in order to build their creative/lateral thinking skills. The book is filled with wonderful visual representations of how children might stop a dog and cat from fighting; how to build a house quickly; invent a fun machine etc. After I first read this book a few years back, I asked my son to draw what a tickle looks like and here is his response: 

References:

de Bono, E. (1972). Children Solve Problems. Victoria, Australia: Penguin Books Australia.

Mary Ann and Maureen said...
HI Alysha, I'm supposed to save my comments to the end, but just had to pop in here and say how much i LOVED your sketchfu as well. Had me laughing out loud - just wonderful work and wonderful to put Alysha onto it, Eleanor! Mary Ann

Tuesday, 9 August 2011

Tucker "Balldroppings!"

I have just discovered this great online music/physics game called "Balldroppings"!
It's a very quick boot up and easy and interesting for various levels/ages. Small children can just have fun and play, yet older students can set themselves challenges with their visual designs affecting the music. Check it out - it'll only take five minutes (Unless, of course, you end up having too much fun!)



Thursday, 28 July 2011

Tucker trying to understand "pretext?" & ideas for a lesson plan

Does 'pretext' (in the context of our assignments) mean 'a reason for doing something/creating something? 

For example: I had a lesson idea using Brewer's Dictionary of Phrase & Fable. I thought it could be used to help students to find a starting point for a piece of visual art (but could also be used in drama). The symbolism of words and expressions could be discussed, and students would be expected to thoroughly/deeply understand the various meanings of the chosen word or phrase, and to then express it thoughtfully in a piece of art: to communicate the depth of the idea. 

For example: the word Frog can conjure many meanings including the idea of metamorphosis. Frenchmen are sometimes called frogs and there are several reasons for this including their ancient heraldry (3 frogs or toads); the fact that Paris was built on a quagmire and was formerly known as 'Lutetia' (meaning 'mudland'); as well as  the more common idea that the term came from Frenchmen eating frogs legs (Evans, 1993).

In this case, would Brewer's Dictionary of Phrase & Fable be the artefact? And the desire to fully understand and communicate the meaning of the word 'frog' in a personalised way (i.e. reason for art activity), the pretext ?

References

I.Evans. (1993). Brewer's dictionary of phrase and fable. (14th Ed.). London: Cassell Publishers.

Tuesday, 26 July 2011

The Arts Resources

Our Collection of Arts Resources:

The Arts Resources:

Drama Resources:


Music Resources:

  • This resource I picked up at a PD session the other day on ICT in music education.The URL will take you to SCOOTLE and then to wide a range of websites for classroom music making/games/and interactive exploration with sounds. Just click on the arrow which comes up on the right hand side to get to the next one.
    http://www.bridgeurl.com/musicwebsites
  • This site posterous.com was a very easy site to navigate and has various privacy settings that would make it a great site for use with students.
  • Another, similar site can be found at soundcloud.com and while I haven't yet explored it in depth, I have the impression this one might be better if sharing and composing material with other schools. It also seems to have more of a techno feel.
  • In this video, Bobby McFerrin demonstrates the power of the pentatonic scale. This performance was given at the World Science Festival as part of a presentation titled Notes and Neurons: in search of the common chorus (Gerald Lynch Theatre, John Jay College, NYC, June 12th 2009).  I have shown this to all sorts of people, all ages - it always seems to resonate. I wonder why?  http://www.youtube.com/watch?v=dzOfHzaGZZE&feature=related
  • Here's one on creative improvisation and the brain!http://www.abc.net.au/rn/allinthemind/stories/2011/3238562.htm#transcript
  • Here's one about ethical sense and morals and happiness and brains and the role of genetics etc.  "His Holiness the Dalai Lama joins All in the Mind's Natasha Mitchell and leading scholars in a dialogue about science, wellbeing and our moral minds. This week Harvard evolutionary biologist and author of Moral Minds, Marc Hauser, asks - does biology constrain our mind's potential and our moral capacity? Is there a place for moral outrage? Next week, founder of the field of positive psychology, Martin Seligman, and Buddhist scholar Alan Wallace join the fray. " Radio National: All In The Mind   http://mpegmedia.abc.net.au/rn/podcast/2009/12/aim_20091212.mp3
  • Music: Is it really therapeutic?http://www.abc.net.au/rn/allinthemind/stories/2009/2473393.htm
  • The importance of play in everyone's lives!http://mpegmedia.abc.net.au/rn/podcast/2010/07/lms_20100706_0905.mp3


Visual Art Resources:

Media Art Resources:

Miscellaneous: Fun stuff

Tucker "Balldroppings!"

  • I have just discovered this great online music/physics game called "Balldroppings"! It's a very quick boot up and easy and interesting for various levels/ages. Small children can just have fun and play, yet older students can set themselves challenges with their visual designs affecting the music. Check it out - it'll only take five minutes (Unless, of course, you end up having too much fun!)
  • Here is a link to our readings http://rlms.utas.edu.au/erl/listpage.php?erlview=readings&erlunit=EMT694
  • I saw a WONDERFUL show at the Theatre Royal last Friday evening. Wolfe Bowart is truly inspiring and never boring! He weaves physical theatre with puppetry, dance, music, sound effects, juggling, video, lighting effects to produce shows that are funny and moving and extremely entertaining. I thought I would add this to the blog to see how successfully I could link the Mercury article about this show to this page.  Mercury article on "The Man the Sea Saw"

Friday, 22 July 2011

My Contribution!!!

I Alysha Downham agree to contribue 50% to this blog and understand that I will be receiving the same mark as Eleanor Tucker!!

Monday, 18 July 2011

Tucker's statement of agreement

I, Eleanor Tucker, agree to contribute 50% to this Blog and understand that, in the summative assessment of this task, I will receive the same mark against the criteria indicated in the Unit Outline for EMT694.

Now...if I can just find some way of turning this text blue before I do, I will be very pleased with myself!