Rule of the PlaygroundBy Brad Burns, Sherryl Celland, Greg Dowler-Coltman, Tami Dowler-Coltman, Lindsay Ingram, and Kylie Weatherall - The Victoria school of the arts is a place that holds the arts at the heart of learning. This K to 12 public school, recently celebrating over one hundred years in existence, is situated more blocks north of the downtown core of Edmonton, Alberta. At Victoria, students learn in the arts, about the arts, and through the arts. The international Baccalaureate Programme aligns the arts and academics within a framework of inquiry across all grades. Students demonstrate a commitment to their complete learning journey and are encouraged to develop the ability, confidence, and imaginative capacity to pursue their dreams and contribute to their community both locally and globally. The elementary student classroom experience is enriched through art,dance,drama and music. Hands-on experiences, integrated projects, and performance opportunities, often led by professional guests, allow students to develop a sense of self as artist and learner. Some Victoria school graduates elect to pursue the arts as adults on a professional or recreational level; however all Victoria school graduates enter adulthood with courage and compassion, having spent their time in school of the playground. These rules : play fair, play with heart, play with everyone, play like there is no time limit, and leave the playground as you found it-ready for the next group of players to begin again. - Using the arts as part of one's 'practice' should be as natural as breathing. Music, art, drama,dance, and literary arts makes the teaching and learning process three dimensional, more real, and thereby more meaningful by Sherrl Clelland, arts teacher In the ideal ,arts programming at Victoria school ensures cross-curricular integration, eliminating the fragmentation of a separate subject approach. This approach builds life skill competencies without regard to subject matter. Knowledge is not acquired as a collection of facts but within a context created by a theme or story, and as such ensures greater intensity of student ownership in the learning experience. The opportunity for cross-divisional integrations openly exist and depend on the creative capacity of the teachers to imagine the possibilities before drawing upon the resources available to make an idea sprout. Art at the Centre " I would teach children music, physics and philosophy, but most importantly music, for in the patterns of music and all the arts are the keys to learning by Plato - As the writers worked with their teacher supervisors and alongside the visual artist, they rigorously engaged in the revision process, opening themselves up more and more to taking, receiving, and implementation of teacher and peer feedback as they became ever more aware of what it means to be a professional writer and artist. -These are snapshots of the experience that people attending the Art Gallery of Alberta would have had on a Sunday in December when Victoria's high school Dance and Acting students joined forces with the gallery in a day-long performance event titled The space Between. The Space Between-a concept that spoke to the thematic nature of the gallery's current exhibitions and the realities of the spaces that lie between visual artist and viewer, performer and audience, and student and professional artist. The intention was that the resulting work, both formal and informal, would bring audience and performers closer to the process of exploration making was a deep desire to come to a clearer understanding about the world around us and our place in it. In the development of the work, students came to more fully appreciate the notion of inspiration, but not without taking a huge personal and collective leap of faith. note: The Victoria School was a vocational school with low enrollment in 1985. At this time, the principal, Bob Maskell, converted the school into an art orientated school and actively hired professional artists. Twenty-five years later, the school has become one of the best arts schools in North America. Ever since Victoria school embraced the arts twenty-five years ago. Families,educators, and interested community members have toured the halls, classrooms, and studios of the school. Most are curious about the program. The support and resources, the student body, and the challenges both artistic and academic, but hands down the single most common refrain,, so much so that it might do well to inscribe it on the walls, is: Where was this school when I was a kid?
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“Nothing is a mistake. There’s no win and no fail, there’s only make.” RULE ONE: Find a place you trust, and then try trusting it for awhile. RULE TWO: General duties of a student — pull everything out of your teacher; pull everything out of your fellow students. RULE THREE: General duties of a teacher — pull everything out of your students. RULE FOUR: Consider everything an experiment. RULE FIVE: Be self-disciplined — this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way. RULE SIX: Nothing is a mistake. There’s no win and no fail, there’s only make. RULE SEVEN: The only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things. RULE EIGHT: Don’t try to create and analyze at the same time. They’re different processes. RULE NINE: Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think. RULE TEN: “We’re breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.” (John Cage) HINTS: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything — it might come in handy later. The International Fiber Collaborative (IFC) Projects The International Fiber Collaborative (IFC) was founded in 2008 as a 501(c)(3) develops community programs that create collaborative opportunities in art and civic engagement. IFC promotes programs that link learning and creativity in the arts to science, math, engineering, and the humanities. Public programming has been a catalyst for creativity in health care facilities, libraries, schools, museums, national parks and many other sites. During the 2018-2019 school year 9,645 students from 354 schools participated in 20 exhibits at national park sites. It is a project to create huge works with works made in our own way using materials that we commonly encounter in our daily life, such as paper, pieces of fabric, wool, buttons, and thread. This project creates meaningful shapes such as a big tree, a gas station, and a rocket by connecting small works collected and recruited from children around the world. This is a wonderful piece of work that contains the love and hope of children all over the world. I was particularly moved by the 2009 tree project. Focusing on invisible energies, I am delighted to see with my own eyes these small hopes come together to create a large visible vision. 2009 Tree Project Huntsville, Alabama The Tree Project engaged more than 8,000 students, 62 schools, and quilters from 23 countries and 39 states. Participants submitted over 14,000 handmade leaves for the canopy, mimicking the shape of a live oak. All leaves were photographed and posted online for the public to enjoy. The Tree was eventually installed in its permanent home, the rotunda of the Earlyworks Children’s Museum in Huntsville, Alabama. The butterfly effect (- 效果, English: butterfly effect) refers to a phenomenon in which minute changes, small differences, and trivial events, such as a small flap of a butterfly's wings, lead to unexpectedly great results or waves later. The first person to use the term "butterfly effect" was mystery writer Ray D. Bradbury in 1952, and he first used the term in his short story about time travel, 《A Sound of Thunder》. American meteorologist Edward Norton Lorenz gave a lecture in 1972 at the American Association for the Revival of Science, entitled 'Predictability: Does the Flap of a Butterfly's Wings in Brazil Cause a Storm in Texas? Brazil Set Off a Tornado in Texas?)'. This was demonstrated by a scientist's computer simulation. In 1961, while American meteorologist Edward Lorenz was conducting a weather simulation with a computer, he had to enter the number 0.506127, but he omitted the fourth decimal place and entered only 0.506. However, the subtle differences were amplified enormously, creating completely different results. In this case, it was discovered that a very slight difference in the initial conditions of less than 0.001 can lead to huge changes or results. This means that the flapping of a butterfly's wings can delay or change the path of a tornado. Isn't that amazing? Of course, the wind of a butterfly's wings does not directly affect tornadoes or climate phenomena. There is no power like this at all. However, it can be hypothesized that small, insignificant changes in the early stages, such as flapping of wings, may lead to larger-scale changes by biting tail after tail. Like this butterfly effect, the little flutters of children all over the world can make a difference in a solid society that never seems to be moved. Just look at this tree. Small hearts that love each other, live together, and strive to live together create a huge tree, under which we can rest. While eating snacks on a picnic blanket. Today, I would like to introduce and conclude with a poem called Hope by Carl Sandburg, a poet I came to know through this project.
Carl Sandburg is a Pulitzer Prize-winning poet and biographer, historian, folk singer and social activist, Carl Sandburg. Sandburg wrote millions of words reflecting on the American experience of the 20th century. A common subject of his poetry was the everyday life of the working class, among whom he saw great hope despite the daily struggles and turmoil everyone experiences. In The People, Yes - Stanza 16 (excerpt), he captures the essence of hope in nature and emotion. Hope is a tattered flag and a dream out of time Hope is a heartspun word, the rainbow, the shadow in white, The evening star inviolable over the coal mines, The shimmer of northern lights across a bitter winter night, The blue hills beyond the smoke of the steel works. The birds who go on singing to their mates in peace, war, peace. The ten-cent crocus bulb blooming in a used-car salesroom, The horseshoe over the door, the luckpiece in the pocket. The kiss and the comforting laugh and resolve-- Hope is an echo, hope ties itself yonder, yonder by Carl Sandburg Focus on ‘here and now’ Multitasking is the process of doing many things at the same time. Above all, modern people in the 21st century are busy, so they multitask. As a result, you are always in a hurry and it is easy to do things roughly. Everything is easy to do in an instant, and society itself encourages such behavior. In this fast-paced culture, many modern people spend their energy pondering the past and worrying about the future, unable to rest even if they have time. The same goes for older or retired people in this case. Such moments add more unhappiness than satisfaction. However, the more this kind of person, the more time should try to live in the present. However, this does not work well with willpower and requires special training, one of which is mindfulness. It is to focus your attention on your feelings and sensations that are happening in the present moment without intentionally thinking about them. An easier way is to avoid multitasking and get into the habit of focusing on one thing at a time. When you eat, just eat without thinking about anything else, watch TV when you watch TV, and play when you play. If you are taking care of your children, you really are with them and immersed in their activities. However, although I know this in theory, as I said before, modern people always live with busy schedules. Later, these things pile up and get wet with inertia, so you can't focus deeply on something without knowing it. There is a risk of living without tasting the depth of learning and experience gained through concentration and immersion. At the same time, this concentration on life is achieved through disciplines such as meditation. The more experiences we have of being able to focus, the more naturally we can pull ourselves out of hatred situations and put ourselves on a peaceful and safe level of mindfulness. I think painting is what helps to maximize the effect of this meditation and allows you to practice real mindfulness. Of course, when I say this, people question me. That is true for those who draw well. In general, people who think they are not good at drawing are afraid to start drawing. Even when they see a white empty canvas, they are terrified, quickly become discouraged by their own small mistake, and sometimes feel intimidated by the wonderful painting of the person next to them. These reasons rob us of the opportunity for mindfulness through painting. How great would it be if painting could become a pleasure in its own right and a tool for meditation? As an artist, I am trying to find a way to do this. By focusing on the present and now. Perhaps because of this philosophy, I do not correct the mistakes of my students who are learning to draw. And only the positive side of the picture is taught, focusing on the basic part. There are teachers who fix every little line until they like it, and there are people who criticize it harshly. But I think these things are obstacles to turning painting into meditation.
When painting becomes a pleasure and reaches a certain level, then it is enough to refine the shape little by little. I don't think they should be made afraid to enter the water before they can swim lightly in the delightful pool of painting. This philosophy was created in Germany. After sending children to kindergartens and elementary schools in Germany, I observed their education. They seemed most afraid of wearing them down by infusing them with any kind of knowledge. They naturally helped children study with their own motives with interest. Teachers were playing the role of such helpers. I took this German-style education as a lesson in my education. And I thought about how important motives are when teaching someone or talking about something. The same goes for painting. Interests and motives are like firewood. A lot of firewood needs to be put in to make the bonfire burn. But let's imagine that someone has to start a fire with only the firewood I split. Without me, that person would not be able to survive. I think education should help people make firewood like this on their own. In the case of painting, you should help them create their own interest and motive for painting. So, how can we find these motives and interests? It is not made up of temporary, perfect tools or curricula. It is an investment that requires a lot of patience and time. In other words, in my own way, I think it is focusing on the present right now. I must find joy in the picture I am drawing now. And I have to find meaning in the little things I do. And you should appreciate it and enjoy it. Right now, today. Portfolio for winner's circle Title: We are One Watercolor, 2023 Size: 7 x 10 inches The branches are hard, but you can feel the flow of energy. Energy accumulated over a long period of time is shown as a visible object like a tree. I have been drawing the shape of branches for a long time, paying attention to the shapes. The tree always maintained its shape in the same spot, even if it was constantly shaken by wind and rain, and sometimes collapsed or bent in heavy rain. I could read the strong vitality of our nature. And at some point, I caught a heart running on a tree and flowers blooming. I left this inspiration in my heart as a picture. This painting conveys the vitality of trees and the message that nature and humans are one. Title: My garden Watercolor, 2023 Size: 7 x 10 inches The concept of my paintings is to capture the energy of invisible objects. For this purpose, I mainly drew fish and birds with various movements. And I loved wood, which is hard and strong, but can feel the flow of countless energy inside. I catch on to this fluctuating, instantaneous, unartificial, improvisious energy. Because I believe that this energy makes things. One day, even a tool called a brush felt heavy for me to capture this kind of waving energy. So I picked up a balloon. I drew a momentary energy by drenching a balloon with paint and stamping it out. My garden and the garden series below are a feast of paint marks destined to be stamped out by the lightest objects. Through the beauty created by these marks, I know the natural beauty from our nature. Title: What happens if the wind blows Watercolor, 2023 Size: 7 x 10 inches I love the bright and warm energy of candlelight. The temperature of a candle is represented by yellow, but if it is simply expressed in watercolor, its temperature and warmth cannot be felt. So I wanted to express the cozy and simple beauty of these candles. This candle painting reminds me of the inspiration of white snow falling outside the window in midwinter and the whole house is dark, but bright yellow candles are shining brightly around. The candle is wish, energy that illuminates the darkness, and hope that illuminates the future. Title: The landscape with palm tree. Watercolor, 2022 Size: 11 x 15 inches What would a palm tree looking down on a hill alone think? We look at him and write poetry about loneliness. But he just stands there as he is. As we watch the setting sun and sunset before the dark night comes, he says greet to the little stars that shyly illuminate our faces. Nature stands there with its own shape and color. I am comforted by this grown-up look of nature. Title: The landscape with palm tree. Watercolor, 2022 Size: 7 x 10 inches Every time I see the colors of autumn, I am amazed at the wonderful work of the creator of the world. Orange, yellow, red and brown colors of autumn are not just colors but contain intense energy. Every time I feel the urge to put the colors of this fall on canvas. And I poured the colors of autumn onto the paper. I let the color flow to find its place. And I got one autumn scenery. Other works:
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