Course: Art Crafts & Calligraphy

Name MAAZ KHAN

Roll No BY467537

LEVEL ADE

Code : 6410

Semester: Spring, 2021

Assignment # 1

Q.1 What do you understand by the term Arts, Craft and calligraphy in your

opinion? Why this subject is necessary to teach at elementary level?

Arts and crafts as a subject in the school curriculum are typically taken for granted as a must

for children and young kids in the formal education setup. But, over the past several years,

many schools have unfortunately cut down on arts in their school curriculum. Music,

painting, theatre- they are fast disappearing.

There is no doubt that arts and crafts are fun activities for kids. Be it coloring with crayons or

making miniature statues from clay, folding paper to create fine origami or designing a

handmade birthday card, there are several arts and crafts activities, which can enhance the

interest of the children and exploit their artistic potential.

By introducing arts and crafts to the kids and involving them in such activities in schools, you

will invest in building their cognitive, physical, and social development. The following are

the benefits of arts and crafts in school curriculum found in the best schools in Lebanon:

Physical Benefits

 Development of fine motor skills

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Since most arts and crafts activities consist of moving fingers and hands, they help in

developing fine motor skills. Simple actions like holding a paintbrush and coloring with

pencils help strengthen muscles and improve their control.

 Enhances dexterity

Arts and crafts activities can enhance the children’s dexterity and agility. With the

enhancement of fine motor skills and much practice, a child’s manual dexterity, artistic skills,

and speed will also increase.

 Improvement of hand-eye coordination

Engaging in activities related to arts and crafts from a very young age leads to a tremendous

improvement in hand-eye coordination. This will help a child during later

primary school years when she or he is spacing out words or forming letters.

Social Benefits

 Learn to appreciate art and culture

Through arts and craft, children learn to value and appreciate artifacts and images across

cultures and times. Experience in design, art, and crafts enable them to reflect critically on

their own work and those by others. They learn to act and think like designers and artists,

working intelligently and creatively. They also learn about the preservation of heritage

through art. A lot of the information we have now about people that lived millions of years

ago came solely from art.

 Enhances self-expression

By engaging in creative pursuits of music and arts and crafts, children get the opportunity of

expressing themselves in a positive, tangible and meaningful way. They also learn to create

artwork on their own.

 Helps in socializing

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Participating, with other students in art class, gives children a chance to interact with others

while sharing common interests. The process of arts and crafts also strengthens parent-child

bonding.

 Boosts confidence

Arts and craft activities help instil a sense of achievement and pride in children, boosting

theirself-confidence.

Cognitive Benefits

 Enhances creativity

The opportunity to create whatever a child desires helps foster creativity.

 Sharpens skills of decision making

A child will learn to make correct and effective decisions by facing and solving artistic

challenges. This helps to develop a problem-solving attitude, which in turn, will help them in

the future.

 Enhances memory and visual learning

A child learns about new colors and shapes through arts and crafts as well as gains familiarity

with various figures and patterns. Activities like learning guitar, jewelry making, etc. need

visualization and memorization of complex designs in mind.

Arts and crafts not only help in the above traits but also in boosting academic performance.

Above all these are activities filled with lots of fun for children.

Crafts are closely related to art. Both require creativity, and in many cases similar materials

are used. They may use the same elements and principles of design. However, a craft is an

activity that uses specific materials with a certain goal in mind. Usually a craft has a set of

directions and skills to result in a finished product, and when a child makes a craft, he or she

learns to follow directions and solve problems while working toward a goal. Craft is also

linked closely to technology. Crafts make use of technology, and some technologies used are

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very old. However, technologies change and develop and so do crafts. Pottery for example, is

an ancient craft that relies on technologies first developed thousands of years ago. These

technologies have developed, and so the way pottery is made has also changed even though

the fundamental process is the same. In Unit 4, Student Teachers will consider the vast array

of crafts produced in Pakistan, from pottery to puppets. They will look at selected crafts by

location— what is made and where—and speak with local craftsmen and women. They will

look at how crafts are made and the technology involved. Student Teachers will make crafts

as well as plan and evaluate craft activities for children in the elementary grades. They will

consider ways to link craft activities to other areas of the curriculum.

Art has long been recognized as an important part of a well-rounded education -- but when it

comes down to setting budget priorities, the arts rarely rise to the top. Many public schools

saw their visual, performing and musical arts programs cut completely during the last

recession, despite the many studies showing that exposure to the arts can help with

academics too. A few schools are taking the research to heart, weaving the arts into

everything they do and finding that the approach not only boosts academic achievement but

also promotes creativity, self-confidence and school pride.

The arts integration experiment at Integrated Arts Academy at H.O. Wheeler (IAA) in

Burlington, Vermont, started six years ago as an effort to break up socioeconomic imbalances

in the district. Both the elementary schools in Burlington’s North End were failing and both

had high levels of poverty (95 percent of IAA students qualified for free and reduced-price

lunch), a large refugee population and lots of English-language learners. District leaders

began having conversations with community members about turning Wheeler into a magnet

school focused on both art and academics.

What does art integration look like? Recently, a fourth-grade lesson on geometry examined

the work of the famous Russian artist Wassily Kandinsky. The class talked about his work

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and then created their own art using angles in the style of Kandinsky. Students had to be able

to identify the angles they’d used and point them out in their art.

―Higher analytical thinking and reasoning and student voice fit so well with the arts,‖ said

Bobby Riley, the school’s principal. Teachers are seeing ways to make connections between

subjects and watch as students find creative confidence and voice in their expression.

Art is not a second thought at the Integrated Arts Academy (IAA). Instead, artistic learning

goals are held up as equals to academic standards and teachers work hard to design lessons

that highlight content through art.

―If you pick a subject area like science, social studies, math or literacy and you integrate it

with an art form, what you do is connect the two and find ways to really integrate the two so

they lean on each other,‖ said Judy Klima, an integrated arts coach at IAA. An arts specialist

co-plans and co-teaches alongside the general education teacher to help ensure academic

learning is happening through an art form and visa versa.

For example, one third-grade science unit on leaf classification integrated visual arts into

science. The teaching team used the close observation of leaves in science to teach about

realistic versus abstract art. Students drew realistic drawings based on a leaf’s edge pattern.

Then they made abstract art based on the scientific qualities of the leaf.

―When you engage hands-on and you are creating your own learning, you are deepening your

level of understanding about a specific topic,‖ Klima said. In this case, students thought

differently both about classification and characteristics, as well as about the differences

between art forms.

Teachers rotate through visual art forms, music, dance and theater. One fifth-grade class

came up with dramatic renditions of the Revolutionary War. They used the facts in their

social studies curriculum to build scripts and then discussed the dramatic connections through

volume, tone of voice and perspective.

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Reference

De Francesco, Art Education Its Means and Ends. ItaloL.DeFrancesco. Directorof Art

Education KUTZTOWNSTATE COLLEGE KUTZTOWN,Pnnsylvania Harper &

Row, Publishers,New York, Evanston, and London

Q.2 How effective learning happen most and why the combination of art, science and

craft is necessary for effective, motivational learning?

Teaching methods are an important aspect of teaching and learning: determine the activities

of teachers and students, the quality of the teaching process, implicitly sending a message

about what teaching is, how children learn, what is knowledge. In accordance with

contemporary conceptions of teaching methods made the thesis of the plurality teaching

methods and the need for more balanced use of different teaching methods. In addition to the

thesis of the plurality of teaching methods, current evidence suggests that teaching methods,

their function is achieved only in the specific context. These findings open up a different

insight into the understanding of teaching methods and their impact on the quality of

teaching. Analysis method of application of teaching methods in the context of the teaching

process can lead to a deeper understanding of the quality of students' knowledge, the work of

teachers, etc. and understanding of the educational function of the method in the present

context.

Art is more than creative expression, which has been the dominant theme of art education for

much of the twentieth century. Expression is important, but researchers are also finding

connections between learning in the visual arts and the acquisition of knowledge and skills in

other areas. According to a 1993 Arts Education Partnership Working Group study, the

benefits of a strong art program include intensified student motivation to learn, better school

attendance, increased graduation rates, improved multicultural understanding, and the

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development of higher-order thinking skills, creativity, and problem-solving abilities. Art

education has its roots in drawing, which, with reading, writing, singing, and playing an

instrument comprised the basic elementary school curriculum in the seventeenth century.

Drawing continued to be a basic component of the core curriculum throughout the eighteenth

and nineteenth centuries, when educators saw drawing as important in teaching handwork,

nature study, geography, and other subjects. Art education later expanded to include painting,

design, graphic arts, and the "plastic arts" (e.g., sculpture and ceramics), although art

continued to be seen primarily as utilitarian. In the twentieth century, with the advent of

modernism, art education in the United States edged away from a utilitarian philosophy to

one of creative expression, or art-making for personal development. Art continued to be

valued, although less often as a core subject, during the early decades of the century and then

declined in importance with the advent of World War II. In the postwar period, particularly

after the launch of Sputnik in 1957, core-subject emphasis shifted dramatically to

mathematics and science. Art education reached a low point in the 1970s, when a shrinking

school-age population (the graduating baby boomer generation) and a serious national energy

crisis brought about many school closings and program cuts. Art programs were among the

first to be reduced or eliminated. But the 1970s also ushered in a period of intense work by

art educators to revive interest in art education. At the Getty Center for Education in the Arts,

for example, work began on the implementation of a transformational theory: discipline-

based art education (DBAE). This theory proposed that art making (or "studio art")–the thrust

of creative expression–needed to be extended and informed by attention to the

complementary disciplines of art history, aesthetics, and art criticism, even when teaching the

youngest pupils. DBAE theory, most observers now agree, has been instrumental in

reinvigorating art education and gaining a place for art in school reform.

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Interest in the general quality of U.S. education rose during the 1980s, especially after the

1983 publication of A Nation at Risk by the National Commission on Excellence in

Education. The commission's report spoke of "a rising tide of mediocrity" in K–12 schools

and ushered in ongoing school reform efforts at all levels. National attention reached a peak

in 1994 with the passage of the federal Goals 2000: Educate America Act. This act led to the

formation of goal-setting groups, among them the National Coalition for Education in the

Arts, which took up the task of ensuring that the arts, writ large, would assume their rightful

place within the basic curriculum. This coalition included, among others, the American

Alliance for Theatre and Education, the National Art Education Association, the Music

Educators National Conference, and the National Dance Association. It defined arts

education broadly as "the process of teaching and learning how to create and produce the

visual and performing arts and how to understand and evaluate art forms created by others"

(Arts Education Partnership Working Group, p. 5). The National Art Education Association

took a central role in defining the expectations for art education, which were written into the

national standards: Students should understand and apply art media and processes; use visual

arts structures and functions; choose and evaluate a range of subject matter, symbols, and

ideas; understand art in relation to history and cultures; reflect upon and assess the merits of

their own work and that of others; and make connections between art and other disciplines.

This view of art education coalesced with other theories, which became generally accepted

during the last quarter of the twentieth century. Three are noteworthy. First, constructivism

supplanted behaviorism as a guiding instructional theory, drawing on work by educators and

researchers, such as Jerome Bruner (1960), Jean Piaget (1974), and Lev S. Vygotsky (1978).

Constructivism posits that learners play a crucial role in "constructing" their own knowledge.

Where behaviorism tends to see the teacher as a dispenser of knowledge, constructivism

views the teacher as a facilitator who helps students acquire understandings and put them to

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individual use. Second, postmodernism became the successor to modernism. First identified

in architecture by Charles Jencks (1977), the unifying feature of postmodern theory is the

absence of cultural dominance. In art education this led to greater emphasis on

multiculturalism and expansion of the traditional canon. Third, the multiple intelligences

theory, developed by Howard Gardner (1983), points out that children think and learn based

on individual intellectual strengths. Gardner initially identified seven intelligences–musical,

bodily-kinesthetic, logical-mathematical, linguistic, spatial, interpersonal, and intrapersonal–

and later added others. Art education, particularly as viewed through the lens of DBAE

theory, taps intelligences that are not typically used in other core subjects. By implementing

arts curricula based on these theories, many arts educators believe that "students can arrive at

their own knowledge, beliefs, and values for making personal and artistic decisions. In other

terms, they can arrive at a broad-based, well-grounded understanding of nature, value, and

meaning of arts as a part of their own humanity" (Consortium of National Arts Education

Associations, pp. 18–19).

Elementary and Middle Schools

Children are natural artists. From infancy, they delight in the interplay of light and shadow,

shape and color. Objects dangling from a mobile and the elemental shapes of balls and blocks

fascinate them. As children develop, they connect the visual and the tactile: playing in spilled

cereal, sculpting sand on a beach, finger painting, and scribbling with crayons. They create

shadows in patches of sunlight and lay out sticks to form patterns.

By the time most children enter formal schooling, they have moved from scribbling and

stacking to more deliberate two-and three-dimensional representation. For younger children,

first representations usually are of inner realities. When asked to describe their artworks, they

tell detailed and imaginative stories. As time goes by, children's drawings and sculptures

begin to reflect their observations of the world.

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Nurturing the natural development of artistic sensitivities and creative responses is the

universal thrust of elementary art education. Formalized study is introduced gradually, as

children move through the elementary grades and into middle school, which begins in the

United States at fifth, sixth, or seventh grade, depending on the school system.

Elementary art specialists in some schools function mainly as art teachers, working with

classes in isolation and focusing almost exclusively on art making. While a classroom

teacher's pupils work with a specialist (art, music, physical education, etc.), the teacher gains

planning time. However, with increasing emphasis on DBAE and national standards, many

art specialists and classroom teachers are now working as partners.

An art specialist may work directly with pupils for as little as forty or fifty minutes once each

week, but ideally art is taught more often–daily in some schools. Art also is integral to

language arts, social studies, mathematics, and science in many schools. The art specialist, in

addition to teaching children, helps classroom teachers blend art with other subjects. Such

collaboration also expands the subject matter of art, raising questions about aesthetics and the

place of art in culture and society. When art is valued as a core subject in this way, children's

artworks proliferate in classrooms and corridors. The artworks incorporate themes from other

subjects and are creative and individualistic.

Ideally the collaboration and integration that distinguish elementary art education are carried

into programs for young adolescents. Many U.S. middle schools use a team-teaching

approach to organize classes and schedules, which facilitates an art-andhumanities

framework and fosters the inclusion of art in the core curriculum. In middle schools that

function more like high schools, art classes tend to be organized around media and art forms

and are treated as electives.

Secondary Schools

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Art education reform, which began in the 1980s and 1990s, focuses on moving art into the

core curriculum, "where art is studied and created so that the students will gain insights into

themselves, their world, human purposes, and values" (Wilson, p.168). Some U.S. high

schools are oriented in this manner, and most others are moving philosophically in this

direction, even though many also continue to offer traditional art courses aimed, in part, at

educating students as artists. Art is an elective subject in most secondary schools.

Course offerings, however, may be extensive. It is not unusual for larger high schools to offer

thirty to forty separate art classes, including beginning, intermediate, and advanced levels.

Subjects include drawing, painting, photography, commercial art, sculpture, ceramics,

weaving and fiber art, jewelry, design, and art history. Where DBAE theory has been

influential, classes in aesthetics and art criticism may be offered separately, but art topics also

will be addressed in the context of classes in most subjects. Some schools pair art with other

subjects in teamed classes, such as photography with journalism and film making with film

study.

The influence of postmodernism is evident in broadening the art canon to include more

multicultural imagery. Art reproductions used in Western classrooms portray images from

African and Asian cultures along with those from European sources. Particular attention to

including African-American art images can be seen in many U.S. schools.

Adolescent notions of art are shaped by many influences, ranging from popular culture to

formal schooling. Thus the teenage years are a time of aesthetic questioning. Secondary

school art programs should be about educating students to be consumers, as well as

producers, of art. Situating art education in the core curriculum facilitates such study and

helps students develop sound judgment of art.

Technology

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The rapid advancement of computer technology has transformed art at all levels. Art-making,

whether in the professional world or in schools, often is aided by computer programs that

allow artists to create and manipulate images electronically. This new capability raises

aesthetic questions about the nature of art. For example, must a finished artwork be

frameable? When, for that matter, should a work be considered "finished"? In the commercial

world, an illustrator's work may exist only as a computer file until it finally appears in a book

or magazine. As an electronic file, the image also can be altered repeatedly by the artist or by

a publisher's art director until the moment it is printed.

Computer technology also provides resources for art history and criticism. Images for

classroom study are routinely available in electronic formats, such as CD-ROM, making it

easy for a school to maintain an extensive collection of visual references. Electronic editions

of encyclopedias and other texts offer "extras" not found in print, such as film footage and

sound bites. These extras enliven and enlarge the resources so that students do not merely

read the information, but experience it.

The number of "wired" classrooms continues to increase. Electronic connections between a

classroom or laboratory computer and the Internet make virtual field trips increasingly

available as instructional tools. If teachers cannot take their students physically to a museum,

they may be able to take them electronically. Virtual tours of many of the world's art galleries

and museums are expanding instructional horizons. Some institutional sites, such as the

website of the Louvre Museum in Paris, also encourage cross-cultural studies by allowing

electronic visitors to take the virtual tour in several languages and by providing links to other

historical and cultural websites.

Reference

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Melvin Haggarty, the Owatonna Art Education Project Minneapolis: Univ. of

Minnesota Press, 1936)

Q.3 Identify the salient features of inquiry method of art and craft?

This is a scientific method of teaching. In this method the teacher stimulate the minds of the

students towards learning through inquiry and investigation. The students think, search and

perform through a systematic and scientific way. That "inquiry is the way people learn when

they're left alone." To Suchman, inquiry is a natural way that human beings learn about their

environment. Think for moment about a very young child left in a play yard with objects free

to explore. The child, without any coaxing will begin to explore the objects by throwing,

touching, pulling, banging them, and trying to take them apart. The child learns about the

objects, and how they interact by exploring them, by developing his or her own ideas about

them---in short learning about them by inquiry. Many authors have discussed the nature of

inquiry and have used words such as inductive thinking, creative thinking, discovery

learning, the scientific method and the like.

Steps of Inquiry Lessons: Some teachers like to give their students data sheets, with room for

hypotheses, and data tables ready to fill in, and questions to be answered. There is a sample

of this kind of lesson the tracking lesson. Other kinds of inquiry are much more open-ended.

The steps of inquiry lessons are:

1. Purpose

The teacher tells the students what they will be learning about and tells them of the

interesting implications of the lesson. For example, the teacher tells to the students about the

purpose of making hands craft of Sindh in a particular class. The students will brain storm on

the topic and will generate their ideas for giving a practical shape to that purpose, another

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example is, for tracking, a good tracker can tell the approximate size and weight of an animal

s/he tracks from the tracks. The tracker has greater difficulty telling the age of the tracks, but

there are clues to this as well. The students will learn, in this lesson, how to estimate size of

an animal and perhaps even speed. Then they will try finding some animal tracks. For this

lesson, there is no hypothesis for the students to come up with. (In some cases, the teacher

will want the students to decide what they want to study. But there will still be a pedagogical

purpose for the teacher to explain to the students.) In a different case, for example testing the

growth of a bean plant according to different variables, the students can hypothesize. The

teacher would introduce the purpose of the activity as: to study the effect of light and gravity

of the growth of a bean seed. The students would be asked to hypothesize about what effect

gravity would have on a young bean plant? Do they think the plant would grow towards or

away from the centre of the earth? What effect might light have on the growth of the bean

plant?

2. Hypothesis:

In those activities where there will be a hypothesis, the students should always be expected to

make their own hypotheses. This should be done in small groups (pairs), then in whole class

discussion. Students should state their hypotheses in terms of the effect of one variable on

another, and you must encourage them to justify their hypotheses.

3. Procedure:

Once students have a clear idea of the purpose of the experiment or activity or study, they

would have some idea of how to find the answer. Often, the discussion of different

hypotheses will give those ideas for how to test their own hypothesis. Just because they have

shown that their hypothesis might be true does not mean they have proved it. The alternative

might still be a possibility. They have to rule on the other hypothesis as well as showing that

their hypothesis works. For example, there is a well-known activity, where a match is

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dropped into a bottle, and a peeled hard-boiled egg is placed on the spout of the bottle. When

the match goes out, the egg pops into the bottle. This was explained to me as the result of

oxygen being consumed by the flame. An alternative is that the match heated (causing

expansion of) the air, which was able to escape past the egg out of the bottle. When the match

went out, the air contracted again, and the egg was drawn into the bottle. A student’s

procedure must test expansion and contraction without any oxygen being consumed, or test

the consumption of oxygen without any expansion or contraction.

References

Bhatti.et,al. (2000).”An introduction to drawing and Arts and Crafts”( first edition):

Krachi, metropolis Academy. C

lark.R.,(2002).” An introduction to Art education”. (2nd Edition).Toronto,AN.Plan

Book.

Q.4 Write note on role and responsibilities of art and craft teacher in detail?

The Art Teacher's responsibilities include sourcing art supplies, preparing lessons, and

providing developmentally-appropriate instruction on art techniques. You should also be able

to supervise lessons to ensure that learners interact in a supportive and respectful manner.

To be successful as an Art Teacher, you should be able to encourage creativity and self-

expression among students. Ultimately, an outstanding Art Teacher will be attentive and

responsive to themes in students' art that suggest distress in their personal lives.

The following are the roles and responsibilities of an art teacher:

1. Art teachers must have a thorough understanding of visual art and related materials.

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2. It is very essential for arts and crafts teacher to have depth understanding of student

characteristics, abilities and learning styles in order to run smoothly teaching learning

process.

3. Social and economic backgrounds of the students must be known to the arts and crafts

teachers. He/she should also understand the diversity of social and cultural constructions of

identity.

4. Participation of teachers in arts and crafts curriculum development is very important

because they know the needs and requirements of the students, therefore it is the

responsibility of the teacher to participate in selections of art content and curricula.

5. The teachers are better known about the performance of the students therefore arts and

crafts teachers use knowledge of students as learners to plan appropriate instruction.

6. Art teachers should use contemporary technology to enhance teaching and learning.

7. It is the role of the arts and craft teachers to conduct meaningful and appropriate

assessments of student learning or output.

8. It is the duty of arts and crafts teacher to judge her performance daily in order to teach

effectively. Therefore, arts and crafts teachers systematically reflect on their own teaching

practice.

9. It is one of the responsibilities of the arts teacher to check the overall effectiveness of arts

and crafts programs inside the school. It provides the chance to bring new and innovative

changes in the program and eliminate the ineffective elements from the overall plan of arts

and crafts.

10. Arts and crafts teachers should consult with other staff members and should discuss about

her teaching and methodology and subject matter in order to improve their teaching and

students learning. Therefore the collaboration with other teachers is very essential.

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11. Every lesson or topic of arts and crafts teaching is based on the culture and tradition of

any society or community. Therefore it is the responsibility of the teacher to teach in such a

way that the students learn about their culture effectively.

12. It is the fundamental role of arts and crafts teacher to improve her qualification and

professional development through continues education. Therefore it is the responsibility of

arts and crafts teachers contribute to the growth of their profession.

13. They should have the skill of working with children.

14. It is the responsibility of the arts and crafts teacher to maintain the discipline in the class.

15. She or He should have the skill to regulate the conduct of the students.

16. Arts and crafts teacher has a number of general responsibilities in their daily teaching job.

They must provide a wonderful learning environment for the children, teach them how to

interact with others and help them with their daily needs. The preschool teacher will instruct

them in basic educational programs, teach them to be creative and provide them with a safe

and caring environment to learn and grow.

17. It is the responsibility of and arts and crafts teacher to plan creative activities for the

students.

18. Observe and evaluate students' performance, behavior, social development, and physical

health.

19. Prepare materials and classrooms for class activities.

20. Adapt teaching methods and instructional materials to meet students' varying needs and

interests.

References

Rousseau, P. (2003). „L‟oeil solaire‟. Une ge´ne´alogie impressionniste de l‟abstraction.

In S. Lemoine (Ed.), Aux origines de l‟abstraction, 1800–1914. Paris: Muse´e d‟Orsay.

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Caillet, E. (1989). L‟Art comme jubilation critique. ASTER. Recherches en Didactique

des Sciences Expe´rimentales, 9, 43–67.

Q.5 Write notes on the following:

a. Tropical art and craft approach

Research shows that one of the best ways to engage students in content learning

is to incorporate the arts. Because of students' openness to the arts, their

motivation remains high, their attention spans tend to be longer, and their

learning increases -- yet teachers sometimes struggle with how to incorporate the

arts while maintaining academic integrity. No matter what type of the arts you

desire to bring into the classroom -- music, visual art, creative writing, dance,

etc. -- here are five guidelines to help prevent arts integration in the content

classroom from simply becoming arts-and-crafts time.

1. Arts integration should be connected to a standard.

Common Core standards lend themselves beautifully to arts integration. Whether

the arts are used as an entry point to a lesson to pique student interest or as a

culminating project to assess student knowledge, standard alignment is essential.

Several museums, centers, and education sites offer detailed lessons, across the

disciplines and for various grade levels , which are aligned to standards and

maintain an academic focus. For example, the Getty, the Rock and Roll Hall of

Fame, and the Kennedy Center are great places to begin exploring ideas of how

the arts can tie to standards.

2. Arts integration projects should reflect learning.

In addition to alignment with standards, teachers should clearly identify and

state the desired learning outcomes before students begin creating. Wording such

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as "students will understand" and "students will demonstrate" narrows the focus

and outlines clear learning goals. Using arts in the classroom will free students

to look at content from different perspectives while clear communication from

the teacher in the beginning and continued dialogu e through the process will

ensure student focus on learning goals.

3. Arts integration should involve student choice.

Just as students have different learning styles or multiple intelligences, they

gravitate toward different forms of the arts. Some will pr efer visual art, while

others prefer dance. Music will be some students' forte, while others are natural

performers. Allowing them to create and express themselves through their choice

of the arts makes learning personal and relevant. Offer options for sel f-

expression through visual arts by painting, sculpting, graffiti, photography, or

drawing; or through music by composing or performing in different genres.

Those who love the spotlight may want to perform monologues, vignettes, dance

pieces, or direct their classmates' performances, while others may be more

inclined to write poetry or short stories. Some projects can cross the lines of

different learning styles, such as film, graphic novels or comics, or musical

theater. Instead of offering students a choi ce of two or three options, invite them

to propose their own projects so that they're free to dream, create, and fully own

their learning. For culminating or extended projects, students may collaborate

and construct projects showcasing a variety of the art s. The sky is truly the limit.

4. Arts integration projects should have specific grading rubrics.

Developing a specific rubric can alleviate fears and uncertainty for both teachers

and students. While your specific rubric may have more categories, projects

involving the arts should include three basic categories for assessment:

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  Content: Content assessment includes how well the project reflects the standard

and mastery of the content.

 Process: The process evaluation includes the use of higher-order thinking skills,

planning and organization, and overall student effort.

 Product: The product assessment is where many teachers feel unqualified to offer

feedback because of their lack of knowledge or experience in a particular

discipline of the arts. Focus on whether the content is clearly reflected in the

finished product and the quality of the product or performance when assessing the

product.

A student reflection, whether written or spoken, can serve as a valuable tool

when assessing what the student learned and how well the product ties to the

content. Art, theater, and music teachers can be a great resource for content

teachers feeling uncertain about assessment or arts integration in general.

5. Arts integration projects should be shared with others.

Learning best occurs when the student becomes the teacher, and while sharing a

project doesn't seem like formal teaching, the experience offers a chance to

showcase learned information. Exhibit projects not just in the classroom but

throughout the school, especially for open house or other special events, or host

a gallery walk to display the visual arts. Dance or small theater performances can

be held for younger classes or during lunch. The local theater, coffee shops,

county offices, or civic-minded businesses are often willing to display work or

host school-sponsored readings of original works or dramatic interpretations.

Allow students to shine in front of some type of audience.

References

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https://www.edutopia.org/blog/arts-integration-or-arts-and-crafts-susan-barber

b. Advantages disadvantages of free expression method?

This method suggests that the work of the children is spontaneous, natural and originate with

them from divergent thinking process. So the children should be given free chance of

expressing their ideas either in form of drawing, crafts or arts. For example the teacher tells to

the students that draw whatever comes in your mind about your class or teacher etc. The

students will express their ideas or image which is their in their minds. This method helps the

students to express their selves, this also strengthen their mental process and creative

abilities.

Advantages of free expression method

1. It develops confidence in students for expression of their point of view.

2. It provides a chance to the students to express their ideas in form of arts and crafts.

3. It develops creativity in the students.

4. It motivates the students as they are expressing their selves through this method.

5. It is the most suitable method of teaching at primary level as it develops the creative minds

of students.

Disadvantages of free expression method

1. Sometime the teacher interference affects the motivation level of the students.

2. Teacher’s guidance is all the time with the students in this method so we cannot say that

it’s free expression method completely.

3. There are the chances that the students misuse this method and do not express themselves

creatively.

4. It is difficult for teacher to manage the whole class working on different ides of their own.

5. It is time consuming method of teaching and not suitable for all the topics.

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References

Clark.R.,(2002).” An introduction to Art education”. (2nd Edition).Toronto,AN.Plan

Book.

Hume Helen(1990). “ A survival kit for secondary school teachers”.NY. The center for

applied research in education

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