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Mrs.

Sharp’s
7th Grade

Identity
Memory
Ceramic Jars
In Partnership With:
TABLE OF CONTENTS

INFORMATION ......................................................................................................................................... 1-3


BIG IDEA........................................................................................................................................................ 1
ESSENTIAL QUESTIONS .................................................................................................................................. 1
ILLINOIS ARTS LEARNING STANDARDS .......................................................................................................... 2
OBJECTIVES ................................................................................................................................................ 2-3

ASSESSMENT CRITERIA .......................................................................................................................... 4


LEARNER CHARACTERISTICS ........................................................................................................... 5-6
DEVELOPMENTAL RATIONALE ................................................................................................................... 5-6
STUDENTS WITH SPECIAL NEEDS ................................................................................................................... 6

LITERATURE & REFERENCES .......................................................................................................... 7-15


LESSON RATIONALE ................................................................................................................................... 7-8
BACKGROUND OF THE TOPIC ...................................................................................................................... 8-9
INFORMATION ABOUT RELATED ARTISTS, STYLES, MOVEMENTS, OR CULTURES ...................................... 9-10
LANGUAGE FUNCTION ................................................................................................................................. 10
DESCRIPTION OF VISUAL EXAMPLES ....................................................................................................... 10-13
LIST OF REFERENCES .............................................................................................................................. 15-16

INTEGRATION/CONNECTING LINKS ........................................................................................... 16-18


IDEA MAPPING ............................................................................................................................................. 16
INSTRUCTIONAL RESOURCES & MATERIALS ........................................................................................... 16-18
ART MATERIALS FOR THE LESSON ............................................................................................................... 18

MANAGEMENT & SAFETY ISSUES ................................................................................................ 18-21


ORGANIZATION OF SUPPLIES .................................................................................................................. 19-21
CLEAN-UP OF SUPPLIES ............................................................................................................................... 21

VOCABULARY ...................................................................................................................................... 22-23


IN-CLASS ACTIVITIES ....................................................................................................................... 24-59
DAY ONE ................................................................................................................................................ 24-32
DAY TWO ............................................................................................................................................... 32-39
DAY THREE ............................................................................................................................................ 40-45
DAY FOUR .............................................................................................................................................. 46-50
DAY FIVE ............................................................................................................................................... 51-56
DAY SIX ................................................................................................................................................. 57-59

CRITICAL COMMENTS & REFLECTIONS ................................................................................... 60-63


ATTACHMENTS ................................................................................................................................... 64-97
SCORING RUBRIC .................................................................................................................................... 64-67
HANDOUTS ............................................................................................................................................. 68-78
Name Tags ............................................................................................................................................. 68
Work Booklet ..................................................................................................................................... 69-78
VISUAL EXAMPLES FOR INSTRUCTION .................................................................................................... 79-88
Colours in Culture Poster – Information is Beautiful ........................................................................... 79
Introduction PowerPoint ................................................................................................................. 80-84
Abstraction PowerPoint .................................................................................................................... 85-87
Visual Board ......................................................................................................................................... 88
STUDENT ARTWORK ............................................................................................................................... 89-90
CLASS PHOTOS ....................................................................................................................................... 91-93
ST. MARY’S EXHIBITION ........................................................................................................................ 94-97
Task 1 Part B: Lesson Plans for Learning Segment
LESSON PLAN # 1 Date / Week: Oct. 2, 9, 16, 23, 30,
Nov. 6
Student Teacher: Danielle Sharp
Lesson Title: Identity Memory Ceramic Jars
Grade Level: 7th Grade
Number of Students 7 students, 2 girls, 5 boys
Time available for this lesson: Six 40-minute periods, 240 minutes total

Central Focus (Big Idea): Students will learn that art can be used to express an individual’s
identity.

i) interpreting art Students will learn how to use abstract representation, line, metaphor,
symbolization and form to interpret their own identity in their memory ceramic jars,
conveying how everyone’s subjectivity and personal experience plays a part in understanding
one’s own identity as well as the identities of others.

ii) developing works of art/design Students will learn that there are numerous ways to express
identity through the interpretation of their own memories by analyzing multiple artists work
that deals with themes of identity and memory and then introspectively interpreting their own
identity into the memory ceramic jars.

iii) relating art to context Students will learn that the construction of one’s identity is a
subjective experience and facilitates itself based upon one’s lived experiences, culture and
interests.
Students will learn that interpreting their identities through memory is an effective way to
connect art, one’s culture and personal perspective.

Social Issues / Concepts of the Lesson


Essential Questions:
- How do private and collective memories help to shape identity construction?
- How does identity construction impact youth cultures?
- How can art be used to communicate individual and collective memories as aspects of
identity in young peoples' lives?
- How can a visual arts lesson allow for self-exploration and construction of identity?
- How can ceramics, glaze, and abstract patterning be used to communicate the identity
construction of youth to viewers?

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Illinois Arts Learning Standards:
Anchor Standard # 2 Creating: Investigate – Organize and develop artistic ideas and work
Section: VA:Cr2.3.7 a. – Apply visual organization strategies to design and produce a
work of art, design, or media that clearly communicates information or ideas.
In this lesson: Students will effectively build upon and construct ideas through
concept maps, concept drawings and think sheets to clearly plan out
their identity memory jars before clearly translating their 2D concepts
to 3D ceramic art using metaphor, symbolism, and abstraction.
Anchor Standard # 3 Creating: Reflect, Refine, Continue – Revise, refine, and complete
artistic work
Section: VA:Cr3.1.7 a. - Reflect on and explain important information about personal
artwork in an artist statement or another format.
In this lesson: Students will analyze and reflect on their choice of form, line, and
color in a written artist statement to explain their intention in
communicating their personal identity and how it connects to their
personal memory.
Anchor Standard # 8 – Responding: Perceive – Construct meaningful interpretations of
artistic work.
Section: VA:Re8.1.7 a. - Interpret art and generate meanings through describing and
analyzing feelings, subject matter, formal characteristics, artmaking approaches, and
contextual information and identify key concepts.
In this lesson: Students will analyze and interpret art from featured artists and then
analyze their own memories and identity construction to create their
own work using form, line, and color in metaphoric, symbolic and
personally meaningful ways to portray their own identities. Students
will then participate in a class critique and describe their intentions and
risks taken, as well as, what succeeded and what did not. They will also
write their intent and analyze their own work in a written artist
statement.

1. Objectives: State Goal Codes


1.1 Conceptual/Cognitive Objectives:
OBJECTIVE I: Given the uniqueness of student memories, students VA:Re8.1.7,
will pick a personally significant memory and clearly identify key VA:Cr3.1.7
descriptors that make the memory significant including mood,
emotion, historical importance, social, and place, that help to make
up their memory and its importance to their identity construction
and accurately write them into a personal concept map.

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OBJECTIVE II: Given identified personal descriptors based off VA:Re8.1.7,
their own memories and identity construction, students will VA:Cr2.3.7
successfully incorporate abstraction, metaphor and symbols to
accurately present these descriptors as concept drawings for a 3D
slab ceramic identity memory jar.
OBJECTIVE III: Students will be able to clearly interpret, analyze VA:Cr3.1.7
and reflect upon their own work as well as featured work of artists VA:Re8.1.7
and clearly describe their own understanding of each work with
recognition that it is subjective.
OBJECTIVE IV: Students will be able to effectively communicate VA:Cr3.1.7,
their intent, process and risk taking through an introspective artist VA:Re8.1.7
statement that contains an accurate understand of the complexities
of identity construction and memory through in-depth explanation
of work.

1.2 Artistic Skill Objectives:


OBJECTIVE V: Given clay and glaze, students will clearly VA:Cr2.3.7
demonstrate accurate understanding of abstraction, metaphor and
symbols to accurately depict their identity construction that
connects to their chosen memory.
OBJECTIVE VI: Given drawings of students’ personal descriptors VA:Cr2.3.7
from their concept maps that connect to their memory and identity
construction, students will accurately translate 2D concept
drawings into 3D slab ceramic identity memory jars.
OBJECTIVE VII: Given clay, students will successfully create VA:Cr2.3.7
memory identity jars with the slab building method of ceramics
and creatively incorporate form and shape to connect personal
identity and chosen memory.
OBJECTIVE VIII: Given glaze, students will creatively construct VA:Cr2.3.7
metaphors and symbolism connected to their identity and
memory depicting personal, subjective color meaning associations.
OBJECTIVE IX: Given students’ final identity memory jars, VA:Re8.1.7,
students will clearly interpret and discuss each other’s final pieces VA:Cr3.1.7
in a formal group critique.

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2. Assessment Criteria:
OBJECTIVE I: Students clearly identify key descriptors of a chosen memory to convey its
importance and connection to their identity and accurately identifies
descriptors in a personal concept map.
OBJECTIVE II: Student successfully incorporates abstraction, metaphor and symbols to
accurately present personal descriptors as concept drawings for 3D ceramic
identity memory jar.
OBJECTIVE III: Students clearly interpret, analyze and reflect upon their own work as
well as featured work of artist and clearly describe their own understanding
of each work with recognition that it is subjective.
OBJECTIVE IV: Student effectively communicates their intent, process, and risk taking
through an introspective artist statement that contains an accurate
understanding of the complexities of identity construction and memory
through in-depth explanation of work.
OBJECTIVE V: Student clearly demonstrates accurate understanding of abstraction,
metaphor, and symbols to accurately depict their identity construction
connecting to their chosen memory.
OBJECTIVE VI: Students accurately translate 2D concept drawings into 3D slab ceramic
identity memory jars using personal descriptors from their concept maps.
OBJECTIVE VII: Students successfully create memory identity jars with the slab building
method of ceramics, creatively incorporating form and shape to connect
personal identity and chosen memory.
OBJECTIVE VIII: Students creatively construct metaphors and symbols that connect to
their memory and identity depicting personal, subjective color meaning
associations.
OBJECTIVE IX: Student clearly interpret and actively discuss each other’s final pieces
in a formal group critique.

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3. Learner Characteristics:
3.1 Developmental Rationale
Students in middle school are figuring out not only who they are, but who they want to be.
Wachowiak (1965) explains how students want to “try out a role for a week: the extrovert, the
longer, the risk taker, the methodical planner, the procrastinator, the idol seeker, the plodder,
the perfectionist, the maverick, the dreamer, the braggart, the idealist, and the quiz whiz. The
next week a different role might hold appeal” (p. 115). With this search for identity, along
with all the changes in their lives—switching teachers/classrooms for the first time, puberty,
changing social/peer relationships, and preparing to transition into high school— “students can
recognize that expression of the experiences of others and of one’s self is subjective” (p.117).
With students becoming more hyper critical of their own realistic abilities, introducing a
project that focuses on abstraction and representation will teach students that there are many
ways to make art and all styles are valid. At this age, students “can discuss symbolism, deeper
meanings and double meanings” as well as “call attention to how color is used in artworks for
conveying emotion… [and] analyze how various countries and cultures use differing symbolic
color meanings” (Wachowiak, 1965, pp. 117, 120). This lesson allows students to explore
these complex ideas as they introspectively explore their identity, reflecting on who they are
and even where they would like to go and to understand that identity construction is an
ongoing fluid thing.
The classroom will be set up into two groups to allow productive conversation during
brainstorming and creation of their jars, as peers can “significantly help with subject matter”
and one of these students’ “greatest needs is to be with their friends” (Wood, 1994, pp.141,
133). With this being such a critical time, art can “provide a way to express… what formerly
seemed to be unmentionable” (Wachowiak, 1965, p. 116) and using the evaluation of risk
taking in this project will help students push to dig deeper past their tentativeness to deeper
meaning, and connections (Wood, 1994). Wachowiak (1965) informs that seventh and eighth
graders can engage in more complex ceramic skills, however there may be gaps in different
students’ past experiences, so covering the basics is important to build up and upon everyone’s
starting skill set. Wachowiak also suggests working with glaze at this age, adding to their
overall ceramic repertoire of knowledge.
With this, their developed fine motor skills allowing them to have patience for practice in
more involved processes such as the details of their jars, the construction of clay slabs, and
intricate cut outs/clay texture they’ll add to convey their identity and memories (Wood, 1994;
Wachowiak, 1965). Overall this project is appropriate for seventh graders because of its ability
to include identity exploration, understanding and exploration of subjectivity of meaning, and
exploration of new skills that use their developing fine motor skills and validation through art
skills other than realistic art.

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Wachowiak, F. (1965). Emphasis art: A qualitative art program for elementary and middle
schools. New York: Allyn & Bacon, Inc.

Wood C. (1994). Yardsticks: Children in the classroom, ages 4-12. Greenfield, MA: Northeast
Foundations for Children.

3.2 Students with special needs


This lesson can easily be adapted for those with special needs. To ensure the best
procedure for adaption, the cooperating teacher and any aid or other person(s) responsible
for their care will be consulted and referenced.
At least one of the group’s tables will be made to allow for wheelchair accessibility, as
well as making sure that all supplies are easily reachable, the space between desks are
passible and that students are conscious to not block the aisles with their things. For other
types of physical disabilities, assistance can be provided either by the teacher or through
the group of students they are sat with. More frequent check ins will be implemented to
limit frustration, misunderstandings, or inabilities to complete the task at hand without
help. If truly necessary, the project can be simplified to focusing on the construction of a
circular jar (only two slip and score connections and the walls will be sturdier for
connection/less likely to fall) with the representation of identity and memory depicted
through the line abstraction and glazing. For a student who may have a vision impairment,
allowing them to sit close to instructional material (both presentations and demonstrations)
for easier readability, the use of larger text for handouts and presentations will be
incorporated. For students with mental disabilities, depending on the disability the lesson
will be first considered for adaptation (slightly altering how they do it or outcome
expectation versus changing the actual outcome) and then if needed, modified (changing
the actual end-product to allow for participation in the overarching concepts). Examples of
adaptation could be more time is given, written instructions/visualizations from
demonstrations or presentations printed to have in front of them (or if the school has the
tech, perhaps pre-recorded demonstrations/voice over PowerPoints available on an IPAD
for review whenever the student needs it). Whatever adjustment/modification of the
objectives and grading criteria need to be changed to meet the student’s personal level of
cognition and allow the student to engage with the project.

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4. Literature and References
4.1 Rationale of this lesson:
During this time in students’ lives, they are in the midst of exploring who they are, as well
as who they might become (Wachowiak, 1965; Wood, 1994). As mentioned above, this project
centered around the investigation of one’s identity benefits the self-exploration students crave to
help to better understand themselves as well as who they are in a collective society. Aside from
identity investigation, the students are able to practice conducting research on themselves
(memory collection and documentation), analyzation of their data (memories broke into identity
characteristics), and application of this analyzed data (specified and chosen identity
characteristics) into their work of art. This type of problem solving will benefit students long
after their middle school years.
A lesson such as this, which has multiple scaffolded layers involved, requires the students
to understand and attribute meaning to decision made be it the form, sgraffito, or color choices
made. This type of scaffolding, where students “employ a single big idea with more than one
[component] encourages them to investigate ideas in greater depth” (Walker, 2001, p. 11). The
concept of an identity construction is multifaceted and complex due to the many influences that
intertwine in its creation, thus, requiring critical thought. According to Wachowiak (1965), this is
well suited for seventh graders as “accompanying the rapid changes in their bodies and their own
search for identity,… students can recognize that expression of the experiences of others and of
one’s self is subjective” (p. 117). In the project, students address, with their own ideas, their
divergent meanings and understandings of constructs such as color meaning associations and
how this can be a culturally structured occurrence. However, it is addressed that this does not
mean that meaning is disconnected from the cultural constructs themselves, but simply that they
can be diverged from.
The lesson of Identity Memory Ceramic Jars is multifaceted in its purpose and
background. The idea of a custom ceramic jar, something that is fragile, but which the purpose of
is to contain personally valuable things, is encompassed in cultures around the world, with
ceramics itself dating back to at least 20,000 years ago (Johnson, 2013). From Greek to Japanese
cultures, ceramics have also been adorned with illustrations, inscriptions and aspects of (wo)man
and their communities; in other words, what is important to them. This allows any student to find
a connection in their own unique cultural heritage and self-identity to the creation and use of
ceramics.
The use of Abstraction was incorporated to address Wachowiak’s (1965) understanding
of how students may “seek realism, yet on the other hand, they are often frustrated by their
inability to attain it” (p. 119). The use of Abstraction allowed for a release of pressure to be able
to perform a level of realism the students may not feel comfortable with yet, especially when
dealing with new demanding conceptual components. With their own use of abstract line
incorporated into their artwork, students can begin to understand through implementation that
everything is intentional and meaning is constructed.

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Johnson, C. (2013, January 02). Harvard and Boston University researchers find evidence of
20,000-yea... Retrieved from
https://archive.is/20130102041017/http://articles.boston.com/2012-06-28/science/324523
70_1_bone-fragments-sediment-pottery

Walker, S. R. (2001). Teaching meaning in artmaking. Worchester, MA: Davis Productions.

Wachowiak, F. (1965). Emphasis art: A qualitative art program for elementary and middle
schools. New York: Allyn & Bacon, Inc.

Wood C. (1994). Yardsticks: Children in the classroom, ages 4-12. Greenfield, MA: Northeast
Foundations for Children.

4.2 Background of the topic


As previously stated, ceramics is a 20,000-year-old art form that currently finds the oldest
remains from China with Eastern Asia being a general consensus for its beginnings, however it is
stipulated that pottery very well could have been discovered independently around the world.
While the earliest ceramics were not glazed, but molds were known to be used for shape and
possible adornment. Ceramics is some of the oldest records we have of ancient civilizations, on
which, are illustrations and depictions and sculptures of (wo)men and what they deemed
important to their world. As ceramics incorporated into other cultures, this remained a constant,
with the addition of decorative adornment. With the introduction of Judeo-Christian ideology
during the medieval era where idolatry was deemed a sin and therefore a need arose for
intentional abstraction which differed from previous attempts such as the Greeks to glorify their
deities in might realistic statues. This new type of art was to deliver messages and representation
without the use of realism. This abstraction morphed and evolved over time such as in the
abstract adornments in Lottie Queen Stamper’s baskets, a Native American basket weaver, or
Paula Nicho Cúmez, in her symbolic paintings.
Freedman (2003) explains how “new educational representations of the past that infuse
ideas and practices involving the social relevance of visual culture are important to making
meaning in the postmodern world” (p. 62), making a basic understanding of the history of art
important for students to know in order to better grasp their consumer culture oriented world
today. To teach art is to help students better navigate their critically and process what is being
projected to them. Students need to have the tools to also comprehend the it is “less important …
the narrow influence of individual objects and styles on subsequent fine art and more important
are the social influences and dynamics of cultural development” (p. 47). With the combination of
historical and social/cultural understanding, students will be able to better perceive, analyze and
critique our world for the better.

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Freedman, K. (2003). Teaching visual culture: Curriculum, aesthetics, and the social life of art.
New York: Teachers College Press.

4.3 Information about related artists, styles, movement or cultures


Dale Chihuly – (September 20, 1941 – present) an American glass sculptor in the field of
blown glass. His work is informed by a background in weaving, interior design and
architecture, which helped spur him on his path to his current artistic endeavors. Often
working in large installation pieces, Chihuly’s glass blowing is influenced by the great
glassblowing tradition of Murano, Italy. His installation The Sealife Tower references
his childhood memory of his mother and him walking along the beach looking for sea
glass along the shore (Kuspit, 1998).
Lottie Queen Stamper- (1907 – 1987) an American Cherokee basket weaver and educator
who helped to revitalize the popularity of the double weave basket technique and is
one of the best-known Cherokee basket weaver. Basket weaving was a tradition passed
down from mother to daughter and was used for keeping items dry, carrying water,
general storage, and even for sale. There are a variety of different abstract designs that
were common and often lid designs did not match the bottom basket design as some
pose they were really two separate baskets being temporarily used as one until they
were needed again separately (Fariello, 2009).
Krzysztof Wodiczko – (1943 – present) is a Polish artist renowned for his large scale
projections on architectural facades and monuments. His work revolves around themes
of war, conflict, trauma, memory and communication in the public sphere. He calls his
work Interrogative Design as a critical practice which highlights marginal social
communities in hopes of adding legitimacy to cultural issues that often receive little
attention. The Tijuana Projection communicates a collective memory and giving these
women a chance for their own voice to be heard. (Art21, n.d.; Magazinos, n.d.; &
Wodiczko, 2003).
Pablo Picasso – (October 25, 1881 – April 8, 1973) a Spanish painter, sculptor, print maker,
ceramicist, stage designer, poet and playwright who is also credited with the
co-foundation of the cubist movement. One of his most famous pieces Guernica, is a
dramatic portrayal of the bombing of Guernica by the German and Italian forces
culminates in an anti-war sentiment and as a way of persevering communal memory
(LAMA, 2010 & PBS, n.d.).
Paula Nicho Cúmez – (January 15, 1955 – present) a Mayan-Guatemalan artist inspired by
Mayan tradition culture and focuses on expressing the context of native women
experience. She has been attributed to surrealism She was a weaver before she learned
painting, which is influenced by both her contemporary culture and ancestry. She is a
part of the greater Tz’utujil Mayan artist community. Many of her themes that come to
her in her dreams, which she often revisits in multiple paintings. She continues to use

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weaving patterns in her artwork as a connection to her original craft and the motif of
female authorship and ownership (Arte Maya, n.d.; Maya Women: The Helen Moran
Collection, n.d.; Mi Historia, n.d.; & Staikidis, n.d.).
Abstract Art- Abstract art is a style of art making that is representative of shape, line, color,
and form to create a composition that does not initially represent a known object or
form that is recognizable. This type of art making is accomplished through abstraction:
taking a known form and reducing it to its fundamental components such as, shape,
line, color and form.

4.4 Art Terms/Vocabulary/Higher Level Thinking Verbs


Language Function.
Throughout the entire extended lesson, I concentrated on the use of the verb Interpret.
Initially I asked students on the first day to interpret my work as a way to get to know me
and understand how memory and identity can begin to be represented through artwork
using key vocabulary skills such as symbol and metaphor. I then expounded upon this by
going through different artists and asking students to interpret the works based off the
initial framework of memory and identity construction. Day two, I asked students during
my demo to actively participate by interpreting different characteristics of P.T. Barnum
from The Greatest Showman and then interpreting those characteristics into more abstract
shape representations. Day three I asked students to look at artist Lottie Queen Stamper, a
Native American basket weaver and interpret the designs used in her and other Native
American basket weaving. Based off student interpretations, we then applied one of the
abstract representations to our on-going example of P.T. Barnum. They were then asked to
begin using their chosen characteristics to represent themselves using their understanding
how they interpret abstract representations discussed and exampled in the book. Day Four
students during closure, students were asked to discuss and interpret different possibilities
of abstraction and what it could mean about their peers that they saw in each other’s work.
day five students were asked to incorporate glaze by interpreting the mood or another
characteristic of their chosen memory and representing it with their color choice. Finally,
on day six, students were offered the opportunity to interpret the meanings (symbolic,
metaphoric or abstract) in their classmate’s jars based off their learned knowledge
throughout the lesson.
4.5 Description of visual examples
Name Tags (see attached)– connects the concept of identity to both names and our physical
composition.
Introduction PowerPoint Presentation (see attached) – artworks from the artists
reference differing ways to connect the idea of identity and identity construction with
memory as a way of self-expression in connection to both private and collective
memory/identity.

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Abstraction PowerPoint Presentation (see attached) – artworks from the artists reference
ways of working with and understanding abstraction in artwork.
Workbook (see attached) – the workbooks combines all think sheets, references all artists
discussed, includes important vocabulary, and other referential materials connected
with the project to allow students a resource they create. Designed in a scaffolded
manner, this workbook aids students in their development of ideas and helps them to
build upon prior concepts to enhance the conceptual component of their work. Allows
students to better understand and see their own artistic process, as well as a space for
formative assessment and feedback.
Visual Board (see attached) – Includes the big idea of the lesson, images of referenced
artwork, important key vocabulary, teacher made example, abstraction
reference/examples, teacher made concept map example, the idea of subjectivity of
meaning, and the differing stages of glaze and glaze firing.
Teacher Example (see attached) – Example of the final project to help jump start
conversations and as a reference for students to better understand what is expected of
them when they make their own.
Dale Chihuly-
SeaLife Tower is based off a memory of
when he was a child and would walk the
beaches with his mother collecting sea
glass.
Uses abstract forms and color to convey
ideas of water. Creates sea life out of glass
to reference the ocean. His material choice
of glass connects to his memory of
collecting glass.
Memory could be considered a
private/personal memory because it is
Chihuly’s own, however, it could be a
collective memory since it is shared by
both his mother and him, as well as if
anyone else has had similar memories to
this.
Based off the bright color choices, the way
it is brightly lit, and the loose, fun forms
Chihuly chose for his piece, the memory it
represents seems to be a happy one.

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Paula Nicho Cúmez-
Paula Cúmez uses symbols and
abstraction within her works to represent
parts of her culture that are important to
her and her people.
Some of what she depicts holds more
meaning for those who have the same
background as Cúmez, which could mean
something alternative to someone who’s
background differs.
This idea is important to understand when
interpreting art, that while we create our
own meanings of art through our
interaction with it based off our own
experiences and culture and that just
because there are differing ideas does not
necessarily make one or the other more or
less valid.
Pablo Picasso-
This piece, Guernica, is more likely to be
considered a collective memory as it
depicts and represents atrocities of war.
Collective memories are important
because they help people to better relate to
one another through common lived
experiences.
Symbolism and metaphor used within
this piece lead you to the conclusion of
war: the facial expressions of the people,
the jagged sword at the bottom of the page,
the literal chaos depicted.
The harsh contrast, the jagged shapes and
disfiguring of the subjects within the
painting lend themselves to more horrific
emotions than Chihuly’s SeaLife Tower.

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Lottie Queen Stamper-
This piece is a river cane basket created by
Lottie Queen Stamper, a Native American
woman who helped to revitalize the double
woven basket technique.
Stamper uses abstract symbols to decorate
her baskets which have specific meanings
to her culture and tribe.
Meanings and interpretations can be
subjective based upon differing cultures
and individual experiences.

Krzystof Wodiczko-
This Tijuana Project is comprised of
people telling their personal/private
memories and through sharing them, they
are related to by others, allowing them to
become a part of a collective memory of
immigrant struggles.
One of the ways this piece depicts the
importance of collective memory is the
faces of those who share their stories are
literally projected upon an important
community building to be viewed and
heard by all in real time.
Stories such as these, help to define who
we are and become a part of individual’s
identity construction. Projects such as
this allow for the importance of sharing
one’s lived experiences so we can know we
are not alone and that there are others
going through what we are.

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4.6 List of references
Art21. (n.d.). Krzysztof Wodiczko. Retrieved from
https://art21.org/artist/krzysztof-wodiczko/

Arte Maya. (n.d.). Paula Nicho Cúmez. Retrieved from


http://www.artemaya.com/galpnc.html

Fariello, M. A. (2009). Cherokee basketry: from the hands of our elders. Charleston, SC:
History Press.

Kuspit, D. B. (1998). Chihuly. (2nd ed.). Seattle, WA: Harry N. Abrams, Inc.

LAMA. (2010, September 22). Pablo Picasso ceramics & Madoura pottery. Retrieved from
https://lamodern.com/2010/09/pablo-picasso-cermics-madoura-pottery/

Lowenfeld, V. (1987). Characteristics of Drawing During the Gang Age. In Creative and
mental growth: A textbook on art education (pp. 305-343). New York, NY: Macmillan.

Magazinos. (n.d.). Krzysztof Wodiczko. Retrieved from


https://www.magazinos.com/magazinedetail.php?d=Krzysztof_Wodiczko

Maya Women: The Helen Moran Collection. (n.d.). Paula Nicho Cúmez- nuestra madre
tierra. Retrieved from http://silentimmigrants.org/gallery/pnc3tierra.html

Mi Historia. (n.d.). Crusando fronteras (crossing borders). Retrieved from


http://www.mihistoria.net/artist/crusando-fronteras-crossing-borders/

PBS. (n.d.) Guernica. Retrieved from


https://www.pbs.org/treasuresoftheworld/guernica/gmain.html

Public Projections. (n.d.). The Tijuana Projection. Retrieved from


https://library/ucsd.edu/dc/object/bb027753g

Robinson, L. (2015, August 9). Picasso, Guernica. Retrieved from


https://www.khanacademy.org/humanities/art-1010/early-abstraction/cubism/a/picasso
-guernica

Staikidis, K. (n.d.) Where lived experience resides in art education: A painting and
pedagogical collaboration with Mayan artists. Northern Illinois University.

14
Wachowiak, F. (1965). Emphasis art: A qualitative art program for elementary and middle
schools (9th Ed.) New York, NY: Allyn & Bacon, Inc.

Walker, S. R. (2001). Teaching meaning in artmaking. Worcester, MA: Davs Publications.

Wodiczko, K. (2003). The Tijuana projection, 2001. From Rethinking Marxism. 15(3).
422-423. Doi:10.1080/0893569032000131983

Wood, C (1994). Yardsticks: Children in the classroom, ages 4-12. Greenfield, MA:
Northeast Foundation for Children

15
5. Integration/Connecting Links
5.1 Idea Mapping

5.2 Instructional Resources and Materials:


Art21. (n.d.). Krzysztof Wodiczko. Retrieved from
https://art21.org/artist/krzysztof-wodiczko/
Arte Maya. (n.d.). Paula Nicho Cúmez. Retrieved from
http://www.artemaya.com/galpnc.html
Fariello, M. A. (2009). Cherokee basketry: from the hands of our elders. Charleston, SC:
History Press.
Kuspit, D. B. (1998). Chihuly. (2nd ed.). Seattle, WA: Harry N. Abrams, Inc.
LAMA. (2010, September 22). Pablo Picasso ceramics & Madoura pottery. Retrieved from
https://lamodern.com/2010/09/pablo-picasso-cermics-madoura-pottery/
Lowenfeld, V. (1987). Characteristics of Drawing During the Gang Age. In Creative and
mental growth: A textbook on art education (pp. 305-343). New York, NY: Macmillan.
Magazinos. (n.d.). Krzysztof Wodiczko. Retrieved from
https://www.magazinos.com/magazinedetail.php?d=Krzysztof_Wodiczko
McCandless, D. (2012) Colors in Cultures [Poster]. In Information is Beautiful. London:
William Collins.
Maya Women: The Helen Moran Collection. (n.d.). Paula Nicho Cúmez- nuestra madre
tierra. Retrieved from http://silentimmigrants.org/gallery/pnc3tierra.html
Mi Historia. (n.d.). Crusando fronteras (crossing borders). Retrieved from
http://www.mihistoria.net/artist/crusando-fronteras-crossing-borders/

16
PBS. (n.d.) Guernica. Retrieved from
https://www.pbs.org/treasuresoftheworld/guernica/gmain.html
Robinson, L. (2015, August 9). Picasso, Guernica. Retrieved from
https://www.khanacademy.org/humanities/art-1010/early-abstraction/cubism/a/picasso
-guernica
Staikidis, K. (n.d.) Where lived experience resides in art education: A painting and
pedagogical collaboration with Mayan artists. Northern Illinois University.
Wachowiak, F. (1965). Emphasis art: A qualitative art program for elementary and middle
schools (9th Ed.) New York, NY: Allyn & Bacon, Inc.
Walker, S. R. (2001). Teaching meaning in artmaking. Worcester, MA: Davs Publications.
Wood, C (1994). Yardsticks: Children in the classroom, ages 4-12. Greenfield, MA:
Northeast Foundation for Children.
PowerPoint – To show examples of featured artists, examples of tasks to help students
work through process as a class before completing independently, as well as examples
of a finished Identity Memory Jar completed by the teacher and key vocabulary and
concepts listed for student discussion and understanding.
Teacher Sample – A teacher example will be provided for the lesson as well as a
demonstration piece that will be worked on throughout the course of the project.
Visual Board – includes featured artists, example of project, key vocabulary, and an
overview of the lesson.
Work Booklet (hand out) -
Artists: includes pictures of featured artists’ work discussed in class with a space
for students to take notes
Concept Map: space for students to work out their concept maps when
introspectively breaking down their identity and memory
Abstract Representation: exemplars of representing different descriptors through
abstraction in the form of lines. Also, a space for students to work through their
own abstractions.
Concept Sketches: Space for students to work on concept sketches of their identity
memory jars
The Meaning of Color: Infographics on color and meanings associated with
different colors. The second infographic, Colours in Cultures Information is
Beautiful shows students diverging color associations based off differing cultures
to show subjectivity of meaning. There is space after for students to denote and
work through which color(s) they want to use and their associated meaning with it.
Descriptive Word Examples: examples of descriptive words for students to
reference throughout the project.
Artist Statement: Questions to help direct students in writing their own artist
statement.

17
Word Bank: space for students to write down words they are unfamiliar with as
well as any other associations they want to go with the words.
Notes: space for general notes and ideas that don’t fit under any other category or
additional space for earlier parts of the booklet.

5.3 Art Materials for the Lesson:


Aprons
Artist statements
Clay
Clay sculpting tools
Container to hold project in between classes
Glaze
Markers
Paint brushes
Paper towels
Pens/Pencils
Placemats
Plastic bags
PVC rolling pins
Rulers
Scrap stuffing paper/newspaper
Sharpies
Slip
Small cups
Spray bottles
Teacher example (completed identity memory jar)
Work Booklet (hand out)

6. Management and Safety Issues:


Students will need to handle clay tools with care (no running, throwing, or poking touching
anything but their clay with them, etc.). While not a safety issue, students will be given
aprons to keep clothes clean, as well as hair ties if needed to keep hair out of their face and
away from clay and glaze. Students will be warned that supplies may stain clothes or skin.
When working with materials, students are to respect them and only use them in their
intended way (no throwing or splattering and keeping clay and glaze on the table). If a
student shows interest in a splattering technique, they will do so at designated station.
Handwashing will be required at the end of each class to avoid messes.

18
6.1 Organization of Supplies
Day One
• One student will distribute and collect work booklets for each group.
• Writing utensils: one student will distribute and collect writing utensils for each
group.
• Computer/Projector/PowerPoint

Day Two
• Teacher will set up work stations into two groups (one of 4 one of 3) prior to class
o This will include clay
o Water Cups
o Clay Tools
o Slip
o Placemats
o Table Covers
o Apron
o Sharpie
• Student will write their name on their apron with a sharpie
• Teacher will set up a demo station prior to class
• Teacher will set up seating area away from work stations for students to first sit
• One Student will distribute and collect work booklets for each group
• Students will clean up their work stations
o Wash out clay tools
o Wrap up clay in damp cloths and plastic to keep wet
o All supplies will be placed back into each table’s own bin
o Apron will be rolled up and placed in bin

Day Three
• Teacher will set up work stations into two groups (one of 4 one of 3) prior to class
o This will include clay
o Water Cups
o Clay Tools
o Slip
o Placemats
o Table Covers
• One Student will distribute and collect work booklets for each group
• Students will grab and put on their apron from supply bin
• Students will clean up their work stations
o Wash out clay tools

19
o Wrap up clay in damp cloths and plastic to keep wet
o All supplies will be placed back into each table’s own bin
o Apron will be rolled up and placed in bin

Day Four
• Teacher will set up work stations into two groups (one of 4 one of 3) prior to class
o Pre-divided clay
o Water Cups
o Clay Tools
o Slip
o Placemats
o Table Covers
• One Student will distribute and collect work booklets for each group
• Students will grab and put on their apron from supply bin
• Students will clean up their work stations
o Wash out clay tools
o Wrap up clay in damp cloths and plastic to keep wet
o All supplies will be placed back, clean, into each table’s own bin
o Apron will be rolled up and placed in bin

Day Five
• One student will distribute and collect work booklets for each group.
• Teacher will set up work stations into three groups (one of 4 one of 3, and a glaze
table) prior to class
o Mini Dixie Cups for Glaze
o Water Cups
o Paint Brushes
o Paper towel rolls (one at each table)
o Table Covers
o Markers (one set at each table)
o Table with jars of glaze for students to get and samples of fired glazes for
color reference
• Teacher will set up seating area away from work stations for students to first sit
• Students will clean up their work stations
o Wash out paint brushes
o Set glazed piece in art collection bin
o Apron will be rolled up and placed in bin
o All supplies will be placed, clean, back into each table’s own bin.

20
Day Six
• One student will distribute and collect work booklets for each group.
• Writing utensils: one student will distribute and collect writing utensils for each
group.
• Students will collect their finished piece and sit in a circle away from desks.
• Students will return their finished piece to art the artwork collection bin

6.2 Clean-Up of Supplies


Clean-up will be the responsibility of each table/group
Each group of students is responsible for
• Return of work booklets to Teacher
• Washing & drying of clay tools or paint brushes
• Placing artwork in artwork collection bin
o Wet clay must be wrapped in damp paper towels and then with
plastic
o Bisque fired pieces with glaze to be placed in the bin on top of
paper towels
o Finished pieces must have a piece of paper with their name on it
under it
o Removal and disposal of table covering

Day One
• One student will be designated to distribute and collect work booklets and turn
them into the teacher
• One student will distribute and collect writing utensils
Day Two through Four
• Each table will have a designated student to:
o Collect and clean tools and placing them into supply bin
o Repacking any leftover clay, put any extra supplies into supply bin
o Removing & Disposing Table Cover
o Collecting work booklets and turning them into the Teacher
Day Five
• Each table will have a designated student to:
o Collect and clean tools and place them into supply bin
o Closing all containers of glaze and placing them into the supply bins
(including fired examples
o Removing and disposing of Table Cover, put any extra supplies into the
bin
o Collecting work booklets and turning them into the Teacher

21
7. Vocabulary:
Abstract – existing in thought or as an idea but not having physical or concrete existence;
nonrepresentational
Abstract Representation – a representation of something or someone that is not explicitly so
Analyze – discover or reveal something through detailed examination
Association – a mental connection between ideas or things
Attribute – a quality or feature regarded as a characteristic or inherent part of someone or
something
Bisque Fire – the first firing of ceramic pottery before it is glazed.
Characteristic – a feature or quality belonging typically to a person, place or thing and serving to
identify it
Collective Memory – the memory of a group of people, typically passed from one generation to
the next.
Contemporary Art – the art of today, produced in the second half of the 20th or 21st century.
Often globally influenced, culturally diverse, and technologically advancing
Describe – to give an account in words of someone or something, including all the relative
characterizes, qualities or evens.
Extrovert – an outgoing, openly expressive person.
Fire – to cook or bake in a kiln.
Form – the visual shape or configuration of something
Glaze – the act of applying ceramic paint; an impervious layer of coating of a vitreous (glass like)
substance which has been fused to a ceramic body through firing, changing the
color of the ceramic material.
Glaze Firing – typically the second firing of a ceramic clay body after it has been bisque fired.
Greenware – Any unfired clay body before it is bisque fired and is very fragile.
Handbuilding Clay – Sculpting any clay by hand.
Identity – establishes or indicates who or what someone/something is.
Identity Construction –The shaping of a person’s values, beliefs, practices, discourses, and
knowledge influenced both by cultural systems and individual actions
Interpret – an explanation of the meaning of the meaning of some work of art
Introvert – a shy, reticent (not revealing one’s thoughts or feelings readily) person.
Leather Hard – When wet clay has dried somewhat but still damp enough to be joined to another
piece of clay.
Line – a thin, narrow mark that can be static, dynamic, organic and/or geometric
Memory – something remembered from the past, a recollection
Metaphor – a figure of speech in which a word or a phrase is applied to an object or action which
it is not literally applicable
Narrative – a spoken or written account of connected events; a story
Objective – not influenced by personal feelings or opinions in considering and representing facts

22
Pattern – a repeated decorative design
Representation – the description or portrayal of someone or something in a particular way or as
being of a certain nature
Repetition – the action of repeating something that has already been said or written
Risk-Taking – the action of taking risks, willing to take risky action in the hope of a desired
result
Scoring – to cut or scratch a notch or line in clay to prepare it to join with another piece of clay,
often used with slip
Sgraffito – a form of decoration made by scratching through a surface to reveal a lower layer of
contrasting color.
Slab – a flat piece of clay
Slip – a liquid mixture or slurry of clay used to help join two pieces of clay together, often used
with scoring
Subjectivity – influenced by personal feelings or opinions when considering and representing
facts
Symbolism – the use of symbols to represent ideas or qualities
Texture – the feel, appearance, or consistency of a surface or a substance such as smooth, rough,
wet, dry, etc.
Unity – when elements of a piece combine to create a sense of harmony and complete whole.
Wash – Ceramic paint/glaze applied to clay body and then wiped back so color is in the detail of
the piece.
Wedging – method of kneading clay to get rid of air pockets in the clay.

23
8. In-Class Activities:
Day One
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

Project the title slide of the project


introduction PowerPoint

2 minutes Brief introduction of Teacher to students, Help to establish positive


student introduction and pass out of student teacher-student, student-teacher
name tags. Small icebreaker of them relationship
naming a characteristic about themselves Get students to start thinking about
(teacher participates first). their identity
• Welcome! My name is
Mrs. Sharp, we’ll go
around and introduce
ourselves and state one
characteristic about our
self. For example, I am a
very curious person.

Name Tags will be handed out as each


student says their name.

Motivational Dialogue:
3 minutes Topic Question:
• Who can tell me what an identity Students begin to associate the idea of
is? memory with identity construction.
(establishes or indicates who or what
someone/something is)

• Who can tell me what a memory


is?
(something remembered from the
past, a recollection)

• How do you think they are


connected?

24
(Memories or lived experiences help
to define/construct who person is, i.e.
identity construction)

3 minutes Association Questions:


• What is something unique about
yourself?
(Teacher examples: I have been to 3 Students will begin to develop ideas
continents, I am Native American, I on their own sense of self with
love any kind of story: mythology, connection of personal
movies, plays, anime, memories, etc.) experiences/memories.

• What is a unique
experience/memory you’ve had?
• How has it helped to make you
who you are/define you?
(Teacher gives example if students
need coaxing: I experienced a lot of
death when I was young so I am very
thankful for the time I get with those I
love. Or when traveling I’ve realized
the different places have different
perspectives on life. In South Africa,
the wait staff would not address me
directly about my food taking a bit too
long, they instead addressed our
guide who was the oldest male in our
group, and therefore seen as the
‘head of our group’ as it is a male
dominated/run society. Because of
this I feel lucky that I have more Students will begin to understand
independence in my life than I would different aspects of memory.
there.)

• Would you say this is a private or


collective memory? Why?
(private – I am the only one who
experienced it, – lots of people Students will think about how to
experienced it) translate ideas into visualization.

25
Students will be introduced to
featured artists as examples to get
5 minutes Presentation/Explicit Instruction them thinking on how to make this
Beginning the PowerPoint students will see translation.
image of teacher’s work and interpret it
together.

Visualization Question
• What different techniques do you Students will start to engage in the
think are being used in this piece to topic and relate symbols and
convey meaning? metaphor to representation.
(symbolism, metaphor, color
meaning, line)
Transition Question
• Knowing that my piece is called Students will begin to familiarize
Heritage, what do you think the themselves with ways to depict their
piece is about and why? own identity/memory as well as that
(About my personal heritage and how these can be subjective.
my different backgrounds combine to
help make me who I am)
3 minutes Presentation/Explicit Instruction
Introduction of different vocabulary
Metaphor Students will begin to understand how
- a figure of speech in which a representations can be merged
word or a phrase is applied to together to create a story as a whole.
an object or action which it is
not literally applicable
Symbolism Students will begin to familiarize
- the use of symbols to represent themselves with ways to depict their
ideas or qualities own identity/memory as well as that
these can be subjective.

Representation Students will begin to understand how


- the description or portrayal of representations can be merged
someone or something in a together to create a story as a whole
particular way or as being of a
certain nature

2 minutes Guided Practice/Feedback

26
• What symbols or metaphor do you
see that could show my
representation?
(skulls for death/past, arrow head Native
American heritage, Celtic knots Irish
heritage, clovers Irish heritage)

1 minutes Presentation/Explicit Instruction: Students will see an example of the


Teacher quickly passes out work booklets. importance of presentation and
Explanation of what the booklet is and how organization when working on an art
it will be used going forward project.

5 minutes Continue through the PowerPoint Students will begin to understand


introducing different featured artists. different ways to visually express
Dave Chihuly ideas of identity and meaning through
• What could Chihuly’s concepts such as metaphor, symbols,
memory be about? and abstraction.
(an important, positive and
playful trip memory of going to Students will understand difference
a beach/aquarium) between personal memory and
• Why do you think so? How collective memory as well as
does Chihuly use his materials connecting to either positive or
and presentation to convey negative memories.
this?
(Light Colors, blues and whites
both referencing water and
a lighter mood, the sea life on the
bottom, contrast of the sea to the
sea life on the bottom, the
brightness of the presentation,
the size of the installation
conveying the importance of the
memory-it was a big part of his
childhood, the form of the blown
glass in playful tentacles that
reference the fluidity of water)
Pablo Picasso
Raise your hand if you know this
piece.

27
• Do you think this is a private
or collective memory? Why?
(collective because of its public
display, war is experienced by
many and is not an
individualized event, different
perspectives can be held on the
same event.)
• What mood/emotions do you
think are being represented?
How does the artist depict
this?
(somber, chaotic, agony, horror;
use of jagged lines, black and
white, sharp contrast, fragmented
cubist style subjects, chaotic
energy in overlapping lines and
figures.)
• How does this piece
compare/contrast to the last
piece?
(black and white, 2D not 3D,
both abstract, etc.)
Krzysztof Wodiczko
• What did you see?
(peoples’ faces projected onto a
building, emotional stories)
• What do you think/ how do
you interpret this piece?
(collective projection piece that
recalls experiences as a
collective memory. The
individual becomes communal.)
• How does collective memory
art such as The Tijuana
Project connect to our topic of
identity construction?
(Identities are not constructed in
isolation. They are a social

28
phenomenon too. Our identities
and their construction are a part
of a communal experience)

2 minutes Guided Practice/Feedback


Relate the artists’ work and concepts by
introducing the project with a teacher
example.

Ask students what they think I am saying Students see how concepts and
about my own identity and what emotions technical skill will combine in the art
are connected to my memory choice. project they will be creating.
(happy because of bright colors, energetic
because of line work, unique because of
form)

Ask how many students have seen the Allows for understanding of student
movie The Greatest Showman? experience
• I know you are singing music
from The Greatest Showman
in music, how many of you
have seen the movie?

4 minutes Structured Practice/Exploration


In PowerPoint show slide of P.T. Barnum Students will begin to understand how
from the movie The Greatest Showman. analyze and interpret identity and
• Ask students to analyze the how memories or lived experiences
character’s identity and give inform identity construction.
reasons why they think so.
(He’s an entrepreneur: sold
discarded papers, created the
idea of the circus/show, kept
looking for new ideas.)

Students create a concept map with the Students organize and develop artistic
teacher as an example to reference for their ideas and work.
own memory/identity construction.

29
Independent Practice/Application Students will think critically and
Have students choose a memory that is self-define what they believe to be
important to who they are now and have their defining attributes and be
them create a concept map breaking down referenced multiple times through the
their identity from their memory. Teacher project.
example will be up for reference.
- Students will need least 5 Students will begin to connect their
ideas self-analysis into a personal
- 1 trait for the shape of the jar visualization.
- 1 trait for the form of the walls
of the jar
- 2 traits for the decoration of
the walls of the jar (inside &
out)
- 1 emotion to symbolically Students will articulate what they
portray their memory as a have learned and reinforce their
color understanding of key concepts.

Students will sketch a concept sketch of


their identity memory jar based off their
concept map. Teacher example will be up
for reference.
Teacher will have students focus on
the form/shape of the main jar first, but
inform students we will be going over
representation through both abstract line
and color as we continue forward, so they
can brainstorm these ideas now too and
adapt them as they need/want to/learn
more.

6 minutes Closure
One student will be selected to collect Students will begin to understand they
work booklets and name tags at end of are in charge of clean up.
discussion.

30
Guided Questions
• In what ways have the artists’
work we’ve discussed
compare and contrast?
(individual vs collective memory,
different mediums, different use of
form to convey what is important,
light to create contrast to show the
viewer what is important, use of
line for mood, color for symbolic
associations and emotion)
• What are some ways they
interpreted memory and
identities that were meaningful
to you? How and why?
(the close up of the face really
conveyed emotion and allowed
me to feel empathetic toward
other peoples’ experiences,
Chihuly’s use of organic form
allowed me to connect to my
own memories and
associations of water)
Clean Up-
4 minutes Chosen student will collect booklets
and name tags and turn them into the
teacher.

31
Day Two
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

1 minute Welcome students back to class. Have first


student who walks in be in charge of
handing out work booklets and name tags
as the rest walk in and sit in circle of
chairs.

A brief review of key content from first Refocuses students on purpose of


class. project, connecting the previous
2 minutes Topic Questions class and work to day two,
• What were some of our refreshing anything they did not
main ideas from last class? remember from previous class.
(Identity, abstraction,
symbolism, metaphor, form,
representation)
• What is an identity?
(establishes or indicates who or
what someone/something is.)
• What influences the
creation of our identity?
(memories/lived experiences)
• What is a metaphor?
(a figure of speech in which a
word or a phrase is applied to
an object or action which it is
not literally applicable)
• What is symbolism?
(the use of symbols to
represent ideas or qualities)
1 minutes Association Question
• What are some examples of
ways we will visualize our
identity/chosen memory?
(Through representation of
form, abstraction, symbols, and
metaphor)

32
1 min Transition Question
• What is one way you’ve
brainstormed how to visualize
your own identity/memory?
(sporadic line, straight lines, wavy
edges of the jar, using the color
green for growth)

15 min Presentation/Explicit Instruction


Teacher Demo
o Students will gather around
ceramic demo table
o Teacher will have concept map Students will further their
created from listed characteristics understand through examples of
of P.T. Barnum listed the previous how to transfer their 2D ideas into
day as well as a concept sketch for 3D
a memory jar based off that concept
map.
- Alright, we will start the
demonstration on making your
slab ceramic identity memory
jars. Please bring your work
booklets and a writing utensil
to take notes.
o You will begin by kneading the
clay to remove air bubbles. Does
anyone know why we need to do
this? (to remove any air pockets
from the clay so it does not explode
in the kiln when firing since hot air
expands)
o Next you will take your PVC pipe
rolling pin and roll out your clay
until it is about ¾”- ½” thick. You
can compare your thickness using
the rulers I’ve brought. Try to keep
it as even as possible (unless you
have a reason for not!)
o Cut the shape you want to use for

33
your base. In this case, we are
going to use a triangle.
- For me the triangle represents
direction, like the triangles on
a remote for fast forward or on
a next button. Since Mr.
Barnum was always working
toward something he always
had a new idea or direction he
wanted to head in.
o Next, since I have a triangle, I will
need three slabs for the side. Roll
out another slab, kneading more
clay if you need to. Use the base
you’ve cut to measure the width
you need your slab to be. I think I
will make them have a little height
since he always had high hopes and
big dreams. Repeat this for
however many sides you need.
o Prepare some crumpled newspaper
for support.
o You will now score the edges of
your pieces where you want them
to connect. Score the base on the
top and the walls of your jar on the
bottom and inside. Does anyone
know what scoring means? (to cut
or scratch a notch or line in clay to
prepare it to join with another piece
of clay, often used with slip)
o Next you will add clay slip to the
scored edges where you want your
pieces to connect. Does anyone
know what slip is? (a liquid
mixture or slurry of clay used to
help join two pieces of clay
together, often used with scoring)
o Connect the two slip and scored

34
edges together, making sure there is
no paper in between if you’ve
already placed some for support.
o You will have to trim to fit your
walls as you add them. If you
create a square base, attach facing
walls first then the other two facing
walls after trimming them to fit
inside the first two.
o Add extra slip to edges to smooth
out and strengthen the connection.
o Use your pre-crumpled newspaper
for support on the inside of your jar
if necessary
o If you want to make a round,
circular jar, you can use one of the
different sized PVC pipes, cover it
in newspaper and roll your slab
around it. Make sure you do not
cover the entire PCV pipe!
o Then cut just the slab so it overlaps
a little.
o Score and slip both edges, then
attached them together with the
PCV pipe still inside.
o Slowly and carefully pull out the
PVC pipe. The newspaper should
get left behind. You can remove it
once the pipe is out.
o Then you can score and slip the
sides to your round base in the
same manner as the triangle.
o Now I will abstractly decorate the
outside of the jar with sgraffito
representing other aspects of Mr.
Barnum’s personality that people
could readily see. I’m going to use
zig zag lines in an upward direction
to show Mr. Barnum’s

35
determination to keep moving
“onwards and upwards” no matter
what setbacks he had. It could also
represent his energetic qualities you
see when he puts on a show.
(Reiterate that we will discuss this
more either next time or third day
depending on how fast the students
work)
o I will use sgraffito on the inside an
aspect that maybe more internal
and not everyone can tell on the
outside. For example, for Mr.
Barnum, while he took a lot of big
risks, he was often unsure of
himself and where they would take
him. So, I’m using a soft wavering
line to demonstrate his lack of
confidence that most people might
not always see.
o Once the sides of your jar are
attached firmly, you can keep them
straight or further play with the
form by altering the shape. Since
Mr. Barnum is a creative man, I’m
going to make the walls a little
wavy to show he doesn’t always
follow the “straight and narrow”
Try not to ruin your decorations,
but you can always go over them
again to fix any issues.
o Finally, rolling out one more slab,
you cut it to be just bigger than the
top of your jar for the lid. You may
embellish it with a knob or handle
of some sort if you finish the other
components in time. You will need
to decorate the top and bottom with
abstract lines as well.

36
o If you so choose, you can carve out
openings on the side of your jar to
be able to see inside, however you
must be able to explain why you’ve
chosen to do this. One example
could be you believe part of your
identity is you “are like an open
book”. So even the more hidden
parts of your identity aren’t so
hidden. This will be done last and I
will demonstrate later if needed.
o We will be doing this over the next
couple of days and then let them
dry so we can bisque fire them.
Who knows what that means?
(the first firing of ceramic pottery
before it is glazed)
o After the bisque fire, we will learn Students will understand the basic
about color symbolism and glaze process of ceramics
our jars.

Techniques to be demonstrated
• Slab rolling
• Cutting shapes from slab
• Creating different shapes of
slab jars
• Carving lines into the clay for
decoration
• Slipping and scoring

15 Independent Practice/Application
minutes Students will head to their seat and begin
work on their jars.

- If there are no further


questions, you will go sit at a
set up table and get started.

- Use your concept sketch to Students will make sure they have

37
create your jar. Remember at enough detail in their concept maps
least: to meet necessary criteria
1 trait for the form of your
base
1 trait for the form of your
walls
2 traits for the abstract line
wall decorations on the
outside & inside of the jar
1 emotion to symbolically
portray their memory as a
color

Students will start by rolling out clay slabs


¾”- ½” thick.

Referencing their concept maps and Students will convert their 2D


concept sketches, students will then cut the concepts into 3D representations.
base, walls and lid from their slabs.

Students will begin to attach their walls to Students demonstrate understanding


their base using a slip and score method of slab ceramic construction
demonstrated.

5 minutes Closure
Students will clean up
• Each table will have a designated Students will respect the classroom
student to: and the materials and learn
§ Collect and clean tools and responsibility for them.
place them into supply bin
§ Repack any leftover clay,
put any extra supplies into
supply bin
§ Remove & Dispose of
Table Cover, help finish
clean tools if necessary
§ Collect booklets and name
tags and turn into teacher

38
Students will be responsible for preparing
their project for storage. This includes Students will understand how to
placing them inside a plastic bag and properly store in process clay
dampening with a spray bottle projects.

How are you using form to convey your


representations of your identity? Students will use their gained
(such as using a triangle base to show knowledge of concepts and skills to
direction) accurately articulate what they are
accomplishing in their individual
What type of abstract line representation projects.
do you think you might use?
(such as the jagged upward line to
represent determination)

39
Day Three
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

Welcome students back to class. Have first


student who walks in be in charge of
handing out work booklets and name tags
as the rest walk in and sit in circle of
chairs.

A brief review of key content from past Refocuses students on purpose of


classes. project, connecting the previous
8 min Topic Questions classes and work to day three,
• How are you using some of refreshing anything they did not
our main ideas from last remember from previous class.
class in your work?
(Using line abstraction, form,
symbolism and metaphor to
represent different aspects of
our identity and chosen
memory by…listing specific
examples)
• What part of your identity
construction do you
believe is due to collective
memory?
(the death of my grandma,
while not everyone knew
my grandma personally, the
death of loved ones is a
collective experience and
those who shared similar
close relationships with
their grandparents and have
lost them can relate to my
memory)
Association Question
• What are some of the traits
you picked to represent

40
about yourself?
(Funny, kind, patient, hard
worker, etc.).
Transition Question
• Is there anything you are stuck
on or need clarifying or want
to review before getting
started?
(any concept or skill any of the
students feel unsure or
uncomfortable with is applicable.
Once everyone’s has either said
no or shared something they want
to know more about I will review
together if it is a concept, but help
individually if it is a skill with the
invitation for anyone who wants
to, to watch)
10 min Presentation/Explicit Instruction
Lottie Queen Stamper Students will understand that
Today we’re talking about cultures have their own symbolism
abstract representation by looking at and meaning that we internalize
Lottie Queen Stamper, a Native subjectively based upon our own
American Cherokee Basket Weaver. culture, experiences and personal
She is credited with reigniting the associations.
popularity of the double weave and
while basket weaving was typically
taught Mother to Daughter, she held
her own classes and taught many.
• How do you interpret some
of the woven basket patterns?
• Why ones do you find
yourself identifying with?
Why?
(the snake pattern because I
am indecisive and go back and
forth on decisions, chiefs heart
because it reminds me of the
boost symbols in racing video

41
games I play, the chain pattern
because of my strong
connection to family and
friends)
• How would you compare or
contrast Stamper’s woven
baskets with some of the other
artists we discussed the other
day?
(they are a representation of
collective memory, being
passed down from mother to
daughter)
• Do you think they had the
same interpretations? Why
or why not?
(No because their culture,
social and cultural
surroundings differ from
ours).
P.T. Barnum Slide Up
Turn to the abstract lines section of
your booklet please.

Show examples of lines and go over


attributes that can be attributed to them.
Then have students draw a line in their
work booklets to represent one of P.T.
Barnum’s characteristics on their own
write which attribute they chose.

Turning to the abstract lines section of


your booklets
• Who can tell me what abstract
Representation is?
(a representation of something
or someone that is not
explicitly so)
choose at least one trait you wrote down

42
day 1 and abstractly draw it in line form. Students organize and develop
Give reasoning for your interpretation. artistic ideas and work.
I’ll do one too and we’ll share in a minute.

17 min Independent Practice/Application


Students will head to their seat and begin
work on their jars.

- If there are no further


questions, grab your piece
from the art bin and get
started.

- Use your concept sketch to Students will continue their process


create your jar. Remember at of transferring their 2D ideas into
least: 3D
1 trait for the form of your
base
1 trait for the form of your
walls
2 traits for the abstract line
wall decorations on the
outside & inside of the jar
1 emotion to symbolically
portray their memory as a
color

Students will start by rolling out clay slabs


¾”- ½” thick.

Referencing their concept maps and


concept sketches, students will then cut
the base, walls and lid from their slabs.

Students will then attach their walls to Students demonstrate understanding


their base using a slip and score method of slab ceramic construction
demonstrated.

43
Students will use clay tools to sgraffito Students will understand how to use
abstract line designs connected to their abstract representation to creatively
previously brainstormed ideas on the depict their chosen identity
outside and inside of their jars. characteristics.

Students will alter the form of their jar Students will understand how to use
walls to represent a characteristic/trait of form to creatively represent a
their personality and be able to explain chosen characteristic of their
their choices. identity.

Students will choose whether or not to Students understand how to use the
carve out any open spaces on the sides of three dimensionalities of their jar to
their walls. convey an aspect of their identity in
terms of their inner and outward
identity portrayals.
5 minutes Closure
Students will clean up
• Each table will have a designated
student to:
§ Collect and clean tools and
place them into supply bin
§ Repack any leftover clay,
put any extra supplies into
supply bin
§ Remove & Dispose of
Table Cover, help finish
clean tools if necessary
§ Collect booklets and name
tags and turn into teacher

Students will be responsible for preparing


their project for storage. This includes
placing them inside a plastic bag and
dampening with a spray bottle.

• How are you using metaphor or Students will have reinforced the
symbolism to convey your connection of vocabulary words,
representations of your identity? concepts and skills.

44
(such as using a base triangle to show
direction – repetition of answer to
show that they are using symbolism in
their form. Make sure students
understand the connection between
concept and how it is implemented)
• What are you finding the most Student verbalize the ceramic
challenging so far with process using appropriate
handbuilding your jars? vocabulary, explain difficulties and
Students will be asked if they are given the chance to help each
know they answer to their other problem solve complications.
classmate’s question/difficulty
based off their own exploration
before the teacher gives the
answer.
(getting the walls of the jar to stay
vertical while connecting them to the
base, getting my walls even, figuring
out how much slip is necessary)

45
Day Four
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

Welcome students back to class. Have first


student who walks in be in charge of
handing out work booklets and name tags Refocuses students on purpose of
as the rest walk in and sit in circle of project, connecting the previous
chairs. classes and work to day four,
refreshing anything they did not
A brief review of key content from past remember from previous class
classes.
8 minutes Topic Questions
• Who can tell me an example Students will understand how their
what is the difference need for or there lack of interaction
between an extrovert and with other people help define their
an introvert? identity.
(extrovert – an outgoing,
overly expressive person,
introvert – a shy, reticent
person)
• Do you think you are an
extrovert or an introvert,
and why?
(extrovert, I like to be
around people, introvert, I
need time to myself to feel
‘recharged’)
Association Question
• What is one way we could
visualize extroversion?
(more elaborate designs on
the outside of the jar than
the inside, clay protruding
outwards because they tend
to like to express
themselves externally).
• How about introversion?
(more elaborate designs on

46
the inside because they tend
to be more shy and private).
Discuss how everyone has
different levels of
intro/extroversion and
depending on how students
believe they are, they can
combine different
intro/extroversion
representation for
themselves.
Transition Question
• What types of lines are you
using for abstraction?
(Student share their examples
from booklet)
• Do you think your choices are
more extroverted or
introverted? Why?
• Does this coincide with your
ideas of yourself?
• Is there anything you are stuck
on or need clarifying or want
to review before getting
started? This includes if you
want to carve an opening into
the side of your jar.
(any concept or skill any of the
students feel unsure or
uncomfortable with is applicable.
Once everyone’s has either said
no or shared something they want
to know more about I will review
together if it is a concept, but help
individually if it is a skill with the
invitation for anyone who wants
to, to watch)

47
25 min Independent Practice/Application Students will continue their process
Students will head to their seat and begin of transferring their 2D ideas into
work on their jars. 3D

- If there are no further


questions, grab your piece
from the art bin and get
started. This is your last day to
work before the bisque fire
and then glazing.

- Use your concept sketch to


create your jar. Remember at
least:
1 trait for the form of your
base
1 trait for the form of your
walls
2 traits for the abstract line
wall decorations on the
outside & inside of the jar
1 emotion to symbolically
portray their memory as a
color

Students will start by rolling out clay slabs


¾”- ½” thick.

Referencing their concept maps and Students will demonstrate


concept sketches, students will then cut the understanding of slab ceramic
base, walls and lid from their slabs. construction

Students will then attach their walls to Students will understand how to use
their base using a slip and score method abstract representation to creatively
demonstrated. depict their chosen identity
characteristics.
Students will use clay tools to sgraffito
abstract line designs connected to their Students will understand how to use

48
previously brainstormed ideas on the form to creatively represent a chosen
outside and inside of their jars. characteristic of their identity.

Students will alter the form of their jar Students understand how to use the
walls to represent a characteristic/trait of three dimensionalities of their jar to
their personality and be able to explain convey an aspect of their identity in
their choices. terms of their inner and outward
identity portrayals.
Students will choose whether or not to
carve out any open spaces on the sides of
their walls.

If they choose, students will carve an


opening(s) into the side of their jar to
representing part of their identity.

If students finish early, they can begin to


answer questions in their booklet about
their artist statement (besides color)
8 minutes Closure
• What are the next steps to the Students will have reinforced the
ceramic process? understanding of the ceramic process
(bisque firing, glazing, then final
firing)
• Looking at each other’s jars, who Students will understand the
can tell me one way someone else subjectivity of representation and
is using abstraction/symbol/form gain different
to represent themselves and what viewpoints/understanding of
do you interpret it to be about interpretation.
that person? Why do you think
this?

Students will clean up


• Each table will have a designated
student to:
§ Collect and clean tools and
place them into supply bin
§ Repack any leftover clay,
put any extra supplies into

49
supply bin
§ Remove & Dispose of
Table Cover, help finish
clean tools if necessary
Students will be responsible for preparing
their project for storage by placing them
inside plastic bags. They will not spray as
we now want them to dry.

50
Day Five
Time Learning Activities Purpose
Orientation/Engagement/Motivation:
Have first slide of Color PowerPoint up

Welcome students back to class. Have first


student who walks in be in charge of
handing out work booklets and name tags
as the rest walk in and sit in circle of
chairs.

A brief review of key content from past Refocuses students on purpose of


classes. project, connecting the previous
4 minutes Topic Questions classes and work to day five,
• Who can tell me what bisque refreshing anything they did not
firing is? remember from previous class.
(the first firing of ceramic
pottery before it is glazed)
• Who can tell me what a glaze
is?
(an impervious layer of
coating of a vitreous (glass
like) substance which has been
fused to a ceramic body
through firing, changing the
color of the ceramic material)

Association Question
• What do you think the color
I’ve used in my example
symbolizes?
(the bright green on the
outside symbolizes growth
and the lightness of the color
symbolizes happiness, but the
multiple colors on the inside
show an array of emotions that
is not always shown.)

51
Transition Question
• What do you think would be
an appropriate color for the
outside of Mr. Barnum’s jar?
(Red for passion, his circus
and jacket he likes to wear)
• What about for the inside?
(Yellow for his fear that he
won’t be good enough –
“yellow bellied”)

5 minutes Presentation/Explicit Instruction: Students will understand the


Show a slide that is all yellow symbolic and metaphoric
• What does this make you representations of color and how
think of? they can be subjective
Show a slide that is all blue
• What does this make you
think of?

Show slide with color wheel and color


associations.
• This color wheel is in your
booklet for reference. Take a
moment to look at what color
is listed as referencing what
emotion. Do you agree with
all of them?
(no or yes)
• If not, which one do you not?
Or do you have any other
associations to a color listed?
(I think of passion when I see
red or love)
Show the next slide of Information Is
Beautiful: Colours of Cultures
• Explain how the meaning of
the representation of colors, as
depicted in the chart, is
subjective.

52
• We’ve been talking about
subjective who can review for
us what subjective means?
(influenced by personal
feelings or opinions when
considering and representing
facts)
• This is partially because of our
differing cultures we grow up
in which creates different
associations based on social
cues such as in North America
most women wear white
dresses, which can symbolize
purity.
• Explain how to read the chart
and that the chart is also in
their booklets. There will also
be a poster to look at if the
students are interested after
the PowerPoint.
• Because the associations can
be subjective you will have to
describe why you are choosing
your colors. It is not an
automatic!

10 Teacher Demo Students will learn about glazing


minutes Have students gather around the demo process and how it looks and can be
table to show glaze. applied including where not to apply
it.
We will be using paint brushes to glaze our
jars.

One important thing to remember is that


the liquid glaze does not necessarily look
like what color it is supposed to be.

• What color do you think this is

53
supposed to be? (show open
container)
(tell what color it is and show
them fired glazed tile for true
representation)
Put all tiles out in front of each container
of glaze for student reference.

When you want a color, come up and ask


and I will pour you some into a mini Dixie
cup.

I recommend coating your ceramic jar


multiple times to get a solid color, unless
you intentionally want to see through it.

Show how applying glaze acts and looks


by painting Mr. Barnum’s jar.

Wash Technique
• Does anyone know what I
mean when I say I am going to
show you the wash technique
of glazing?
(when glaze is applied to the
earthenware and then wiped
back so color is in the detail of
the piece)
o You begin by applying the glaze to
the detail you will want to have that
color. You can then take a paper
towel and wipe away the access.
o Earthenware is very porous, so
there is a change of residual glaze
being left behind, even after wiping
it away. Just keep that in mind
when you’re applying the glaze to
the jar.

54
• Why might you want to use
this technique?
(to show layered meaning)

If you wish and have time, wait for the first


layer to dry a little (shouldn’t take long)
and coat another layer. Again, you must
apply multiple layers for solid coverage.
Check out my coverage and how the glaze
looks on P.T. Barnum’s jar if you’re
unsure if your glaze is applied thick
enough.

Important! Do not glaze the bottom of your


jar or the underside of your lid. It will stick
to the kiln and have to be broken off,
wrecking your project or sealing your jar
shut.

Do you have any questions?

What are we not going to do?


(glaze the bottom of the jar or lid)
Because why?
(it will stick to the kiln or seal itself shut)

If you accidentally get some on the bottom


of something, wet a paper towel and wipe
it off.

20 min Independent Practice/Application


Students will find their spot at their table

Students will quickly brainstorm ideas in


booklet of their color choices before
getting glaze.

Students will grab a mini Dixie cup from


table and ask for what color glaze they

55
want based on their brainstorming

Students will
Students will clean up
• Each table will have a
designated student to:
• Collect and clean tools and
place them into supply bin
• Repack any leftover clay, put
any extra supplies into supply
bin
• Remove & Dispose of Table
Cover, help finish clean tools
if necessary

Students will be responsible for preparing


their project for storage by placing them on
top of paper towels in the art collection
bin.

Structured Practice/Exploration:
Once cleaned up and their projects are put Students reflect on their choice of
away, students will answer all the form, line and color in a written
questions in the back of their work booklet artist statement to explain their
that go with their Artist Statement. They intention in communicating their
will continue this next class if unfinished. personal and collective identity and
how it connects to their personal
memory.
4 minutes Closure
How are you using color to represent your Students discuss their interpretations
identity construction connected to your and generate meanings through
memory? describing and analyzing feelings,
(P.T. Barnum’s jar is very bright and subject matter, and formal
energetic colors on the outside, characteristics of their art
representing his extroverted demeanor, but construction
on the inside we’ve conveyed his more
fearful, less assured side, so the colors are Students reflect on their choices and
more timid) explain their intent

56
Day Six
Time Learning Activities Purpose
3 minutes Orientation/Engagement/Motivation:

Welcome students back to class. Have first


student who walks in be in charge of
handing out work booklets and name tags
as the rest walk in and sit in circle of
chairs.

A brief review of key content from past


classes.
Topic Questions
• Who can tell me what we Refocuses students on purpose of
covered last class?? project, connecting the previous
(color and it’s metaphoric and classes and work to day five,
symbolic representations and refreshing anything they did not
artist statements) remember from previous class.
Association Question
• Looking at the examples in Students will use their knowledge of
your booklet, what emotion do metaphor, symbolism, and color to
you think Chihuly was interpret art.
referencing?
• How about Picasso?
• Peebles?
Transition Question
• When looking at my jar, what Students describe evidence they can
elements do you use to use to interpret a piece of art.
interpret it?
(form, line, abstraction,
representation, symbols, etc.)

9 minutes Independent Practice/Application Students reflect on their choice of


Students will be given time to start and or form, line and color in a written
finish their artist statement questions. artist statement to explain their
Students that finish first will be asked to intention in communicating their
help set up a space for critique. personal and collective identity and
how it connects to their personal
memory.

57
3 minutes Presentation/Explicit Instruction:
Teacher will run through an example of a
critique using own work, pushing
discussion with facilitating questions:
• Pick one of our concepts Students will understand how to
(form, abstract line, symbol, perform a critique including what to
metaphor, representation) and discuss and proper etiquette
tell how you think it is
successful about in piece?
Why?
• What do you think they’re
using that artistic device to
say?
• Is there anything you’re
unsure of? Even though you
are unsure, what do you think
it could be?
• Have the student discuss their
piece after brief peer
discussion.
A critique is not a place to make fun,
belittle, or brag but to allow a genuine
conversation about what is and is not
working in the art piece according to the
viewer.
“I don’t like” is not an appropriate
response. Comments must be constructive
and tell why it is you feel the way you do.

21 After the facilitated questions are Students will show the ability to
minutes answered, the teacher will explain the discuss their analyzation and
3 meaning behind her piece and introduce interpretation of others’ identity
min/each the discussion of the student’s artists. through a classroom critique.

4 minutes Guided Practice/Feedback:


Students will participate in a critique
following the example of the teacher. The
teacher will call on students to discuss if

58
no one is willingly participating.

Closure
Students will clean up
• One student will collect booklets
and name tags and turn them into
the teacher.
• Each individual student is
responsible for returning their
finished jar into the art collection
bin with a piece of paper inside
with their name on it.

Explanation of the continued purpose of Students will understand that


the jar in memory storage and identity identity construction is an ongoing,
curation. continuous thing
• Teacher reads examples of
important memories in her jar
which have helped to shape who
she is.
• Explains that she hopes they
continue to use their jars and keep
memories they feel are important to
them in it and then reflect on them
at different points in their lives.

59
9. Critical Comments and Reflections:
Surprises
My first surprise came with the realization that my forty minutes per class was truly closer
to 35 minutes due to the announcements at the beginning of class. In response, when my students
arrived, I already had their name tags set up so they could quickly find their seat and then began
their intro right up until the announcements started. This would give me a couple of extra
minutes to work with the kids and allowed for a smoother transition right after the
announcements into the main time for work, demos, or discussion. In addition, I made sure to
keep my students informed continually about how much time they had left to work as the class
period would go fast due to less time so that students could better manage their time to finish up
what they were working on with the time left versus attempting to rush a finish when I want
them to be cleaning up.
In addition to surprises related to time management, the growth of my students both
surprised and thrilled me as they shared deeply personal memories that truly helped shape who
they are, successfully based off my examples and then reflected in their art. As teacher, I
constructed question formatting that enabled students to explain reasoning behind their choices.
Their ability to discuss and reflect upon the topic of personal identity construction through
private and collective memory was quite apparent as each student was confidently able to explain
the reasoning behind each mark made, as well as choice of form and color. Nothing was
superfluous and everything had intentional meaning. Thanks also to my preplanning and creation
of their work booklets that scaffolded their concepts and ideas, I gave students time to build upon
the ideas they’d already created. The sketchbook format gave students the opportunity to reflect
on their previous ideas, helping to generate confidence and depth of meaning in their work.
Best Ideas for Improvement
Student Responses
While the students were always very engaged in discussions during class, my original
concept for how the final critique quickly faltered. I asked one student to talk about the person to
their right’s work. When they stumbled I quickly assessed the need for more information for a
proper dialogue, changing instructions to the artist discussing the memory their jar is connected
to as well as their symbols and meanings behind the choices on their jar. The student to the right
then discussed one thing they liked and one suggestive critique. I prefaced the critique with the
concept of constructive criticism and appropriate critique talk to ensure kindness during critique.
Wachowiak (1965) mentions, students at this age are very sensitive to criticism of their artwork
and can be quite harsh on themselves. I witnessed this in their artist’s statements and in future
critiques, students will only discuss 2-3 things they liked about each other’s work to build greater
confidence in themselves as they already see all the issues versus incorporating suggestive
feedback from peers during critique. This change will help them to build more confidence
instead of reaffirming or finding further things they deem ‘not good’.
Questions/Dialogue

60
Throughout the lesson, I scaffolded lots of vocabulary, but with the adjustment of my
timeframe due to announcements, I feel my closure suffered. I always made sure to have them
reflect and discuss either as a group with me or in peer pairs, the day’s concepts, however more
time would allow deeper questioning to help firmly cement concepts. I responded to this by
frequently using vocabulary during one on one discussions, reminding students of proper
vocabulary when they discussed their own work and made sure to give them all the vocabulary in
the back of their booklets. When developing the lesson, I created a set of facilitation questions
for both an introduction and closure for each day of class, along with the answers to each as a
starting point for each days discussion, making sure to include different possible diverging
follow-up questions based off differing directions the students’ answers could go. This way the
conversation could develop naturally and fluidly while still allowing me to guide the students to
what I want to teach them. These dialogs were supported by their work booklets, as I included all
artists we discussed, key vocabulary, and key graphics we discuss. Because of this, students
often revisited the work booklet as a reference throughout the entire project as each individual
needed, allowing them to grasp a deeper, fuller understanding of the content.
Problem & Solving
When first choosing their memories and how they related to their own identities, I knew the
process might be a new way for them to think about themselves and each other. To make sure
they grasped the type of meaningful memory I was hoping for, I made sure model my own
memory for them first to reflect upon and choose one of similar emotional weight. I had students
think of and write down three different memories to get a variety so even if one of the memories
was more common such as a simple vacation, they were still writing memories that had deeper
emotional connections and personal meaning to choose. Going forward, I’d make sure all
students are understanding and achieving similar levels of depth by pairing students I know are
grasping the content with any student I believe is struggling, introducing peer pairs as a tool for
scaffolding their learning in a dynamic conversation to engage students and improve their
comprehension. Even if all students grasp the concept, this allows students to reflect on what
they chose and vocally explain it to someone else, solidifying for them as well as their peers, the
content they chose and then referencing during critique. When structuring my demo, I asked
students to identify concepts and tools before defining them myself (if needed) to assess prior
learning and what may need to be given more attention. Demoing the different steps of the jar
with input from my students allowed them to understand where the project was going, provide
their own examples that are relevant to them, and thus more meaningful and memorable, as well
as allowed me to gage what they were understanding by what questions they could answer and
which they struggled on. When the students struggled to answer, I asked them to consider P.T.
Barnum, leading them towards appropriate responses. Facilitating the demonstration in this
manner allowed for deeper comprehension of what was being asked of the students.
Organization

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I preplanned immensely before my lesson to help keep myself and my students organized,
culminating in the creation of the workbook, a didactic tool for reflection, planning,
understanding of process, and narrative, consistent assessment mechanism throughout the lesson.
While I did cover the concept of the artistic process and importance of the book, I would move
this discussion to the beginning of the lesson so they have a better working understanding of why
the workbook is important. Explaining the purpose of the workbook allowed students to better
understand why they were using it, which changed how they referenced and used them. Doing
this at the beginning would allow this to happen sooner, allowing students to get more out of
their use. Knowing not all students learn the same, this workbook was designed to allow for
students to work in ways that suited their learning style best, by either sketching out their ideas
or using words. The biggest organizational concern I had was the first day of glazing and how to
distribute the appropriate colors of glazes to the students in the timeliest manner. One solution
would be to have the students turn their workbooks in at the end of the previous class, their
colors already selected, which would be possible with more time. Another, for when time is
shorter, is to fill a couple of each color to get students started with one color they need and fill
the rest while they are working. Finally, I organized my students just as I organized my materials.
Where each student’s name tag, and thus the student, was placed set up the success dynamic of
learning possible in the classroom for the period. The first day I allowed them to sit where they
wanted, allowing me to see whom was close with whom, how the students interacted with those
they sat by and then adjust accordingly to help abate unnecessary chatter. I continued to switch
students’ seats daily, but made sure to alternate those I knew would focus in between those I
knew would chat if they sat together.
Quality of Student’s Work
The quality of students work, over all, met expectations. An objective I had was ability of
each student to successfully create a jar that stayed together. Students had to make sure they
slipped and scored correctly, applied glaze appropriately (i.e. not on the bottom) and used the
conceptual content taught and discussed. To help achieve all this, the workbook was scaffolded
to allow the desired level of incorporation of content. Students began writing about and then
choosing an important memory which they broke down and connected to different characteristics
of their identity in a concept map. From this concept map they chose at least four characteristics
they wanted to incorporate and felt were most important. Using these chosen characteristics, they
created their own abstract line representation to incorporate in sgraffito. Then, they referred back
to their chosen memory to connect emotions and any other possible characteristics they wanted
to incorporate using color. Each component was presented with teacher examples, examples of
PT Barnum from their music class’s chosen production, and one on one discussions to help
students achieve the level of conceptualization desired. Using the work booklets as ongoing
formative assessment, the objectives of students interpreting and analyzing their memory and
choices they were making, to appropriately use metaphor, symbolism and abstraction, and
transform ideas from a 2D booklet to 3D work were all appropriate for the project as shown by

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students’ ability to accurately accomplish them. The inclusion of the workbook and artist
statement allows for an in-depth understanding of student ideas and process as well as proper
assessment. However, one of the qualifying words I would reiterate going forward with the glaze
is “purposefully.” Not all students applied the glaze neatly, and while this can be a characteristic,
it was not addressed, and therefore not considered and I believe this would strengthen the art. I
would make sure to alter this in my rubric as a clear objective.
Differentiated Learning
My differentiated learner was extremely shy, and self-identified as an introvert, but when
engaged in discussion or workbook writing, was always very clear and articulate. As I figured
out her level of discomfort when publicly sharing her ideas, especially since this project was a
very personal topic, I checked in on her more during one on one discussions, and only called on
her when she felt confident to speak during group discussion. I allowed this method because she
very clearly was paying attention and the only thing that resulted from publically discussing her
ideas was her discomfort, which was avoidable and unnecessary. I discovered during the lesson
that she was also dealing with two family deaths within two weeks and further surmised this was
the right approach as she was incorporating this into her work and something so raw would be
very hard to openly discuss with the class. She ended up having to miss our last day of critique
and discussion due to the emotional stress and trauma she’d been experiencing, however I
worked with her and the cooperating teacher to send her home with the artist statement questions
so she could have a finished artist statement and booklet for the exhibition. Due to working with
her closely one on one so often, she had my confidence and trust she could independently
complete this assignment and because of this, she was able to complete her artist statement,
allowing for self-reflection and assessment which was summarized in her artistic process.
Conclusion
Beginning my lesson plan, I put myself in the shoes of middle schoolers: their fears, their
struggles, goals, and all the changes they’re experiencing including working through their own
identities. I chose artists varied in culture, race and gender to allow for a variety of examples for
students to identify with and gain exposure outside the western Eurocentric white male artist
model. I wanted to make sure my students felt represented allowing them to feel capable because
others like them have accomplished similar feats. I did expect having to deal with bullying and
disrespectfulness of peer to peer interactions, but instead was met with an overall courteous
classroom that, at times, got a bit chatty. Through the practice of watching for differentiated
learning and meeting my expectations of classroom management with what was occurring I
learned that every classroom will be different, some will need more management attention,
others will need more one on one skills-based help or pushed more conceptually to relay
information in differentiated ways, allowing for retention by all students. However, if you can
have a plan for each scenario you can tweak it as you go for the individual students who will
gain so much more than anticipated when you meet halfway. Every student has the potential to
succeed, it just takes the right collaborative approach by teacher and student to get there.

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Task 1 Part C:
Attachments:
Scoring Rubric/Assessment Tools

Assessment High Performance Medium Performance Low Performance Score


Objectives (3) (2) (1)
I: Students clearly Student clearly Student somewhat clearly Student does not
identify key identifies key identifies key descriptors clearly identify key
descriptors of a chosen descriptors of a chosen of a chosen memory to descriptors of a
memory to convey its memory to convey its convey its importance chosen memory to
importance and importance and and connection to their convey its importance
connection to their connection to their identity and accurately and connection to
identity and identity and accurately identifies descriptors in a their identity and
accurately identifies identifies descriptors personal concept map. accurately identifies
descriptors in a in a personal concept descriptors in a
personal concept map. personal concept
map. map.
II: Student Student successfully Student somewhat Student
successfully incorporates successfully incorporates unsuccessfully
incorporates abstraction, metaphor abstraction, metaphor incorporates
abstraction, and symbols to and symbols to abstraction,
metaphor and accurately present accurately present metaphor and
symbols to personal descriptors as personal descriptors as symbols to
accurately present concept drawings for concept drawings for accurately present
personal descriptors as 3D ceramic identity 3D ceramic identity personal descriptors
concept drawings for memory jar. memory jar. as concept
3D ceramic identity drawings for 3D
memory jar. ceramic identity
memory jar.

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III: Student clearly Student clearly Student somewhat clearly Student unclearly
interprets, analyzes interprets, analyzes interprets, analyzes and interprets, analyzes
and reflects upon their and reflects upon their reflects upon their own and reflects upon
own work as own work as work as their own work as
well as featured work well as featured work well as featured work of well as featured
of artist and clearly of artist and clearly artist and clearly describe work of artists and
describe their own describe their own their own understanding does not clearly
understanding of each understanding of each of each work with describe their own
work with recognition work with recognition recognition that it is understanding of
that it is subjective. that it is subjective. subjective. each work with
recognition that it is
subjective.
IV: Student effectively Student effectively Student somewhat Student ineffectively
communicates their communicates their effectively communicates communicates their
intent, process, and intent, process, and their intent, process, and intent, process, and
risk taking risk taking risk taking risk taking
through an through an through an introspective through an
introspective artist introspective artist artist statement that introspective artist
statement that contains statement that contains contains an accurate statement that
an accurate an accurate understanding of the contains an accurate
understanding of the understanding of the complexities of identity understanding of the
complexities of complexities of construction and complexities of
identity construction identity construction memory through identity
and memory through and memory through in-depth explanation of construction and
in-depth explanation in-depth explanation of work. memory through
of work. work. in-depth explanation
of work.

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V: Student clearly Student clearly Student somewhat clearly Student unclearly
demonstrates accurate demonstrates accurate demonstrates accurate demonstrates
understanding of understanding of understanding of accurate
abstraction, abstraction, abstraction, understanding of
metaphor, and metaphor, and metaphor, and symbols abstraction,
symbols to accurately symbols to accurately to accurately depict their metaphor, and
depict their identity depict their identity identity construction symbols to
construction construction connecting to their accurately depict
connecting to their connecting to their chosen memory. their identity
chosen memory. chosen memory. construction
connecting to their
chosen memory.
VI: Students Students accurately Students somewhat Students
accurately translate 2D translate 2D concept accurately translate 2D inaccurately
concept drawings into drawings into 3D slab concept drawings into 3D translate 2D concept
3D slab ceramic ceramic identity slab ceramic identity drawings into 3D
identity memory jars memory jars using memory jars using slab ceramic
using personal personal descriptors personal descriptors from identity memory
descriptors from their from their concept their concept maps. jars using personal
concept maps. maps. descriptors from
their concept maps.
VII: Students Students successfully Students somewhat Students
successfully create create memory successfully create unsuccessfully
memory identity jars identity jars with the memory identity jars create memory
with the slab building slab building method with the slab building identity jars with the
method of ceramics, of ceramics, creatively method of ceramics, slab building
creatively incorporating form and creatively incorporating method of ceramics,
incorporating form and shape to connect form and shape to creatively
shape to connect personal identity and connect personal identity incorporating form
personal identity and chosen memory. and chosen memory. and shape to connect
chosen memory. personal identity and
chosen memory.

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VIII: Students Students creatively Students somewhat Students
creatively construct construct metaphors creatively construct uncreatively
metaphors and and symbols that metaphors and symbols construct metaphors
symbols that connect connect to their that connect to their and symbols that
to their memory and memory and identity memory and identity connect to their
identity depicting depicting personal, depicting personal, memory and
personal, subjective subjective color subjective color meaning identity depicting
color meaning meaning associations. associations. personal, subjective
associations. color meaning
associations.
IX: Student clearly Student clearly Student somewhat clearly Student unclearly
interpret and actively interpret and actively interpret and actively interpret and
discuss each other’s discuss each other’s discuss each other’s final actively discuss each
final pieces in a formal final pieces in a formal pieces in a formal group other’s final pieces
group critique. group critique. critique. in a formal group
critique.
X: Student Student clearly applied Student somewhat clearly Student did not
purposefully applied glaze with purpose and applied glaze with apply glaze with
the glaze with intent. intent. purpose and intent. purpose and intent.
Total:

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Hand Outs
Name Tags

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Work Booklet
This is in book format for the kids to fill out and is handed out/returned every class.

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77
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Visual Examples for Instruction

Colours in Culture Poster – Information Is Beautiful

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PowerPoint
Introduction PowerPoint

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Abstraction PowerPoint

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Visual Board

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Student Artwork

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Class Photos

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92
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St. Mary’s Exhibition

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