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Lesson Plans


Re: Re: CELEBRATING PLURALISM

[ Thread ][ Subject ][ Author ][ Date ]
Graeme Chalmers (gfchalm)
Tue, 11 Feb 1997 10:44:33 -0800 (PST)

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I am delighted that there has been so much response to CELEBRATING
PLURALISM. There have been a number of comments around the emulation of an
art form of an "other." I want to make it clear that this can be a valuable
staring point, and that it can be done sensitively and with great depth. I
asked Carole Osman to describe how she does this, and, with Carole's
permission, would like to share her response:

>> Graeme:
>>
>> I can only tell you how I have done this with my drawing class at
>> Kadena High School.
>>
>> First: I go into some of the history of brush painting and its move
>> from China to Korea to Japan. I show examples and get into the
>> philosophy and "thinking" --- the usual motivation stuff, but from
>> the heart. I studied brush painting in Korea for three of the five
>> years of teaching and living in Taegu, S.K. I think it is important
>> for the person who approaches this as a lesson to understand something
>> of the motivation or the spirit which is necessary for "oneness" with
>> the art form. Perhaps through the reading of poetry, a specific time
>> period of Chinese history (Confucianism would be the easiest for the
>> reasoning behind copying and repetition etc.) In other words, the
>> teacher should have a fairly clear understanding of the art form.
>> This is necessary whether you teach elementary, junior high, or high
>> or anyone for that matter.
>>
>> To get the students into the process, I have them prepare their ink
>> using an ink stick and stone. I have these for each student. I also
>> show how to set up the untensils in the prescribed manner. Water,
>> brush, ink , felt pad upon which the paper is placed and weights to
>> hold the paper in place. In other words, I have the luxury of having
>> the traditional supplies for each student. But, if you understand the
>> process you can be resourceful with supplies.
>>
>> The scene is set and the atmosphere is created as the student begins
>> to make the ink. Just as the Asian painter creates the "feeling"
>> "mood" or idea for the painting, so do my students. Of course, I have
>> to facilitate ,until after weeks of practice, the ink grinding and the
>> mood becomes routine.
>>
>>Then it is time for subject matter. I begin with the Four Gentleman, or the
>>Four Holy Flowers. This is the traditional beginning--it was my beginning in
>>Taegu. Orchid, Bamboo, Plum, and Chrysantheum.
>>
>>After one month of meeting with the drawing class we were only able to reach
>>success with orchid and some success with bamboo. There are many things to
>>learn. How to see positive and negative simultaneously, How to vary the
value
>>of the ink, how to use the long haired Korean brush which is different
than the
>>Japanese or even the Chinese. I give all the information I know and I am
>>constantly moving among the students to help and adjust. They copy from an
>>original form. It is best for each student to have the form beside them.
>>Eventually they begin to create their own form using the prescribed
>arrangement
>>of leaves. There is a standard from which one can deviate in original ways.
>>
>>There is so much more to tell you about this, but I am writing between
>>classes....so....
>>
>>I must tell you that I taught brush painting to elementary students and we
>used
>>the traditional materials as well. The subject matter was different. Simple
>>Buddhist brush paintings. And I had the students follow along with me as I
>>painted (drew) Some teachers would not like this and when I was younger and
>>less experienced I would have been shocked to see an art teacher do this.
>>However, the lesson is within the context of a historical reference and the
>>students created successful paintings which were made into hanging scrolls.
>>
>>All ages of students then could transfer the use of brush to other work.
>>
>>My high school students used the Korean brush and ink for studio sittings.
We
>>have some wonderfully strong paintings of the figure --drawn from life.
>>
>>I must go now---but, if you'd like more info. at another time.
>>
>>Carole
>>
>>Remembering the transitory nature of things.
>>
>>______________________________ Reply Separator
>_________________________________
>>Subject: Re: Re[2]: CELEBRATING PLURALISM & Storyteller doll DIRECTIO
>>Author: gfchalm (Graeme Chalmers) at EDU-INTERNET
>>Date: 2/6/97 1:26 PM
>>
>>
>>Carole:
>>
>>You cite an interesting example where nothing is trivialized. The
>>apprentice is committed to understanding more than technique. Any
>>suggestions as to how this can happen in public school classrooms?
>>
>>Graeme
>>
>>At 03:02 PM 2/6/97 EST, Carole Osman wrote:
>>> If the question IS "are there times when appropriation might be o.k.?"
>>> Then I would have to say that it is my experience that tells me,"yes"
>>> In my study of Korean brush painting I copied a form. The form was
>>> standardized and when I mastered the form I made it my own. When I
>>> visited a Korean National Living Treasure temple painter, whose
>>> specialty is Buddhist religious deities, I had the good fortune to
>>> meet his American apprentice. The apprentice told me that he had to
>>> make 1,000 brush and ink drawings of each of the prescribed deities
>>> before he could begin to work on his own. That is; before he was
>>> considered able to make them his own. Is this appropriation unique to
>>> Asian art?
>>
>>Graeme Chalmers
>>Graduate Adviser
>>Department of Curriculum Studies
>>University of British Columbia
>>Vancouver, B.C.
>>Canada V6T 1Z4
>>
>>Tel: 604 822-4842
>>Fax: 604 822-9366

Graeme Chalmers
Graduate Adviser
Department of Curriculum Studies
University of British Columbia
Vancouver, B.C.
Canada V6T 1Z4

Tel: 604 822-4842
Fax: 604 822-9366


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