Middle School The Arts
Philosophy
A constructivist approach to teaching
is a “best practice” for learning
in the arts:
“[A] constructivist approach to teaching and learning argues that the goal of teaching is students’ understanding and that students construct knowledge, not simply reproduce it through memorization, recall, or routinized application.” (Sydney Walker)
This method of teaching is particularly applicable to education in the arts, as well as to the unique needs of gifted students. The Arts Department of The Sage School is committed to utilizing this approach in planning for a year’s curriculum, varying curriculum as students’ needs unfold, and in the very nature of interaction between and among students and instructors.
In brief, the constructivist approach can be described as follows:
The teacher prepares a framework for introduction and exploration of a topic.
Student responses to initial experiences drive the path of the lesson, and possibly sequential lessons. Open-ended questions encourage the spirit of inquiry and thoughtful discussion. Students are partners in directing the experience, and therefore in taking responsibility for constructing meaning, within the parameters intended by the teacher. Student outcomes are individual, and reflect the individual’s own understanding and initiative. The teacher guides a summary articulation of what is learned, and students communicate their insights, learning additionally from the variety of outcomes.
This concept of teaching answers the charge that contemporary teachers must be the discerners of patterns, not the givers of information. Seen in a historical context, we are moving “from the transmission curriculum to a transactional curriculum.” (Audrey Gray.) Given that one of the three components of giftedness is creativity (according to Renzulli,) it is logical that gifted students especially need opportunities to practice and strengthen their capacity for making personal sense of learning in all areas. This ability is essential to empower the gifted child’s identification and expression of insight, in fact discovering new and unique connections and inventions. Further, this model seamlessly incorporates the needs of all types of intelligences and learning styles.
The arts are a natural venue for employing this learning approach. New knowledge is utilized in the realization of a work of art. Immediate use of learning is understood to be the best method of retention of what is learned. Gradually, students learn that ambiguity can be resolved through personal effort and conviction. The
Our written curriculum divides material throughout the art forms and divisions into three categories: Making, Literacy, and Context. In “Making,” we focus on identifying worthy ideas and developing the skills to express them through creating works of art, dance, music and theater. In “Literacy”, we focus on the application of knowledge to informed engagement with the wider world of culture and philosophy in the forms of appreciation, response, inspiration and articulation. In “Context,” students learn that their own discoveries are connected to human effort throughout history, across diverse cultures, and to the exciting fields of contemporary culture.
Given that the nature of our pedagogy depends upon responsiveness, the written curriculum outlines examples of the appropriate skills and concepts for each division. It is likely that these examples represent a baseline expectation, while actual lessons and themes will be more specific and in depth. Given the synergy of students and faculty, the real excitement is in finding out.
We believe: a. Making ii. Drawing iii. Printmaking iv. Collage v. Sculpture vi. Design vii. Technology
a. All children deserve, can succeed in, and benefit from sequential education in music, visual art, dance, and theater
b. Our approach is intended to equip the child with lifelong habits/skills of arts appreciation
c. Arts participation teaches habits of mind that apply to all subject areas
d. Arts are particularly important for gifted students, in that the “right” answer is different for each individual, and must be discovered
e. The arts classrooms are social and cultural environments where the development of social and collaborative skills are important
f. Negotiating the process is much more important than the appearance of the product
g. The most important outcome is the growth in ability to construct, express, and share meaning Visual Arts
a.Making i. Painting
1. Skills: revisit tempera, watercolor, acrylic, and mixed media. Use brushes and alternative tools and a variety of substrates. Emphasize planning, layering, and style.
2. Ideas: identify and work over the term on various expressions of one “big idea”. Work in style of artist under study: Stella, Lailah Ali, Keith Haring, Elizabeth Murphy
1. Skills: revisit previous media and pen and ink, emphasize mixed media. Practice both drawing from observation, recording from memory, and imaginative explorations
2. Ideas: contrast mark-making with rendering, combine drawing from observation with images from memory, develop landscape in pastel, graphic novels
1. Skills: monoprint, block print, silkscreen, bookmaking
2. Ideas: two-color prints, seek popular source imagery to simulate Warhol’s pop art, book of sequential monoprints
1. Skills: build upon and refine appropriate techniques, employ montage, digital collage
2. Ideas: incorporate image of self into scanned artwork to evoke dream imagery, billboard ad to promote issue, push boundary between collage and relief
1. Skills: mixed media/assemblage, poured and carved plaster, wood, fiber, environmental: use of saws, drills, sewing implements
2. Ideas: juxtaposition of plaster forms poured into plastic bags and packaging molds, study working drawings, and construct Sol LeWitt’s “unfinished cubes”, model an outdoor project on the work of Andy Goldsworthy
1. Skills: use design as preplanning, patterns, composition
2. Ideas: ways to present a concept through planning and presentation (collage/drawings of Christo,) create paper pattern for hat or booties from measurements, translate a two dimensional game into a three dimensional version
1. Skills: learn the Adobe Photoshop program for artwork and image modification, creative use of scanning
2. Ideas: alter self portrait images and use as source material for painting, learn silhouetting and layering to create photo collage, combine text and image to represent a poem, use scanner directly as an image recorder of still life arrangementb. Literacy
1. Skills: describe, notice, observe, relate to other works and/or cultural and historical significance, awareness of style, personal preference and its role in judgment
2. Ideas: self-awareness, metacognition, describe the personal stages in developing a work of art, examine the role of the unconscious, associations, chance and intention
ii. Visual Art Vocabulary
1. Skills: learn vocabulary that is related to concepts beyond the literal, understand layers of meaning in certain descriptors
2. Ideas: develop alternatives, apply understandings as in the difference between form and function, or form and content, post challenging vocabulary around the art room to develop familiarity, substitute “the artist is suggesting…” for “the artist is trying to say…” etc.
iii. Read and write: Aesthetics
1. Skills: read a journalistic criticism of a current exhibit and identify the writer’s point of view, develop alternative interpretations, tolerate ambiguity
2. Ideas: rewrite critical analysis in own words, journal an answer to a question at a museum exhibition, generate worthy assignments in response to examination of issues in a particular artist’s work
iv. Introduction to visual culture
1. Skills: become aware of vast field of visual stimulus, and unveil its messages, take a critical look at packaged material (advertising, clichés, programming, and entertainment) and investigate its origins and social role
2. Ideas: manipulate imagery through Photoshop, look at style change throughout 20th century in illustration, analyze implications of body image in advertising, examine stereotypes in video games or magazines
c. Context
1. Recognize social, cultural, historical significance of art
a. Skills: be able to identify themes and human concerns/interests as they manifest through time and across cultures, unpack Western assumptions about art, become more aware of the evolution of artists’ interests through history, and the changing social purpose of art
b. Ideas: look at patronage and its role in influencing art, consider pivotal moments of change in the philosophy of art (Rejection of Impressionists, “discovery” of “primitive” art, Hitler’s “Degenerate Art” persecution, DuChamp/conceptual art, the universal roots of post-modernism, etc.)
2. Connect art to other disciplines
a. Skills: recognize the overlap of fields within the thinking contained in art, see parallel expressions of ideas across the arts
b. Ideas: design projects that incorporate ideas from other disciplines as a basis (math, science, etc.,) respond to the Arts Department theme throughout the year in the form of visual art, dance, music, and theater, collaborate across the school to provide the option of artwork as an expression of understanding
3. Awareness of art-related institutions
a. Skills: engaged museum-going, broaden knowledge of online groups and resources
b. Field trips to Fuller Craft Museum, Museum of Fine Arts, Mass College of Art and Design educational exhibitions, Forest Hills sculpture path, DeCordova Museum, ICA, etc.
4. Career awareness
a. Skills: know the diversity of opportunity: fine art, commercial art, entertainment, museum and education related professions, some job descriptions
b. Ideas: study patronage of the arts through the ages; invite former students to show portfolios, visiting artist, and parents sharing professions.
5. Issues in contemporary art
a. Skills: know meaning of “postmodern,” names of contemporary artists and nature of their work, connect current work with historical, social, international influences, be able to encounter unknown contemporary art with confidence
b. Ideas: use Art 21 videos and “Teaching with Contemporary Art” blog, active gallery or museum visits (journaling, sketching, note taking,) unit on installation art, emphasis on finding materials to fit a concept rather than the reverse.
Materials
Teacher reference:Barrett, Terry. Why is That Art?
Eisner, Elliot W. The Arts and the Creation of Mind.
Walker, Sydney R. Teaching Meaning in Art Making. Worcester, MA.: Davis Publications, Inc., 2001.
Professional publications:
“Art Education,” Journal of the National Art Education Association.
“Arts and Learning Review.” Journal of the National Arts and Learning Collaborative.
“Art in
Student text:
Davidson, Rosemary. Take A Look, An Introduction to the Experience of Art.
Media examples:
“Art 21, Art in the 21st Century” series. PBS Home Video, 2007.
“Behind the Scenes” series. Learning
“Andy Goldsworth/Rivers and Tides/Working with Time.” New Video Group, 2004.
Website examples:
www.Artchive.com
www.Artcyclopedia.com
www.greatbuildings.com
Software:
Adobe Photoshop
Middle School: After School Dance Program
A. Making
a. Developing Skills and Technique
i. Weight placement and support
ii. Strength, extension, turns, and jumps
iii. Technique skills in jazz, ballet, and modern dance
iv. Expressive to music
v. Partnering
vi. Sequence of dance forms
b. Improvise (to an extent)
i. Suggest and develop original improv structure
ii. Body actions, space, relationships, and props
iii. Gesture to create dance movement
iv. Improvise non-literal dance movement to define a character
v. Group dynamics/partner
c. Perform
i. Exhibit a high level of dance awareness and achievement
ii. Demonstrate internalized standards of excellence
iii. Personal style
iv. Sensitivity to musical phrasing
v. Confidence
vi. Variety of works
vii. Self-evaluation
viii. Theater etiquette
B. Literacy
a. Dance as means of expression and communication
i. Themes
ii. Fourth wall
iii. Repetition/variation
iv. Stage spacing
v. Music, rhythm, visual, and setting
b. Vocabulary terms
i. Terms to styles and genre
ii. Technical-stage directions
iii. Muscles and bones
c. Identify and compare styles
i. Identify styles
ii. Contemporary choreography in relation to personal
C. Context
a. Health and Well-being
i. Systems (skeletal, muscle…)
ii. Response to movement
iii. Nutrition
iv. Dance Warm-up
v. Fitness, Stress management
vi. Dance Injuries and prevention
b. Engage with community (other schools)
i. Workings of a dance company
ii. Collaborate
iii. Share with others in and out of school
iv. Performances
v. Workshops
"If all children in every school from their entrance until graduation…were given the opportunity to experience dance as a creative art, and if their dancing kept pace with their developing physical, mental, and spiritual needs, the enrichment of their adult life might reach beyond any results we can now contemplate."
~ Margaret N. H’Doubler
Materials
Teacher References:
Gilbert, Anne G. Creative Dance for All Ages. National Dance Association, 1992.
Hughes, J D. No Standing Around in My Gym. 1st ed. Human Kinetics, 2002.
Landy, Joanne, and Maxwell Landy. Ready to Use P.E. Activities for Grades K-2. Parker, 1992.
Nichols-McGreevy. Building Dances. Human Kinetics, 1995.
Nichols-McGreevy. Building More Dances. Human Kinetics, 2001.
Purcell, Theresa. Teaching Children Dance. Human Kinetics, 1994.
Dance Magazine monthly publication
Dance Teacher Magazine monthly publication
Journal of Dance Education Journal of the National Dance Education Organization
Student Text:
Scheff, Helene. Experiencing Dance, Human Kinetics, 2005
Media Examples:
“Behind the Scenes” series. David Parsons:Pattern, earning Designs & WNET, New York City. 2004
“Let’s Go! WONGAI.” B-rave STUDIO, 1999
“The Language of Dance,” Insight Media
“Paul Taylor: DANCEMAKER,” Docurama, 1998
Web-Site Examples:
http://www.abt.org/education/library.asp
http://artsedge.kennedy-center.org/
http://www.pbs.org/teachersource/
http://www.lodc.org/
Software:
Labanwriter
Theater
Goals and ContentA. Making
a. Acting
i. Imagination analysis/process
1. Improvisation
2. Scenery, props…etc
3. Respond
4. Contribute
5. Demonstrate
6. Performance
7. Physical
8. Vocal
9. Characterization
10. Staging
b. Playwriting
i. Understand dramatic structure
1. Plot/structure
2. Theatrical styles
3. Theatrical forms
4. Theatrical conventions
5. Character
6. Sequence/setting
ii. Imagination analysis/process
1. Articulate
2. Demonstrate
3. Gather
4. Writing/Literacy Process
c. Technical theater
i. Understanding design
1. Demonstrate
2. Select design elements
3. Color
4. Texture
5. Sound
6. Collaborate
7. Research
ii. Using theatrical space elements
1. Transforming environment
iii. Communication and organization
1. Communicate (design)
2. Organization
3. Certain designers
B. Literacy
a. Understanding dramatic text
i. Dramatic literature
ii. Patterns of meaning
iii. Script elements
iv. Theater history
b. Responding to theater performance
i. Critique and review performance
ii. Theater vocabulary
C. Context
a. To arts and other disciplines
i. Recognize the intersections of “the arts world”
ii. Elements of theater shared with other disciplines
b. Personal Experience
i. Draw parallels from an actor’s personal life to the character they are playing or writing
ii. Relate plot and theme of dramatic work personal experience
c. Recognizing the Social, Cultural and Historical elements of theater
i. Identify themes within history and their impact on theater and vice versa
ii. Understanding the “voice” within theater and response to major events
d. Attend Performances outside of school
i. Take advantage in attending performances in the greater Boston and Providence areas
ii. Use the internet as a resource in expanding performance viewing
e. Careers
i. Know the many areas of a career in theater: director, actor, lighting/set designer, television, film, and stage
Materials
Teacher Resources:
Jones, Gai. Raising the Curtain. Perfection Learning, 2006.
Potter, Nichole. Movement for Actors, Allworth Press, 2002
Spoolin, Viola. Improvisation for the Theater Third Edition, Northwestern University Press 2000.
Wilson, Edwin. Living Theater, Mc Graw-Hill, 2000
Worthen, W. B. The Harcourt Bracy Anthology of Drama Third Edition, Harcourt College, 2000
Student Text:
Tanner, Fran. Basic Drama Projects, Perfection Learning, 2004
Zimmerman, Suzi. Introduction to Theatre Arts, Meriwether Publishing
Professional Publications:
Dramatics Theater Magazine for Middle and High School Students published by the Educational Theatre Association
Teaching Theatre Journal of the Educational Theatre Association
Plays:
Everyman by Anonmous
A Doll’s House by Henrik Ibsen
A Servant of two Masters by Carlo Goldoni
Our Town by Thornton Wilder
Atsumori by Zeami Motokiyo
Media Examples:
“Laban For Actors.” Insight Media
“Japan and The Land & Its People.” Insight Media, 1989
“In Search of Shakespeare.” PBS Home Video, 2003
“Our Town.” PBS Masterpiece Theater, 2003
Web-Site Examples:
http://www.kennedy-center.org/
http://artswork.asu.edu/arts/teachers/resources/theatre1.htm
http://edsitement.neh.gov/tab_lesson.asp?subjectArea=3
Music
A. Making
a. General
i. Singing: Continue developing a repertoire of songs representative of the myriad of cultures in the world.
ii. Playing: Play traditional and non-traditional instruments to recognize different pitches and timbres; also investigate rhythm and harmony
iii. Expressive movement and response: Perform more sophisticated rhythmic phrases.
iv. Improvise and create: Construct instruments, compose simple melodies.
b. Choral
i. Production: Vocalize using warm-ups and exercises that reinforce such areas as musical expression, pitch, breathing and tone.
ii. Ensemble: Perform choral pieces with attention to dynamics, phrasing, rhythm and other expressive elements.
iii. Improvise/Create: Create vocal exercises and improvise short melodic passages.
c. Instrumental
i. Technique: Develop instrumental technique through individual lessons, warm-ups and exercises
ii. Ensemble: Perform with attention to dynamics, rhythm, and other expressive elements. Participate in an instrumental ensemble.
iii. Improvise and create: Develop a strong grasp on call and response method. Improvise melodies over an ostinato pattern.
B. Literacy
a. General
i. Respond imaginatively to expressive quality: Listen to musical selections and create artwork based upon the feelings and images the music inspires.
ii. Listen Critically/Analyze works: Create listening maps to diagram form, thematic development, orchestration, dynamics.
iii. Musical notation: Recognize, identify and notate the pitches of the treble and base staves. Sight sing melodies using whole, half and quarter notes, including their corresponding rests.
iv. Vocabulary: Dynamics, range, rhythm, and instrumentation.
b. Choral
i. Respond imaginatively to expressive quality: Experiment with contrasting dynamics.
ii. Listen critically/Analyze works: Listen to performances of choral ensembles, with attention to tone quality, sense of ensemble and voicing.
iii. Musical Notation: Sight-sing a simple melody which incorporates stepwise motion, ascending and descending intervals.
iv. Vocabulary: Examine a piece of choral music with attention to pitch, dynamics, meter and rhythm.
c. Instrumental
i. Respond imaginatively to expressive quality: Listen to performances of classmates and provide feedback.
ii. Listen Critically/Analyze works: Listen to performances of outstanding musical interpretations.
iii. Musical Notation: Be able to identify visually all chromatic pitches on the treble and bass clefs
iv. Vocabulary: Follow a musical score and understand the use and context in which symbols and vocabulary of music are notated.
C. Context
a. General
i. Understand the role of music: Research the historical and social conditions of the time period being studied. E.g. When exploring the expressive qualities of the voice in jazz, research the history and social conditions of the late nineteenth and early twentieth centuries in America, which led to the birth of jazz.
ii. Apply musical concepts and skills: be able to discuss the relevance of certain concepts and skills. E.g. discuss how the evolution of jazz led to the development of a variety of jazz vocal styles, as embodied in the work of such singers as Bessie Smith and Ella Fitzgerald.
b. Choral
i. Understand the role of music: Research the cultural context of songs: text and music, history, and personal connections.
ii. Apply musical concepts and skills: Compare two different settings of the same text.
Materials
Teacher reference:
Gardner, Howard. The Arts and Human Development: A Psychological Study of the Artistic Process. NY: John Wiley & Sons, 1973. (builds a case for using arts to facilitate cognitive and affective skills)
Bamberger, Jeanne. The Mind Behind the Musical Ear: How Children Develop Musical Intelligence.
Harris, R., and E. Hawksley (1989). Composing in the classroom.
Professional publications:
[Music Educators National Conference (MENC) publishes books and pamphlets on curriculum, philosophy and advocacy (
Student text:
Covert, Rosemary. An Illustrated History of Music for Young Musicians.
Media examples:
“The composers’ Specials” series. PBS Home Video, 2002.
Website examples:
www.dsokids.com
