Teaching World History Through Wayfinding Art And Mindfulness
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Teaching World History Through Wayfinding, Art, and Mindfulness by Amber Godwin Pdf
Teaching World History Through Wayfinding, Art, and Mindfulness approaches world history instruction through standards-based arts- and story-telling prompts. Each chapter provides contextualization through stories along with unique pieces of art from around the globe along with inquiries for teachers to examine by themselves and/or with their students through a mindfulness lens. By providing frameworks that support social studies instruction as well as social and emotional skill development. This book uses a wayfinding methodology to explore world history stories through art and provides pathways for instruction through reciprocal dialogues, and art- and mindfulness-based experiences.
Activity-Based Teaching in the Art Museum by Elliott Kai-Kee,Lissa Latina,Lilit Sadoyan Pdf
This groundbreaking book explores why and how to encourage physical and sensory engagement with works of art. An essential resource for museum professionals, teachers, and students, the award winning Teaching in the Art Museum (Getty Publications, 2011) set a new standard in the field of gallery education. This follow-up book blends theory and practice to help educators—from teachers and docents to curators and parents—create meaningful interpretive activities for children and adults. Written by a team of veteran museum educators, Activity-Based Teaching in the Art Museum offers diverse perspectives on embodiment, emotions, empathy, and mindfulness to inspire imaginative, spontaneous interactions that are firmly grounded in history and theory. The authors begin by surveying the emergence of activity-based teaching in the 1960s and 1970s and move on to articulate a theory of play as the cornerstone of their innovative methodology. The volume is replete with sidebars describing activities facilitated with museum visitors of all ages. Table of Contents Introduction Part I History 1 The Modern History of Presence and Meaning A philosophical shift from a language-based understanding of the world to direct, physical interaction with it. 2 A New Age in Museum Education: The 1960s and 1970s A brief history of some of the innovative museum education programs developed in the United States in the late 1960s and 1970s. The sudden and widespread adoption of nondiscursive gallery activities during this period, especially but not exclusively in programs designed for younger students and school groups, expressed the spirit of the times. Part II Theory 3 Starts and Stops Two attempts by American museum educators to articulate a theory for their new, nondiscursive programs: the first deriving from the early work of Project Zero, the Harvard Graduate School of Education program founded by the philosopher Nelson Goodman to study arts learning as a cognitive activity; the second stemming from the work of Viola Spolin, the acclaimed theater educator and coach whose teaching methods, embodied in a series of “theater games,” were detailed in her well-known book Improvisation for the Theater (1963). 4 A Theory of Play in the Museum A theory of play that posits activities in the museum as forms of play that take place in spaces (or “playgrounds”) temporarily designated as such by educators and their adult visitors or students. Play is defined essentially as movement—both physical and imaginary (metaphorical)—toward and away from, around, and inside and outside the works of art that are foregrounded within those spaces. Gallery activities conceived in this way respond to the possibilities that the objects themselves offer for the visitor to explore and engage with them. The particular movements characterizing an activity are crucially conditioned by the object in question; they constitute a process of discovery and learning conceptually distinct from, but supportive of, traditional dialogue-based modes of museum education, which they supplement rather than supplant. Part III Aspects of Play 5 Embodiment, Affordances The idea of embodiment adopted here recognizes that both mind and body are joined in their interactions with things. Investigating works of art thus involves apprehending them physically as well as intellectually—in the sense of responding to the ways in which a particular work allows and even solicits the viewer’s physical grasp of it. 6 Skills Ways in which objects present themselves to us, as viewers, and what we might do in response as they fit with the bodily skills we have developed over the course of our lives. Such skills might be as simple as getting dressed, washing, or eating; or as specialized as doing one’s hair, dancing, playing an instrument, or acting—all of which may allow us to “grasp” and even feel that we inhabit particular works of art. 7 Movement Embodied looking is always looking from somewhere. We apprehend objects as we physically move around and in front of them; they reveal themselves differently as we approach them from different viewpoints. Viewers orient themselves spatially to both the surfaces of objects and to the things and spaces depicte4d in or suggested by representational works of art. Activity-based teaching gets visitors and students to move among the objects—away from them, close to them, and even into them. 8 The Senses Both adult visitors and younger students come to the museum expecting to use their eyes, yet “visual” art appeals to several of the senses at once, though rarely to the same degree. Sculpture, for example, almost always appeals to touch (whether or not that is actually possible or allowed) as well as sight. A painting depicting a scene in which people appear to be talking may induce viewers to not only look but also “listen” to what the figures might be saying. 9 Drawing in the Museum Looking at art with a pencil in hand amplifies viewers’ ability to imaginatively touch and feel their way across and around an artwork. Contour drawing by its nature requires participants to imagine that they are touching the contours of an object beneath the tips of their pencils. Other types of drawing allow viewers to feel their way around objects through observation and movement. 10 Emotion Visitors’ emotional responses to art represent a complex process with many components, from physiological to cognitive, and a particular work of art may elicit a wide range of emotional reactions. This chapter describes specific ways in which museum educators can go well beyond merely asking visitors how a work of art makes them feel. 11 Empathy and Intersubjectivity One aspect of viewers’ emotional responses to art that is often taken for granted, if not neglected altogether: the empathetic connections that human beings make to images of other people. This chapter advocates an approach that prompts viewers to physically engage with the representations of people they see. 12 Mindful Looking Mindfulness involves awareness and attention, both as a conscious practice and as an attitude that gallery teachers can encourage in museum visitors. This is not solely a matter of cultivating the mind, however; it is also a matter of cultivating the body, since mindfulness is only possible when mind and body are in a state of harmonious, relaxed attentiveness. Mindfulness practice in the art museum actively directs the viewer’s focus on the object itself and insists on returning to it over and over; yet it also balances activity with conscious stillness. Afterword Acknowledgments
The Arts and the Teaching of History by Penney Clark,Alan Sears Pdf
This book closely examines the pedagogical possibilities of integrating the arts into history curriculum at the secondary and post-secondary levels. Students encounter expressions of history every day in the form of fiction, paintings, and commemorative art, as well as other art forms. Research demonstrates it is often these more informal encounters with history that define students’ knowledge and understandings rather than the official accounts present in school curricula. This volume will provide educators with tools to bring together these parallel tracks of history education to help enrich students’ understandings and as a mechanism for students to present their own emerging historical perspectives.
Creating Art for All Ages by Frances Flicker,Jeanne Richins,Jacqueline G. Van Schooneveld Pdf
This book is an interdisciplinary guide for middle grades (4th through 8th grade, though it can be adapted to lower and higher levels of learning), in social studies, language arts, mathematics and art production.
Resources for Teaching Mindfulness by Donald McCown,Diane Reibel,Marc S. Micozzi Pdf
This master-class-in-a-book is designed to guide teachers of mindfulness-based interventions (MBI) in continuing to develop more competence while raising global standards of practice and pedagogy. Starting with the central yet elusive concept of stewardship, it then expands upon the core components of MBI pedagogy. A series of reflective essays by MBI teachers from around the world foregrounds differences and challenges in meeting participants “where they are.” Such reflections are both inspiring and thought-provoking for teachers —wherever they are. The book also provides practical guidance and tools for adjusting teaching style and content for special populations, from chronic pain patients to trauma survivors, from health care professionals to clergy, and including many others. Detailed scripts and practices, ready to adopt and adapt, offer opportunities to explore new directions in the classroom, and to continue the life-long development of the teacher. Included in the coverage: Deepening teachers’ skills of guidance of meditation practices Insights into the essential practice of inquiry and dialogue with participants New practices that allow participants to explore mindfulness together in a spoken encounter How to keep up with, review, and make clear to participants the range of scientific evidence supporting the MBIs The breadth of practical insights and hands-on strategies makes Resources for Teaching Mindfulness a unique developmental asset for a wide range of practitioners around the world. Among those who will benefit are physicians and other medical practitioners, health and clinical psychologists, marriage and family therapists, nurses, clinical social workers, physical and occupational therapists, health educators, and organizational development specialists.
Arts, Pedagogy and Cultural Resistance by Anna Hickey-Moody,Tara Page Pdf
This collection demonstrates how physical objects, materials, space and environments teach us, and redefines practice with theory (praxis) as a more-than-human network. The contributions illustrate how the materials, process, pedagogies and theories of Arts making question and disrupt the many forms of cultural dominance that exist in our society.
This groundbreaking work, specially designed for the music classroom, combines traditional and popular literature in a method that both teaches the ukulele and develops music literacy. Assuming no prior knowledge, the leveled content allows students to track their progress and teachers to reward benchmark achievements. Many popular pieces are written in the same key as their common recordings, allowing students to play along if they wish, and no singing parts use notation symbols that have not already been formally introduced. The book teaches students both how to read and write music on the treble staff but also offers opportunities to follow chord charts, improvise, and play by ear. By encouraging the development of these transferrable skills, Uke Can Do It 2 provides a solid foundation for lifelong music-making!
Virtual and Augmented Reality in English Language Arts Education by Clarice M. Moran,Mary F. Rice Pdf
New times. Expanded worlds. Emerging possibilities. In Using Virtual Reality in English Language Arts Education, authors from multiple institutions across the United States and abroad share practical insights for teaching English language arts with virtual and augmented realities. These chapters draw on multiple theories and ideas to share perspectives from practicing and prospective teachers, as well as young learners themselves, about how to use applications and tools to transform teaching and learning. Collectively, this book advances innovation for using virtual and augmented realities as educational, inclusive spaces for teaching English language arts and literacy subject matter while supporting learners in developing the mindset for creativity, innovation, and even emotional empathy.
Cottle examines the ways people interpret their life experiences and construct meanings for the events they have encountered. In reading the sixteen life studies in Drawing Life, we encounter both inner reflections as well the power of culture to shape the meanings people give to the events that befall them.
Many educators already know that hip-hop can be a powerful tool for engaging students. But can hip-hop save our schools—and our society? Hip-Hop Genius 2.0 introduces an iteration of hip-hop education that goes far beyond studying rap music as classroom content. Through stories about the professional rapper who founded the first hip-hop high school and the aspiring artists currently enrolled there, Sam Seidel lays out a vision for how hip-hop’s genius—the resourceful creativity and swagger that took it from a local phenomenon to a global force—can lead to a fundamental remix of the way we think of teaching, school design, and leadership. This 10-year anniversary edition welcomes two new contributing authors, Tony Simmons and Michael Lipset, who bring direct experience running the High School for Recording Arts. The new edition includes new forewords from some of the most prominent names in education and hip-hop, reflections on ten more years of running a hip-hop high school, updates to every chapter from the first edition, details of how the school navigated the unprecedented complexities brought about by the COVID-19 pandemic and uprising in response to the murder of George Floyd, and an inspiring new concluding chapter that is a call to action for the field.
Design Education: Creating Thinkers to Improve the World is a curricular resource that offers theoretical concepts and practical advice for teaching lessons in design to PreK-12 grade students. The book is for art educators at the preK-12 level in schools, museums, and enrichment programs, and university professors in teacher preparation programs. Design education is about problem-solving, learning through objects of our daily lives, and the role design plays in social responsibility and the creative economy. Designers utilize research methods, technology, sketching, and the construction of prototypes. The basis of these techniques, systems, and tools may be taught to Prek-12 students. Students need lifelong skills that build their creativity and problem-solving capabilities to better understand the world and themselves and use visual communication to advance their abilities to express ideas. Design is a study about life and can touch on all school subjects, making it a valuable interdisciplinary study. Students are able to directly apply thinking strategies and learning about facts, figures, and concepts at the same time they are crafting meaningful ideas about the importance, influence, and social implications of everyday items and the potential to improve the world.
