My future art lesson plan after reading the related articles
30 Years of Planning, an artist-teacher's visual lesson plan books by George Szenkely
The value of an art class does not extend to the teacher's experience, the teacher's plan, but to the meaningful experience itself. Play is the closest thing to an independent artist looking for ideas. What to wear, what to show off, what to have fun – consider design that inspires, not just informs. Play and shop before making art so kids have a chance to discover their own ideas. The value of art lessons does not simply extend to the teacher's experience.
—> I agree with this article that the true value of art classes is to nurture independent artists who find ideas through play. To this end, the author proposed a free form of lesson planning based on visual, descriptive, and imagination through his own sketchbook. I reaffirmed that teachers should avoid injecting and ordering what children should enjoy when creating lesson plans. This is also introduced by Paulo Freire in the theory of the banking concept. Many educators are warning of the dangers of intrusive education. Above all, this article made me decide once again that I should not make the mistake of making the teacher's experience expansion become a simple lesson plan in art education, which should foster creativity. In particular, as the author said, art classes are like magic and exciting like birthday parties, and I will write a class plan with such a concept, focusing on the fact that children should always be excited and excited before opening the door.
Portrait of Adult Artist - Patricia James: examples of adult artistic development and interdisciplinary learning
Creative work has many dimensions. Creativity is a developmental and purposeful evolutionary process, but it is also a non-linear process shaped by accidents, mistakes and chance occurrences. People who perform creative tasks utilize the environment, methods, and methods of making task choices to support their work needs, but also interact with cultural knowledge and others (Gruber, 1989). Repetitive practice through open thinking, structured practice, exposure to a variety of art practices, and a supportive social environment encouraged Carol, the case study protagonist, to develop new resources and challenge her to trust in her own abilities.
—> This article made me look back at the value of trial and error, the source of creative resources. In other words, in my future classes, I will allow these mistakes and write a lesson plan from the point of view that mistakes make art. In addition, as Gruber (1989) said that cultural knowledge and interaction with other people are necessary for such creative work, people with as diverse backgrounds and cultures as possible can enjoy together and open up their backgrounds to talk, share, and exchange. I thought I would make a multifaceted class. This open thinking also forcibly creates multicultural themes, within which children do not think, but themes such as nature, family, and love that everyone can share. The focus will be on making full use of the social environment to allow multicultural thinking and discussion to flow naturally.
To Rest Assured: A Study of Artistic Development Ann-Mari Edström /Lund University, Sweden
To contribute to a comprehensive understanding of artistic development by focusing on the changing relationship between the student and his artistic work as part of the student's artistic development. To explain this qualitative change, the concept of 'security' was introduced, which refers to a state of confidence and security that is the basis for students' firm confidence in their abilities. These changes can be seen in relation to three aspects: the intimacy of the artwork, the uncertainty, and the working process. A more fruitful pedagogical approach might be to encourage students and teachers to reflect and discuss learning situations and processes. Analysis suggests that self-direction clearly promotes the development of intimacy and the ability to feel reassured in the work process.
—> An artist is a person who creates works through his own world on his own initiative. In order to grow as a true artist, self-directed learning is essential. To this end, this article introduces the concept of ‘reassurance’ and conducts morphological introspection that the state of confidence and stability based on firm self-reliance matches the self and the outside in art. Through this, I thought that I should plan an art class that fits the role of the teacher as an assistant who lays the mat for play so that the children can come up with problems and solve them on their own, rather than a class that is conducted under the intervention of a teacher or supervisor.
Myungja Anna Koh