Introduction
Louis A. Ruddock
E-mail: [email protected]
[email protected]
Artist, Art Educator, married, a father of three,
two girls and one boy. Presently, I live in the parish of St. Mary,
Jamaica. I have been teaching Visual Arts for the past
twenty-four years, twenty-one years in the high school and for
fifteen years, I volunteered my service on a part-time basis at the
Salvation Army School for the Blind and Visually Impaired. In
September 2006, shortly after the beginning of an Art Education
programme with Ohio State University, I returned to the School for
the Blind after a nine years break.
Taking into consideration the properties of a quality art
curriculum, I will briefly discuss the following areas as they
relate to unpacking a ‘Big Idea’, to create meaningful learning
through language, artists, visual culture, social context, personal
connection and essential questions. In unpacking a big idea one has
to take into consideration the following factors: “ how we teach,
what we teach, who we teach, who we are, the community we live in,
our past, our present, our future and our students’ past, present
and future”, as stated in the article by Ballenge-Morris, C.
(2006). A Call to ‘Face Up’ To Cultural Diversity.
Many theorists suggest that the language of one’s culture
determines how we see and think about the world. This concept when
transferred to the art- class situation brought to the fore a
number of factors. For example, are there any commonalities between
the language of the teacher and that of the students? Is the
language appropriate to the environment? For the students to
understand what an art teacher intends, the art teacher should have
something definite in mind. That is, he or she should be clear as
to the ‘big idea’ to be imparted, the key concepts to be taught,
how these will bring to the fore, the essential questions to be
asked, the part the environment plays, any commonalities and
repetition to be explored by way of integration.
Here one has to look at a variety of images and diverse artists
that not only represents a wide range of multiculturalism but also
relates to the ‘Big Idea’ being taught as well as connected to the
students’ needs, experiences and where possible their
communities.
Thus, for the art teacher visual culture is of paramount
importance as it not only provides the students with problem
solving skills but, also a firsthand knowledge of how others view
reality by way of their works, perceptions and interpretations.
These of course bring about a deeper understanding of art and its
appreciation.
The social context on the other hand shapes, reflects and
expands the big ideas beyond the personal. When possible, art
teachers should move students conceptually and physically outside
of the classroom and link with real-world communities, issues, and
problems. Teachers must help their students examine biases that may
lead to prejudice, discrimination and injustice. Classrooms can
serve as a microcosm for a democratic society in which students are
cared for and in turn, learn how to care for each other. This in
and of itself helps to foster a personal connection which not only
enriches the whole learning environment but also paves the way for
effective curriculum delivery.
Personal connection has to do with the relationship the teacher
develops with the students. This relationship provides vital
information about the students’ prior knowledge, understanding and
perceptions. Hence, the personal connections of the students as
well as the teacher play a very important part in the structuring
and delivery of the curriculum.
Essential questions are the questions used to guide a unit in
the unpacking of a ‘big idea’. It not only guides the discussion
but also stimulate students thinking processes and total outlook.
These key questions inspire divergent rather than convergent
thinking. A mode of thinking that is integral to a total
understanding of Art and its role in human society as it relates to
the different courses in Art Education.
It will be the purpose of this presentation to examine the
nuances of perceptions and interpretations as they relate to
music/sound in visual arts at the Salvation Army School for the
Blind and Visually Impaired. This methodology and its application
is student centred. However, with the inclusion of a serious
commitment to others this has formed an ‘Inside-Out’ approach to
the teaching/learning of visual arts.
This inside-out approach to art is stimulated by the recognition
of the ‘rhythm of the people’, the school and adjoining
communities. The children at School for the Blind often voiced
songs that appeal to them and generally describe people they like
or dislike by their voices. I was further convinced that it is the
totally blind acuteness and sensitivity in deciphering the numerous
sounds on a busy street which allow them to boldly make the next
correct step or stop. As such, a visually impaired child will tell
you that he or she has to ‘hear what he wants to hear’ so as to be
aware of all obstacles.
Below are a few lessons taken from my thesis entitled ‘The
Reawakening of the Communal Spirit in Art’, 2009 and ‘Importance of
Sound among the Blind’, 1985.
Art Criticism
AE640 Lesson Report #3
Date
- February 7, 2007
Title
- Philosophizing about art and the environmental effects on
artwork.
Grade
- Grade 9 (14 students), Grade 8 (9 students), Grade 5 (13
students)
Salvation Army School for the Blind and Visually Impaired
Time of Lesson - (50 minutes)
Setting - A medium size room (22 x22) feet with desks and chairs
arranged in an oval shape with one table placed in the center of
the room displaying the students’ pinch pots.
What I want students to learn-
· To speak philosophically about art.
· Be orderly in their discussion allowing one person to speak at
a time.
· To find meanings in each person’s work.
· There is more to a ‘work of art ’than what is visible to the
naked eye.
· Philosophizing about artworks encourages collaboration and
builds community.
List of artworks (10 minutes)
Ceramic, titled ‘Bottle.’ An earthenware vessel, height 17
inches by the artist, Michael Layne who was born in 1960, Port
Antonio and educated at the Edna Manley School of the Visual and
Performing Arts, formerly Jamaica School of Art and has been
exhibiting since 1984.
Ceramic title ‘Sun Figures’ Glazed clay, height 7 inches was
created by Norma Rodney Harrack, born in 1947, Kinston, Jamaica and
attended the Edna Manley College of the Visual and Performing Arts,
formerly Jamaica School of Art. She has been exhibiting since 1974,
both in Jamaica, U.S.A. Europe and the Republic of China.
Salvation Army School for the Blind past students’ ceramic
pieces and photographs of the aforementioned artworks by Norma
Harrack and Michael Layne were described and discussed.
Activities (30 minutes)
Students placed their works on a table, which they encircled.
They then prepare to discuss. Firstly, they chose a pinch pot that
is not their own. I then ask the students to explain the meaning of
the work in their hands by describing, evaluating and interpreting
what they see, as well as provide answers for questions such as -
what does the art expresses? And how is the artwork good?
I further went on to ask two students to briefly define the word
‘philosophy’ from their dictionaries. One dictionary described
philosophy as “The science of dealing with the general causes and
principles of things and personal attitude”. This concept was
briefly explored as it relates to an art critique.
The students were then asked to interpret the ‘pieces’ taking
into consideration the previous discussion on philosophy before
identifying by name the student/artist responsible for the creation
of the particular art piece.
The following question was then thrown out to the students:
Teacher Do you see any meaning in the chosen ‘work of art’?
‘Yes’ was the answer by all the students. I then told them to
identify and describe whatever it is that suggest or shows that
there is meaning in the pinch pots.
One student’s response was as follows:
Example
“The works of art” reflects the artists’ large hands and is
related to the student /artist, whom he knows. “I felt the heavy
hands around it, I can see the community in which he lives and the
thickness suggests it was built to serve for a long time.” This was
how Haldane Ford of grade 9 described one of his classmate’s
works.
Another suggested that:
Example
“The work looks peaceful” This wasthe reaction by Odane Brown, a
visually impaired. He further stated that the softness reflects the
calm spirit in the student/artist.
Another suggested that:
Example
“These patterns are typical of the artist because they are
shapes he generally draws.”
Another went on to say that:
Example
“This work is peaceful although he lives in a violent
community”
In order to gain further insight into the students’ level of
understanding in terms of deriving meaning from an artwork, the
question below was directed at them.
Teacher- “Would you choose a cup made from plastic instead of
ceramic?”
The following response was provided:
Example
“I prefer a ceramic because it will keep a warm liquid warm for
a longer period than plastic.”
All the students think that the community in which they live has
some effect on their "works of art” whether it is positive or
negative.
Throughout the discussion I had to remind them of the importance
of staying focus and the fact that they the students will be graded
at the end of the class.
What the student learned (10 minutes)
· Art is in whatever is being created.
· The students realized that meaning is in all artworks.
· They spoke philosophically about art and focus on the topic in
question.
· To appreciate each other’s expressions.
· They constructively criticize artwork.
· Intuitive artworks can turn out in some respect far more
meaningful than works that are intentionally thought of.
· Art is not independent of ones personal beliefs and
attitudes.
What I learned
· Students can personalize their artworks.
· Nothing is too difficult for students to talk about.
· One should not underestimate students’ ability to be
creative.
· A tape recorder is an essential tool for an art critique.
· An artist’s philosophy of life is oftentimes represented in
his/her works of art.
· Art represents the individual’s totality and not just a
part.
Title
- Evoking impressions through drawing and listening to music
Grade
- Grade 3 - 9School
- Salvation Army School for the Blind and Visually Impaired
Time of Lesson - (50 minutes)
Setting - A medium size room (22 x22) feet with desks and chairs
arranged in an oval shape with one table placed in the centre of
the room with a tape recorder.
Material - Various styles of music (African, Classical, Blues,
Jazz and Pop)
Coloured crayons (red, yellow and blue)
Cardboard, cut juice boxes, paper glue and cartridge paper
What I want students to learn-
· to listen and appreciate all musical styles
· the idea that music evokes feeling, mood and mental images
· expression of these feelings or images which are abstract into
a concrete form
· association of colour with feeling
· that each person’s impression are unique and worthy of
expression
Activity
Students were given three colours – red, yellow and blue.
Colours were placed in separate fixed container so that they were
easily identified by the totally blind and visually impaired. An
example is by gluing cut juice boxes to a cardboard (14 x14)
inches.
They were then asked to listen to the music and draw what they
felt onto their paper.
The African music was the first song. Everybody had their heads
downwards, well fixed in their imaginative forms and shapes. At the
end the students asked for the song to be replayed.
A comfortable and relaxed expression was noticeable on the faces
of the pupils as they drew with the three coloured crayons while
the classical song was being played. They loved the blues. Hands
were clapped and bodies moved to the rhythm. However, their
reactions to the jazz were on the contrary. Feelings were mixed.
One student remarked ‘No life, it makes me feel miserable’. They
were upset. Papers were even crushed, reopened and then drawn onto
by one student.
Reggae, the Jamaican pop, created excitement in the classroom.
These rhythmic sounds were so penetrative that it made a student
jumped to and from a piano which was near the entrance of the same
room while drawing.
What the student learned
· to appreciate each other’s expressions
· that meaning is in all forms of artistic expressions
· to interpret and express what they feel
· freely express themselves
What I learned
· the recognition of form, shape, size and colour by listening
to sound/music is no longer hypothetical
· the idea that music evokes feeling, mood and mental images
· ‘drawing’ as being an ‘exact’ duplicate of what we see needs
to be altered for children
· Every human, animal and plant has a particular rhythm unique
to him or herself.
My students’ art works
Conclusion
The inside-out approach to visual arts is nothing strange to
many educators. It is an eclectic combination of the properties of
a quality art curriculum, a student-centered approach, music and
sound/ ‘rhythm of the people’, along with what Paolo Freire
described as “Love, a commitment to others” 1970, Pedagogy of the
Oppressed. Inside-out is basically a method which encourages more
usage of our senses but primarily our sense of feeling in the
learning and teaching of visual arts.
The whole experience has made me a more sincere and better art
educator. I have learnt how to listen and during my recent mode of
reflection I wrote the following lines entitled ‘This is me’.
This is me
I try to feel myself in all the things I do, whether it’s
sculpting, painting, teaching or playing,
I feel colours and forms
I hear
I smell
I taste
I see
From inside- out
The preceding senses are all superimposed into one movement or
direction at a particular rhythm unique to each person. How much of
this is noticeable in my works of art?
It’s ongoing.
This is me.
(This booklet is an extract from the author’s thesis, 2009,
entitled The Reawakening of the Communal Spirit in art. Ohio State
University)
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Art Exhibitions
2006 J.C.D.C. Annual Competition & Exhibition
Jamaica
2005 J.C.D.C. National Visual Arts Competition and
Exhibition,
Jamaica
1994 Heart Foundation of Jamaica Art Auction,
Jamaica
1992 “Columbus to Jamaica” Fine Art Exhibition, Four Corner’s
Gallery
Jamaica
1991 Very Special Art Festival and Exhibition (R.O.C.)
Taiwan
1991 Group Exhibition, Four Corner’s Gallery
Jamaica
1990 Group Exhibition, Four Corner’s Gallery
Jamaica
1988 Festival Fine Arts Exhibition
Jamaica
1987 Festival Fine Arts Exhibition
Jamaica
1986 Young Generation Exhibition
Jamaica
1986 Festival Fine Arts Exhibition
Jamaica
1985 Young Generation Exhibition
Jamaica
1985 Festival Fine Arts Exhibition
Jamaica
1984 Annual National Arts Exhibition
Jamaica
1984 Festival Fine Arts Exhibition
Jamaica
1983 Bicentennary Year of Simon Bolivar
Jamaica
Drawing / colouring to music
Out
Inside
