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Lesson Plans


CURRICULUM ISSUES: INQUIRY

[ Thread ][ Subject ][ Author ][ Date ]
Patricia J. Miltner (pmiltner.ne.us)
Mon, 14 Apr 1997 10:38:29 -0500 (CDT)


Dr.Erickson asks in a recent message, "What principles or rules of thumb
have you found or developed through your experience that have helped you
determine the sequence of activities and lessons in your curriculum?"
In my experience it is important to have students actively involved from
the onset. A majority of my strategies involve production before inquiry
begins. I try to hook my students so they stay with me. Example; fourth
grade students can cut piles of small, medium and large geometric shapes
as a skill before they scan and inquire or even have a clue that we are
studying the sculpture of Deborah Butterfield. Focusing on detail and
directions, they become excited and anticipate the unknown. They can
complete this simple task to the best of their ability. They are stopped
while Butterfield's work is introduced. Here questioning becomes paramount.
How does Butterfield express ideas? How do I? Would a literal
representation be better? Why ? Why not? What big idea is important to
the artist? What is important to me? There is the motivation to create
as students that they are well into the process. I have learned from
Dr.Erickson's curriculum the flexibility of inquiry. In my early
'lecture' years I would never have dreamt of letting students begin
before my voice ended. Those are the days of the fixed response.
Those are the days of assembly line art. STORIES OF ART has encouraged
and motivated me to approach strategies in different ways, to meet the
needs of myself and my students. If my students are not involved, if i
don't hook them right away, I lose them. I am always looking for a new
angle, and Dr.Erickson has given me zillions.
art is art is art is art is art is art is art is art is art is art is art is
Pat Miltner
Dr. Eugene Skinner Magnet Center
4304 North 33rd Street, Omaha, Nebraska 68111