My student's artworks and achievements
Today, I would like to introduce you to the drawings my students have made and their achievements. Personally, it gives me great happiness to see my students' drawings develop and achieve. First, below is a circus-themed painting by Olivia and Joyce.
In the picture below, Olivia beautifully expresses a dancer performing a ring in a performance hall with flying rose petals. Olivia entered the National Honors Society this time and she is actively exhibiting.
Next is a picture of Joyce. Joyce poured coffee onto paper and used the pattern to create a fun circus scene in watercolor and acrylic.
Below is a picture of one of my students, Cindy. She wants to be an artist in the future. Her circus painting, which she submitted, has already been featured on the main promotional page of GalleryNorth. It is her drawing of a red tent. I hope many people will be able to see her wonderful paintings in this exhibition.
Below are some of Olivia's paintings from the annual exhibition hosted by the school here.
My students are passionate, they love to paint and they paint hard. I'm excited to be here to show you just how shiny they are in the future.
Children who have lost their freedom to draw
Today's online art class for Myanmar orphanage children is the last class of 6 sections. Since this is the last class, I prepared a drawing class with a project called 'Wish List' with the hope that the children will live without losing hope.
This project is to have children draw a simple gift box, and when they open the gift box, they see a wish list they want inside. It's a very simple game where anyone can get the wish box they want with just a piece of paper and crayons.
But even this simple class was not allowed to Myanmar children today. The director of the orphanage informed us that they cannot attend classes with the lights on today. It is said that the control of the military is getting worse, so they have to take classes with the lights off. And the surveillance of the military, there were three children who came to class today. In a word, these three are brave children who risked everything for art class. The director asked if it would be okay if there were three people. After answering, of course, that it was enough, I proceeded with the class.
It has become a wish list class for 3 brave children who love art. I hope this class will give them real hope. And I think their love of art has already been rewarded. The children are well aware of how difficult and painful their situation is, but they do not lose their smiles. Their lovely bright smiles shone like candles in a dark room. Rather, this bright light comforted me.
A new class session starts in June. I hope that the monitoring of military units will be eased so that they can enjoy classes again. This is one of my biggest wish lists.
Write like Shakespeare
More than half of the lines in Shakespeare's plays are in the form of verse, and more than 80% are in verse, because 22 out of 38 plays are written. “Macbeth” is 95% filled with verse. The verse form of Shakespeare's lines is mainly used for the formal expression of thoughts and feelings by the main characters. Iambic pentatonic zero rhyme refers to poems in which the rhythm of five units connects weakly and strongly without rhyme.
Below is an iambic pentatonic empty poem made in modern and archaic English. I reconstructed this in the form of a letter from Hans, a fictional character I created after learning Shakespeare's plays.
Look in /your mirror/tell me/today/in my heart.
Be hold/ thy glass/ tell me/ to-day/ within my bosom
-Rather than starting with ‘Look in’, starting with an archaic language ‘be hold’ helps to give rhythm using the iambic pentameter. Also, I changed the heart to an archaic, and the ‘B’ at the beginning and the ‘B’ at the end match very well.
To/ deceive me/ and take away/ the joy/ of spectators
Un-to/ beguile me/and rob/the glee/ on-lookers
-By replacing ‘to’ with an archaic language, it is easy to apply iambic. Then ‘beguile’ and ‘rob’ add rhythm to their pronunciation. ‘Glee’ is more lively than Joy. Rather than the spectators, which is a modern language, On-Rooker helps divide into two notes with iambic.
or become /self/ the /mirror /of narcissism.
Or become/myself/the/glass/of narcissism
- The following sentence is good because it expresses the property of a ‘mirror’ that ‘glass’ is easier to pronounce than ‘mirror’ and that something breaks more easily than reflection. Narcissism, which follows, is a term defined in modern psychiatry, so there was a limit to turning it into an archaic language.
Calls /back the/ joyful/ summer of /my heyday.
Calls/back the/gleeful/summer of/my prime
-I especially like the term prime rather than hey day. It feels like something noble, glorious, and beautifully sparkling.
To yearn/ for the world/ or become /one with /the grave
To long/for the world/or become/one with/the tomb
-Personally, I think term better expresses the gloomy and dark atmosphere of the ‘tomb’ than ‘Grave’s’ tomb.
Like the dewy/ dew of /the early /morning melting/dissolving disappearing.
Like the dewy/dawning tears of/the betimes/morning melting/dissolving disappearing.
- I changed the second dew part into an archaic language to prevent the same pronunciation from appearing too much. However, morning melting, dissolving disappearing, and add to the sense of rhythm when pronounced together, so I left them in the modern language.
Or /like a friendly cheater/the world is /too/cruel
Or/like a kindly deceiver/the world is/too/ruthless.
- I find that the deceiver sounds more classy than the modern ‘cheater’. Also, since the last pronunciation of ‘Ruthless’ in ‘Cruel’ is ‘S’, I adopted it because it gave me the feeling of grinding the teeth.
To my /reflection do/ I speak /with art,
Unto my/image do/I declare/with craft,
- It is much easier to hit iambic pentameter by replacing the ‘to’ with the ‘unto’. Also, when I changed art to craft, it was nice that the pronunciation matched with the previous declare.
That in /my heart's /eye/ I do /plainly see,
That in/my soul's/glance/I do/plainly see,
- For example, I liked that ‘Glance ‘put iambic in the letters rather than ‘eye’
And thus/with words/ of truth/ and /purity,
And hence/with term/of truth/ and/ inte-grity,
- In this part, the use of archaic language shines. Because it is good for iambic pentameter.
From this place,/ to soothe/ my soul /and play /my part.
Hence/to soothe/my soul/and gamble/my part.
- I wanted to mean that the /play/ part in Hans' letter can be a simple play, but it is also like a /gamble/ deciding whether to live or die. In that sense, in an archaic language, ‘Gamble’ seems very suitable.
The Embodied Response of Museum Education
The Embodied Response of Museum Education
Olga M, Hubbard
Reading this article, I found it interesting that many theorists recognized the relevance of body-mind integration in schools. It also proves how important art education is theoretically. In other words, “Arts pedagogy has the greatest strength and significance in its unique possibility of combining various modalities” (Attila, 2004). As said, art education is very fluid, rational, systematic, and essential.
In addition, it was found that a non-discursive approach to promoting specific reactions to art can maximize the effect of art education. For many years, museum educators have connected audiences with art through movement, sound, poetry, painting, and other non-discursive means (Durant, 1996; Rice, 1995; Zeller, 1987).
Educators and museum visitors enjoy these activities. It can break the apathy between participants, change the rhythm and dynamics of a session, and make the learning experience more enjoyable.
However, in addition to making the visit more dynamic and fun, non-discursive activities make a unique contribution to museum learning. It helps visitors engage their bodies and emotions in response to an object, allows audiences access to aspects of the work that would avoid discourse, and allows people to express their reactions through processes other than rational thinking.
In short, non-discursive activity can help activate the embodied modes of knowing that are essential to aesthetic experience, especially in a direct way. In other words, considering this importance, museum-linked classes in art education are a good experience for students to experience art through various dimensions of being human together.
As the final conclusion, this article strongly motivates me how exciting and wonderful it is to see students interpret the work in a meaningful and memorable way and then see it enter their lives. Therefore, in my future classes, I will sincerely recognize the importance of museum classes and connect them to lead them to become meaningful, practical and experiential classes.
Development and Museums
Exhibits may lead to presentation formats commonly referred to as "books on the wall."
Beginning with the goal of understanding your audience and learning as much about them as possible - how they categorize information, what is important to them, what they already know about the subject - in a sense, your audience is participating in the process and It is an invitation to contribute. Children are kaleidoscopic, changeable and constantly on the move. We need a variety of environments and mediums to actively explore content.
To create an effective exhibition for them, our interpretation and presentation of the content must be based on a clear understanding of who they are and how best to engage their talents, skills and interests in exploring the theme and message of the exhibition. . If we, as exhibition developers, want to create an exhibition that is accessible and understandable to a wide range of children, it is a legitimate demand that we understand the exhibition.
A useful tool to enhance this understanding and create more powerful and engaging experiences is a development framework. In its most common form, developmental frameworks provide benchmarks or milestones for a child's general growth—social, cognitive, and physical. These tools are familiar to many caregivers, educators, and pediatricians.
If you open a parenting guide about your child's growth from birth to age 5, you're likely to find a structure for their development. Over the course of the exhibition, the development framework is extended to include data from various sources on our intended audience as an easily referable tool. The developmental frameworks mentioned in this chapter abstract the study of children's abilities at different ages as they relate to specific exhibit content and social learning that can be supported through activities in informal learning environments. The active participation of the exhibition team in intensive research of the audience (by creating a developmental framework) early in the exhibition conception can be far more important than the resulting documentation.
The active participation of the exhibition team in intensive research of the audience (by creating a developmental framework) early in the exhibition conception can be far more important than the resulting documentation. The framework itself represents a series of dynamic notes that are valuable and ongoing summaries of the team's growing insights to its audience. Creating a unique development framework that is directly linked to the specific themes, themes and concepts of a single exhibition demonstrates the team's commitment to its audience and discovers the best exhibition solutions for them. Some degree of adaptation and updating of existing data will be required, but research into the development framework should be one of the exhibit team's first tasks in order to effectively own, absorb and apply the results.
A developmental framework ensures that the exhibition is shaped not only by content and perspective, but also by an intensive understanding of children: who they are, their needs and interests, and their readiness to engage with the subject matter proposed. Developmental frameworks do not dictate content. Rather, it helps to identify approaches that are most likely to increase children's access and receptivity to ideas and information in developmentally appropriate topics and exhibits. Additionally, a framework allows exhibit teams to find a way to connect what they know and what children are ready to investigate, and a solid framework can instill confidence in tackling these topics more powerfully.
Shopsis' research shows that children can learn how their past lives have changed, and that museums (objects, images, stories), especially when presented in a developmentally appropriate way with opportunities for adult support for younger visitors, help children connect and connect with their past. It can help build awareness of history and your place in it. The Brooklyn Children's Museum hired Selinda Research Associates of Chicago to conduct a literature review of World Brooklyn and several other projects. Their findings on World Brooklyn reveal that as children grow up, the frame of reference for understanding the world expands from “me and my family” to include “my friends and my school.” Children under the age of 5 recognize physical differences between people, such as skin color, but these differences are not related to stereotypes or evaluations. However, by the age of eight, sexual, racial, and ethnic identities and group affiliations begin to emerge, and children are able to distinguish themselves from others and begin to place themselves within geographical and cultural contexts.
* Note: I was impressed that the exhibition was shown in the form of a book on the wall, or presentation. In other words, understanding the audience watching this presentation, knowing and analyzing their characteristics and what is important to them is an important element of the exhibition. I have participated in many exhibitions, so I know the importance of this. Even the audience, as well as the weather, season, fashion, regional and cultural characteristics of the time must be considered. As I write in this journal, “Over the course of the exhibition, the development framework is extended to include data from a variety of sources about our intended audience as an easily referable tool.”
I noticed the point. And indeed, as an example of the use of these developmental frameworks, Shopsis' research found that children learn how their lives have changed in the past, and that museums (objects, images, stories) are developed in a developmentally appropriate way, with opportunities for adult support, especially for younger visitors. It can help children connect with their past and build awareness of history and their place in it. An age-specific application of the framework from this perspective suggests that by the age of eight, sexual, racial, and ethnic identities and group affiliations begin to emerge, and children are able to distinguish themselves from others and begin to place themselves within geographical and cultural contexts. . (citing a literature review of World Brooklyn and several other projects, hired by Selinda Research Associates) This passage struck a chord with me, primarily interested in the art education of immigrant and third-world children. In other words, in order to create an art education program for multicultural families and students that is effective for my future education, I thought that I should include in the plan to prepare through thorough preliminary research from the initial stage by considering the development framework during the exhibition process.
This can be seen as a beneficial change like a reversal for me, who believed that scientific and analytical techniques were not helpful because the concept of exhibition or painting was abstract. Of course, this work will be very interesting and fun, and sometimes important thesis topics will be created.
Myungja Anna Koh