Course Profile Comprehensive
Arts, Grade 9 open, Catholic
Unit 1
Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education and Training. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.
Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education and Training or by the Partnership of School Boards that supported the production of the document.
© Queen’s Printer for Ontario
Acknowledgements
Catholic Curriculum Co-operative
Lead Board
Algonquin-Lakeshore Catholic District School Board
Sandie Bender, Project Manager
Course Profile Writing Team:
Darcey French, Algonquin-Lakeshore Catholic District School Board
John Burns, Algonquin-Lakeshore Catholic District School Board
Linda Girard, Ottawa-Carleton Catholic School Board
Mary Kay Eckert-Fernandes, Catholic District School Board of Eastern Ontario
Paula Kolodzie Moffat, Catholic District School Board of Eastern Ontario
Bronek Korcynski, Algonquin-Lakeshore Catholic District School Board
Activity 1½Activity 2½Activity 3½Activity 4½Activity 5½Activity 6
Title: Visual Arts
Time: (27.5 Hours)
Unit Developer(s)
Mary Kay Eckert-Fernandes, Notre Dame Catholic High School
Linda Girard, St. Mark Catholic High School
Darcey French, Nicholson Catholic College
Development Date: February 26, 1999
Unit Description
The main focus of this unit is to provide students with opportunities to explore, use, and integrate our shared Catholic faith traditions in the creation and critical analysis of the students’ artwork and that of others.This process will be supported by exploration and study in the areas of analysis and theory. Each studio experience will contain references to Canadian history, culture, art history, and the Catholic community faith journey. The success of this unit requires teachers to allow students to work in several visual art disciplines (printmaking, sculpture, painting, and drawing).
Strand(s) & Expectations
Ontario Catholic School Graduate Expectations: OCE 1a, 1f, 1g, 1h, 1i, 2c, 2e, 3a, 3b, 3c, 3e, 4b, 4f, 4g, 5a, 5d, 5f, 5g, 5h, 7f, 7g, 7h.
Strand(s): Creation, Analysis, Theory.
Overall Expectations: LCV.04x, ALC.01x, LAV.02x, LTV.01x, LTV.02x, LTV.03x.
Specific Expectations: LCI.01x, LCI.03x, LCI.04x, LCI.05x, LCI.07x, LAI.01x, LAI.02x, LAI.03x, LAI.05x, LAI.06x, LAI.10x, LAI.11x, LAI.12x, LAI.13x, LTI.02x, LTI.03x, LTI.05x, LTI.06x, LTI.07x.
Activity Titles (Time and Sequence)
|
Activity 1 |
Introduction to the Sketchbook: The Human Condition |
120 min |
|
Activity 2 |
Exploring the Human Condition through the Canadian Landscape |
285 min |
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Activity 3 |
Relationships in a Communal Environment |
300 min |
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Activity 4 |
The Artist as Historian |
285 min |
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Activity 5 |
Spirituality Through the Aboriginal Viewpoint |
285 min |
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Activity 6 |
Canadian Image Making |
285 min |
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Activity 7 |
Media Arts in the New Canadian Era |
270 min |
Unit Planning Notes
• This course will require networking and program planning with colleagues in other curriculum areas to provide an inclusive learning experience for students.
• Technology should be utilized as it will benefit all students.
• Technology will remove physical, academic and information processing barriers traditionally encountered by students with special needs.
• Enriched students will further enhance and manipulate foundational work through the use of technology.
• Health and safety issues must be addressed and safe art room practices should be adhered to during all creative processes.
• This unit has a Canadian context and teachers are encouraged to foster an awareness of cultural diversity in Canadian society.
Prior Knowledge Required
• produce two- and three-dimensional works of art that communicate a variety of ideas for specific purposes and to specific audiences, using a variety of art forms
• define the principles of design and use them in ways appropriate for this grade when producing and responding to works of art
• explain how an artist has used the expressive qualities of the elements and principles of design to affect the viewer, and support their analysis with evidence from the work
• use correctly
vocabulary and art terminology associated with the specific expectations for
this grade
• these expectations are taken from The Arts: A Program Planning Guide, K-9
Teaching/Learning Strategies
• Teachers should employ a variety of teaching strategies and techniques to allow for student success.
• Group work, individual work, primary (directly generated by the artists/writers) and secondary (written on a subject or person by a writer) source use, process driven, skill driven, and product driven lessons and assignments are possibilities for teaching and learning strategies in this unit.
• Teaching delivery should be infused with the Catholic Graduate Expectations whenever and wherever possible, by using the Catholic “lens” to help students explore and critique pertinent issues regarding their faith journeys.
Assessment/Evaluation
The teacher will assess and track students’ achievment based on diagnostic, formative and summative evaluation.
Formative:
• Journals; formal/informal; teacher observation; peer conferences; student/teacher conferencing, etc.
Diagnostic:
• Preliminary visual exercises for skill placement; presentation of grade 8 portfolio; introductory questionnaire (students question each other on general visual arts knowledge in a game format); student-led interview to hear expectations.
Accommodations
• All communication disabilities need the
consultation of the school resource teacher.
• Organize a learning team including the
student, parent and resource teacher to devise a working plan and set-up a regular communication
up-dater.
Assistive Devices
• adjustable table (height; angled tabletop); ease of movement, optimum placement within class
• alternative seating as required
• arrangement of classroom furniture
• accessibility to clean-up facilities
Learning
• minimize clutter
• clear view of instruction area
• establish structured classroom routine
• multi-model of instructional delivery based on IEP in consultation with school resource teacher and Board consultant
• learning buddy available for support of academic and social integration
• in particular situations, teacher assistants are necessary
Communication
• Hearing impaired students should be provided with strong and consistent visual examples; written communication should be presented on buff paper.
• Make accommodation for a facilitator within the academic and physical structure of the classroom.
• Visually impaired students will benefit from a sequenced oral series presented on audiotapes.
• A note-taker should be provided for hearing impaired/visually impaired students.
• Adjust verbal communication to fit the learning needs of the student: e.g., detailed verbal sequencing, prompt questions, oral presentations in place of written tests, use of recording devices, daily communication board/book, appropriate technology, lighting.
Behaviour
• clear definition of classroom expectations
• contribution and /or enhancement of the student’s IEP
• conferencing with resource teacher regarding the special needs of the student
• pre-arrange alternative learning environments as initiated by the teacher/student
Allergies
• Every attempt must be made to use non-toxic materials in the classroom.
• Proper ventilation is mandatory for students and teacher.
• Teachers should be familiar with WHMIS policy and procedures.
• Teachers should be aware of individual student allergies.
• Teachers should
request specific information for all products used in the classroom
(enter into WHMIS binder).
• Arts teachers must have first aid and CPR training.
Title: Introduction to the Sketchbook: The Human Experience
Time: (210 minutes)
Description
The students will construct a sketchbook/journal to use throughout the entire course to document the creative process. The sketchbook/journal will be used to record and reflect the students’ personal journey through each unit of the Comprehensive Arts course.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate is expected to:
• present information and ideas clearly and honestly and with sensitivity to others. (CGE.2c)v
• create, adapt, and evaluate new ideas in the light of the common good. (CGE3b)v
• think reflectively and creatively to evaluate situations and solve problems. (CGE3c)v
• examine and reflect on one’s personal values, abilities and aspirations influencing life’s choices and opportunities. (CGE4g)
Strand(s): Creation
Overall Expectations
At the end of Grade 9,
students will:
• use the creative process to produce artworks that demonstrate innovative connections among the arts. (LCV.04x)v
Specific Expectations
Students will:
• create a multi-media art piece by applying available technology. (LCI.08x)v
• document the creative process through blocking, choreographic notes, sketches, and musical outlines. (LCI.09x)v
Planning Notes
• The teacher will gather resources for the book binding process (e.g., paper, cardboard, tape, string, staples, paper tape, magazine and other pictorial images for possible collage of cover.)
• Connection should be made to Applied and Academic English courses and book production to demonstrate links to career opportunities associated with English and publishing.
• Connection should be made to manuscripts of the Middle Ages to place the sketchbook in an historical context that is still currently practised in contemporary image making.
Prior Knowledge Required
• Produce two- or three-dimensional works of art that communicate a range of thoughts, feelings, and experiences for specific purposes and audiences.
Teaching/Learning Strategies
• The students present existing sketchbooks that they may or may not have from previous experiences.
• Provide students with examples of community/industry based usage of sketchbooks, (e.g., an interior designer's preparatory notes, story boarding for film and video, animation story boarding, digital portfolios, artist’s sketchbook).
• The teacher accesses practising studio artists in their communities who are willing to share their personal working sketchbook and extensions resulting from them.
• The teacher provides for discussion/comparison of historical approaches for the use of the sketchbook, (e.g., senior students’ sketchbooks, samples from famous artists’ sketchbooks, like da Vinci and David Hockney).
• The students construct a handmade sketchbook based on teacher criteria and student needs.
• The students generate a list of personal spaces and record this list in their sketchbook (e.g. bedroom, recreation room, drawing corner, favourite park).
• To introduce the students to the concept of preparatory work, they provide thumbnail sketches (quick abbreviated thoughts, drawn approximately 5 cm ´ 5 cm).
• Photo representations of the student’s personal space may also be placed in the sketchbook.
• Clippings depicting others’ personal spaces will help reinforce the importance of researching images.
• The teacher demonstrates various drawing media appropriate for sketchbook use (e.g., pencil, pencil crayon, crayon, oil pastel, conte, ink, and water-colour pencil).
• The students record their own observations on their chosen personal space in the sketchbook using a variety of media (e.g., written observations, thumbnail sketches, perspective drawings, colour schemes, clippings, and photos).
• In preparing to construct and create in the sketchbooks, students should be cautioned about the use of sharp cutting tools with proper cutting boards, and to conserve paper, when possible.
Assessment/Evaluation
• Diagnostic - Students gather their sketchbooks from previous years to demonstrate their prior sketchbook experience. (LCV.04x)
• Students present sketchbook/journal entries at intervals to be assessed by the teacher for thematic progression and skill development (rubric). (OCE2c,3b,3c,4g, LCV.04x, LCI.08x, LCI.09x)
• Students provide sketches using a variety of media approaches appropriate to the sketchbook for assessment by the teacher. (LCI.09x)
Resources
• Cameron, Julia., & Bryan, Mark. The Artists Way: A Spiritual Guide to Creativity. New York: G.P. Putnam’s Sons, 1992.
• Maisel, Eric. Fearless Creating: A Step-by-Step Guide to Starting and Completing Your Work of Art. New York: Penguin Putnam Inc., 1995
• Martin, Judy. The Encyclopedia of Coloured Pencil Techniques. Philadelphia: Running Press, 1992
Health and Safety
• The teacher should consult with the school/board policy guidelines concerning health and safety issues in the classroom.
• Special attention should be made to students who have allergies.
• No food or drink should be permitted in the art room.
• The teacher should carefully manage all materials used by the students in the classroom.
• Ensure proper storage and disposal of waste materials (consult your science department).
• Potentially harmful instruments should be closely monitored by the teacher at all times.
• The classroom should
be of a size that permits easy student clean-up and proper viewing of
student activities.
• The classroom must be
equipped with a portable or permanent sink for easy water access and
clean-up.
• Visual arts teachers must have first aid and C.P.R. training.
• An excellent reference for issues of safety in the art room is Safety in the Art Room. C. Qualley. Worcester, MA: Davis (1986).
Care for the Environment
• Promote wise use of consumable materials in the classroom.
• Recycle as many materials as possible, ranging from internal recycling boxes, reclaiming clay, and reusing containers from home.
• Consult materials suppliers and school recycling teams regarding clear definition of materials that may be recycled, so as not to contaminate a container for recycling.
Accommodations
• Students with assistive devices could be assigned a learning partner to help with the construction of the sketchbook.
• If construction of a sketchbook is an obstacle, students could purchase one and collage the cover with personal images.
• Image gathering could be done from the Internet. The teacher could provide images for students who have difficulty with descriptors in their searches.
• Enriched students could design cross curricular sketchbooks.
• Enriched students could include an educational map (their future choices or expectations for their high school career), or expectation/achievement chart in their sketchbook.
ACTIVITY 1: Components of the Sketchbook
ASSESSMENT RUBRIC
STUDENT:_____________________________ DATE:______________________
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Catagories: |
Level One |
Level Two |
Level Three 70-79% |
Level Four |
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Theory -technique notes -sketches -clippings -images |
-provides limited information on technique -provides minimal/no secondary sources |
-provides some information -supports information |
-provides considerable documentation |
-thorough presentation -high degree of support (extra clippings/images) |
|
Inquiry -sketches -journal entries -prose/poems -thoughts |
-limited use of theoretical information-limited/no thumbnail sketches -minimal exploration of written concepts-limited though exploration-moderate use of theoretical information |
-moderate use of journal entries -some personal writing examples/ -samples reflecting personal journey and faith/life experiences |
-considerable use of theoretical information -considerable personal writing examples/samples reflecting personal journey and faith/life experiences |
-thorough use of theoretical information -substantial use -substantial personal writing examples/samples reflecting personal journey and faith/life experiences |
|
Communication -created images based on inquiry and theory -created text based on inquiry |
-limited communication through -limited use of specific language and symbols |
-moderate communication through -moderate use |
-considerable communication through -considerable use |
-thorough communication through -highly effective use of artistic language and symbols to signify the use of this book as a recording tool in their faith journey |
STUDENT LEVEL:____________
Title: Exploring the Environment Through Canadian Landscape
Time: (285 minutes)
Description
As members of a faith community and people of hope, the students will explore the experience of being human through personal exploration of Canadian landscape.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate is expected to:
• respect the faith
traditions, world religions and the life-journeys of all people of good
will. (OCE.1h)
• integrate faith with life. (OCE.1i)
• recognize there is more grace in our world than sin and that hope is essential in facing all challenges. (OCE.3a)
• respect the rights, responsibilities and contributions of self and others. (OCE.5e)v
Strand(s): Creation, Analysis, and Theory
Overall Expectations
At the end of Grade 9,
students will:
• create works in all arts areas by applying techniques specific to each. (LCV.02x)v
• demonstrate the ability to conduct a step by step critical analysis of their own works and that of others. (LAV.01x)v
• demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity. (LAV.02x)v
Specific Expectations
Students will:
• demonstrate an understanding of the traditions and values reflected in personal artworks; (LCI.05x)v
• appropriately use language specific to each of the arts when doing critical analysis (e.g., the language of sculpture or the language of photography; (LAI.03x)v
• identify how historical, theoretical, technical change (increase physical facility and technical ability) have contributed to the development of the arts; (LTI.04x)
Planning Notes
• In this lesson, make connections with the history curriculum and computer assisted image making
• An inter-disciplinary approach (e.g., performance piece) should be used for enriched students.
Prior Knowledge Required
• ability to organize their artwork to create a specific effect, using at least two principles of design
• know and identify elements of design in artwork
Teaching/Learning Strategies
• The teacher leads an inquiry through looking at and responding to examples of landscape in Canadian art (e.g., Edwin Holgate, Cornelius Kreighoff, William Kurelek, Emily Carr, Lawren Harris, Alex Colville, Jack Bush, Ozias Leduc, and relevant Canadian contemporary artists).
• In groups, the students discuss the elements of design contained in the works.
• In teacher-led discussions, the students offer interpretations of works (to be included in journal).
• The students explore physical features of the Canadian environment as seen in the works (e.g., Canadian Shield, arctic, coastal regions).
• The students draw gestural studies in their sketchbook and in large format, using students as models to demonstrate the elements of line and shape.
• The students draw a large gestural figure and place it in a personally constructed landscape.
• The students create a final mixed media collage using a variety of drawing and painting techniques.
Assessment/Evaluation
• In their groups, students submit a list of their completed artwork to the teacher for formative evaluation. (LAI.03x)
• Students submit personal reflections made in their journals to demonstrate an understanding of the contributions of various Canadian artists. These will be assessed for evidence of clarity and supportof personal opinion. (OCE.5e) (LAV.01x)
• Students make drawings and conference with the teacher to discuss their success with technique exploration in gestural drawings. (LCV.02x)
• Students submit a self-evaluation that demonstrates their own assessment of personal participation and activity completion. (LCI.05x)
• Students present a multi-media collage to demonstrate an understanding of the traditions and values reflected in personal artwork for summative evaluation by the teacher. (LCI.05x)
Resources
• Ministry of Education. Viewing Art. Intermediate and Senior Divisions. Toronto: Queen’s Printer for Ontario, 1990.
• Rodger, J. Canadians. A History of Artists & Their Work. Waterloo: Impact, The Waterloo County Board of Education, 1989.
• Reid, Dennis. A Concise History of Canadian Painting. 2nd ed. Don Mills: Oxford University Press Canada, 1988.
• Burnett, David and Schiff, Marilyn. Contemporary Canadian Art. Edmonton: Hurtig Publishers Ltd., 1983.
• Tate, Elizabeth. The North Light Illustrated Book of Painting Techniques. Cincinnati: Quarto Publishing Ltd., 1986.
• Bennett, B. and Hull, Constance. Discovering Canadian Art: Learning the Language. Scarborough: Prentice-Hall, 1984.
• Harper, Russel. Painting in Canada: A History. Toronto: University of Toronto Press, 1977.
Accommodations
• Teachers should ensure students with mobility difficulties have adjustable surfaces to work on.
• Assign or ask for a volunteer to help students set up a work area.
• Discuss participation needs with interpreters and educational assistants, so they understand the lesson to convey to students.
• If students have difficulty assembling or constructing, consider a modified drawing task geared to their needs.
• Drawings could be gestural images done from pictures or still images instead of live models.
• Enriched students should be encouraged to further manipulate through cutting or drawing on the collage they create.
• Encourage students new
to Canada to incorporate images unique to their place of origin into
their collages.
• Students could trace their bodies on large pieces of paper and fill in their outline with magazine images and photographs.
ACTIVITY 2: Exploring the Human Condition Through Canadian Landscape
STUDENT CHECKLIST
STUDENT:_____________________________ DATE:______________________
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Items: |
Never (1-3) |
Sometimes (4-6) |
Always (7-10) |
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1. actively |
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2. completes list of Canadian artists |
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3. recognizes the
Canadian landscape artworks discussed |
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4. provides
written interpretations |
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5. personal reflections in sketchbook (relationship to the environment and human condition) |
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Teacher Comments |
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Title: Relationships in a
Communal Environment
Time: (300 minutes)
Description
The students will work co-operatively to execute a sculptural representation of community. Initially, students will discuss how they understand relationships and use tableaux to express the various relationship concepts. A sculptural medium will be chosen and individually designed segments will contribute to an expressive assemblage.
Strand(s) and Expectations:
Ontario Catholic School Graduate Expectations
The graduate:
• makes decisions in light of gospel values with an informed moral conscience. (OCE.5f)
• works effectively as an interdependent team member. (OCE.5g)v
• exercises Christian leadership in the achievement of individual and group goals. (OCE.5g)v
• achieves excellence, originality and integrity in one’s own work and supports these qualities in the works of others. (OCE.3d)v
Strand(s): Creation, Analysis and Theory
Overall Expectations
At the end of Grade 9,
students will:
• use the creative process to produce artworks that demonstrate innovative connections among the arts; (LCV.04x)v
• demonstrate the ability to conduct a step by step critical analysis of their work and the work of others; (LAV.01x)v
• describe orally and in writing the elements and principles of the arts found in their own work and that of others. (LTV.01x)v
Specific Expectations Students will:
• create works in one art by applying elements and principles found in all of the arts (i.e. space and rhythm in dance, line and repetition in music, dynamic and contrast in drama, and form and movement in visual arts); (LCI.01x)v
• document the creative process through blocking, choreographic notes, sketches, and musical outlines; (LCI.09x)v
• apply and document the use of improvisation in all of the arts; (LCI.10x)v
• apply the process of critical analysis (initial reaction, description, analysis, interpretation, and judgement) to selected works and production; (LAI.01x)v
• demonstrate an understanding for arts elements that are specific to each of the arts (e.g., line to visual arts, melody to music); (LTI.02x)
• explain the physical and environmental implications of artistic endeavour (e.g., body image, physical and muscular stresses, disposal of hazardous waste). (LTI.09x)v
Planning Notes
• A physical space to assemble the sculpture, as well as area to explore tableau, is required.
• Still photography, video and written documentation will enrich the activity (assemblage will be temporary).
Prior Knowledge Required
• ability to produce two- and three-dimensional works of art that communicate a range of thought, feelings, and experiences for specific purposes and to specific audiences
Teaching/Learning Strategies
• The teacher defines and provides examples of assemblage and show artworks (e.g., Louise Nevelson, Tony Urquart, Irene Whittom).
• This activity fosters problem solving by students as they present tableaux in the classroom; select a specific emotion to express; select a sculptural material agreeable to all.
• Teacher introduces interactive activities to prepare students for working in tableaux.
• The students draw in their journals to record personal research and processes.
• The students discuss terms which evoke images of ‘relationship’ (e.g., love, isolation,
alienation, caring)
• The students present tableaux to express concepts of relationships.
• The students do gestural drawings expressing/recording these tableaux.
• The students gather found, accessible materials (e.g., scrap wood forms, Styrofoam chips, Styrofoam, clay tiles, clay, wire etc.).
• The teacher emphasizes elements and principles important to the emergence of the personal piece and the assemblage.
• The students assemble their piece to represent an image of a relationship scene and record this event in their sketchbooks.
Assessment/Evaluation
• The students hand in their journals with entries of concepts and approaches used by Canadian sculptors working in assemblage (formative evaluation by the teacher based on variety of entries and the inclusion of the principles and elements of design appropriate to the artists selected). (LTV.01x)
• The teacher makes observations of the tableau experience, formatively assessing the students’ interaction with others and their ability to apply to the tableau the elements and principles of the arts taught in drama. (OCE.3d, 5a, 5g, LCV.04x, LCI.01x)
• The students complete gestural drawings, demonstrating the innovative connection between tableau and gesture drawing through the visual analysis of movement (formative assessment by peers). (LCV.04x)
• The students make a journal entry of their sculpture to demonstrate their ability to successfully and permanently document a work that will be temporary in nature (formatively assessed through peer comparison, observation, and discussion of all student documentation). (LCV.04x, LCI.09x)
• There are teacher/student conferences for the purpose of a formative evaluation of the students’ ability to employ critical analysis and responsibilities in personal art production. (LCV.01x, LAV.10x, LTI.09x)
• Students make journal drawings of the assemblage process and final drawings of the completed work for a summative evaluation by the teacher. (LCI.09x, LCI.10x)
Resources
• Blommer, G. Wire Sculpture and Other 3-Dimensional
Construction.
Worcester: Davis Publication, 1968.
• Hilliard, Clifford.
Pottery. A Beginner’s Handbook.
Portland: J. Weston Walsh,
Publisher, 1984.
• Ministry of Education. Viewing Art. Intermediate and Senior Divisions. Toronto: Queen’s Printer for Ontario, 1990.
• Timmens, Virginia Gayheart. Art Materials, Techniques, Ideas: A Resource Book for Teachers. Davis Publications.
Accommodations
• Provide opportunities for students to work with the teacher or a student buddy to develop a form of two-dimensional communication understandable to them.
• Students with mobility issues could search for found objects with a friend, family member, or fellow students. Encourage them to use objects they can easily work with.
• Provide strong visual sources and demonstrations.
• Allow students to use recording devices or computer assistance to record assemblage event.
• Foster mentorship for collaborative learning which is inherent in this activity.
ACTIVITY 3: Relationships in a Communal Environment
STUDENT/TEACHER CONFERENCE
STUDENT:_____________________________ DATE:______________________
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PROBE QUESTIONS |
ANECDOTAL NOTES: |
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How did you use the group tableau experience sculptures in creating your sculpture? |
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Does your design zero in on the sculptural material chosen? |
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Explain how you are
going to make |
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How did you use the elements and principles of design in your finished personal sculpture? |
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Describe your part in the greater assemblage/community experience. |
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Explain the nature of your sculpture’s relationship to the idea of community. |
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Title: The Artist as Historian
Time: (285 minutes)
Description
This activity recognizes the importance of painting in documenting Canadian history: political action, social climate, economic climate, and religious instruction. Students will recognize the importance of the artist in recording events that will be reflected upon by their contemporaries and future generations of Canadians.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate:
•applies effective communication, decision-making, problem-solving, time and resource management skills. (OCE.4f)v
• thinks critically about the meaning and purpose of work. (OCE.5b)v
• respects and understands the history, cultural heritage and pluralism of today’s contemporary society. (0CE.7g)v
• exercises the rights and responsibilities of Canadian citizenship. (OCE.7h)v
Strand(s): Analysis and
Theory
Overall Expectations
At the end of Grade 9, students will:
• demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity; (LAV.02x)v
• explain the historical context and style of particular artworks/art forms. (LTV.02x)v
Specific Expectations
Students will:
• demonstrate an
understanding of the traditions and values reflected in personal
artworks; (LAI.05x)v
• explain how a
culture’s social and economic priorities influence the arts
and arts production; (LAI.07x)v
• xplain how a culture
expresses its identity through the arts (e.g., through drawing
and decorative arts); (LAI.08x)v
• identify, research, and describe historical and stylistic links within the arts (e.g., Baroque style in visual arts and music); (LTI.06x)v
• explain how chosen
techniques used in works and productions communicate mood
and message; (LTI.07x)v
Planning Notes
• To prevent a
concentration on one specific time period or style, provide the students with a
wide
selection of artists and artworks to study from.
• The teacher is encouraged to explore with students the images of oppressed/disadvantaged peoples of Canada and to help students create images as people of faith.
• Use of the Internet is suggested to facilitate research of Canadian artists and their works
Prior Knowledge Required
• In their plan for a work of art, students should be able to describe the main idea they wish to communicate and the artistic decisions they made to support that decision.
Teaching/Learning Strategies
• The teacher familiarizes students with artists’ works that demonstrate the documenting of Canada’s climate past to present (e.g., Paul Kane, Cornelius Krieghoff, Lucius O’Brien, Ozias Leduc, Emily Carr, Prudence Heward, Jack Chambers, Jack Shadbolt).
• In groups, the students gather Canadian images documenting historical events past to present.
• In groups, the students compare collected images and categorize images under headings: political action, social climate, economic climate, religious expression.
• The students give oral presentations on their selection criteria for their 10 most preferred images.
• The students create an inventory of life experiences and record the list in their sketchbooks.
• The students select one life experience that they would like future generations to know about and justify their selection.
• The teacher highlights technique/style from the images students gathered (all of the groups’ most preferred images).
• The students refer to the selected artworks in terms of style and content and create a painting based on their chosen personal life experience.
Assessment/Evaluation
• Student groups submit a research file consisting of Canadian historical images, image categories, and their 10 most preferred images that depict critical variety. They will explain their choices and appropriate categorization for formative evaluation by teacher. (OCE.5b, LTI.06x, LTI.07x)
• Students submit sketchbooks/journals to be checked for visual and/or written representations of their top 10 most important life experiences as a diagnostic tool for the teacher. (OCE.7g, LAV.02x, LTV.02x, LAI.07x, LAI.08x)
• Students present a painting based on a personal life experience accompanied by a self-evaluation that will be used to help students assess their work for its meaningful/successful contribution to Canadian art history. (OCE.4f, 7h, LAI.05x)
Resources
• Burnett, David, and
Schiff, Marilyn. Contemporary Canadian
Art. Edmonton:
Hurtig Publishers Ltd., 1983.
• Harper, Russel. Painting in Canada: A History. University of Toronto Press, 1977.
• Ministry of Education.
Viewing Art: Intermediate and Senior
Divisions.
Toronto: Queen’s Printer for Ontario, 1990.
• Morris, Jerrold. 100 Years of Canadian Drawing. Toronto: Methuen, 1980.
• Reid, Dennis. A Concise History of Canadian Painting, 2nd
ed. Don Mills:
Oxford University Press Canada, 1988.
• Rodger, J. Canadians: A History of Artists and Their Work.
Waterloo: Impact,
The Waterloo County Board of Education.1989.
• Tate, Elizabeth. The North Light Illustrated Book of Painting
Techniques.
Cincinnati: Quarto Publishing Ltd., 1986.
• TV Ontario. Visions: Contemporary Art in Canada, 1983.
Accommodations
• Provide all students with a vocabulary list.
• Assist special needs students with recording life events to ensure an authentic list.
• Create a student network for those who wish to provide extra assistance or share ideas.
• Encourage enriched students to assemble a “personalities” file on the artists they have chosen in their group.
• Explain in detail expectations for participation in group work so all students are provided with an opportunity to contribute.
• Allow students to incorporate pictorial images physically into their paintings, as necessary.
ACTIVITY 4: The Artist as Historian
SELF EVALUATION CHECK LIST
STUDENT:_____________________________ DATE:______________________
MEMBERS OF THE GROUP:_______________________________________________________
As a group, we will gather artworks that reflect historical events in our country and will classify collected Canadian images according to political, social, economic, and religious motivations. We will determine a top 10 list of Canadian artists and corresponding artworks.
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Never (1-3) |
Sometimes (4-6) |
Always (7-10) |
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How committed was I to doing my job? |
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Did I work effectively to support the community (group) experience? |
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Did I enjoy the group experience? |
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How could I add to the visual history of Canada? |
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How could I, as an image maker, record a specific aspect/event of my faith community? |
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Title: Spirituality Through the Aboriginal Viewpoint
Time: (240 minutes)
Description
This activity emphasizes the significance of Native peoples’ spiritual connection to the earth, animals, and their own community. Students will have the opportunity to explore and identify spiritual elements that are depicted in Native art. The students will create a print to similarly convey their own understanding of spirit.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate:
• illustrates a basic understanding of the saving story of our Christian faith. (OCE.1a)
• understands that one’s purpose or call in life comes from God and strives to discern and live out this call throughout life’s journey. (OCE.1g)
• respects the faith traditions, world religions and the life-journeys of all people of good will. (OCE.1h)v
• achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. (OCE.5g)v
• witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society. (OCE.7e)v
Strand(s): Creation, Analysis and Theory
Overall Expectations
At the end of Grade 9,
students will:
• demonstrate the ability to conduct a step-by-step critical analysis of their own work and that of others; (LAV.01x)v
• demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity; (LAV.02x)v
• explain the historical context and style of particular artworks/art forms. (LTV.01x)v
Specific Expectations
Students will:
• research Canadian artists whose work incorporates more than one art form; (LCI.07x)v
• apply the process of critical analysis (initial reaction, description, analysis, interpretation, and judgement) to selected works and productions. (LAI.01x)
• demonstrate an understanding of the traditions and values reflected in personal artworks; (LAI.05x)v
• identify cultural symbols within artworks; (LAI.05x)v
• explain how a culture’s social and economic priorities influence the arts and arts production; (LAI.06x)v
• explain how a culture expresses its identity through the arts; (LAI.08x)v
• use vocabulary appropriate to each specific art form in describing artistic elements and principles in works and productions; (LTI.03x)v
• explain how chosen techniques used in works and productions communicate mood and message; (LTI.07x)v
• explain the physical and environmental implications of artistic endeavor (e.g., body image, physical and muscular stresses, disposal of hazardous waste). (LTI.09x)
Planning Notes
• Present Native peoples as distinct peoples with unique cultures.
• Colonial and cultural appropriation discussion will involve clarification of many points of view with reference to the Canadian history curriculum.
Prior Knowledge Required
• explain their preference for specific artworks, with reference to the artist’s use of the elements and principles of design and their understanding of the ideas and feelings expressed in the work
Teaching/Learning Strategies
• The teacher reintroduces the topic of colonialism and cultural appropriation as studied already in social science in previous years (grade 7 and 8).
• The students discuss if colonialism exists today.
• The teacher and students explore the influences of Native peoples, past and present, in their community.
• The teacher provides students with a wide variety of visual sources including present day works that express the spirituality of a variety of Native artists.
• The teacher highlights examples of prints or printmaking techniques that are found in the works presented.
• Combining their definitions of spirituality and examples of printmaking, students create prints to visually reflect their ideas.
Assessment/Evaluation
• Students write a one-page response to the question, “Does colonialism exist today?” and submit the paper to the teacher for formative assessment based on communal Catholic issues of equity and social justice. (OCE.1h, 7e, LAV.02x)
• Students submit a sketchbook/journal for formative evaluation based on reflection questions applied to selected artworks. (LTV.02x, LCI.07x, LAI.06x, LAI.08x)
• Students complete peer assessments of completed prints, using an adapted Feldman Model of art criticism.(OCE.5g, LAV.01x, LCI.05x, LTI.03x, LTI.07x)
• Students submit their peer assessments for constructive comments in light of gospel values and critical analysis. (OCE.7e, LAI.01x)
Resources
• Cameron, Julia, with,
Bryan, Mark. The Artist’s Way: A
Spiritual Path to Higher Creativity.
New York: G.P. Putnam’s Sons, 1992.
• Clemson, Katie, and Simmons, Rosemary. The Complete Manual of Relief Print-Making. New York: Alfred A. Knopf, Inc., 1988.
• Halpin, Marjorie. Totem Poles: An Illustrated Guide. Vancouver: University of British Columbia Press and U.B.C. Museum of Anthropology, 1991.
• Kramer, Pat. Totem Poles. Canmore: Attitude Publishing Company Ltd., 1995.
• Tataryn, M. Praying With Icons. Ottawa: Novalis, 1988.
• Toale, Bernard. Basic Printmaking Techniques. Worcester: Davis Publications Inc., 1992.
Accommodations
• Recording devices or videos can be used as a modification.
• Allow time in resource room for students who require assistance.
• Allow students to do peer assessment in pairs, where appropriate.
• Allow students to modify the Feldman model to encompass questions they feel are relevant.
• Allow enriched students to engage in an ongoing dialogue with another student (e.g., a correspondence log pertaining to image making).
ACTIVITY 5: Spirituality Through the Aboriginal View Point
Peer Evaluation
ARTIST:_____________________________ DATE:______________________
STUDENT EVALUATOR________________________
1. What is your initial emotional response to the work(s)?
2. What do you think the artist was trying to
communicate about
his or her understanding of spirituality?
3. Does the picture-making process support the message of the artist?
4. Advice for the artist:
STUDENT EVALUATOR________________________
1. What is your initial emotional response to the work(s)?
2. What do you think the artist was trying to communicate about phis or her understanding of spirituality?
3. Does the picture-making process support the message of the artist?
4. Advice for the artist:
Title: Canadian Image Making
Time: (285 minutes)
Description
Students will be encouraged to
discover their own view of the Canadian identity by exploring beliefs held by a
variety of Canadian institutions and groups. They will compare these ideas to
their
own. Students will attempt to discern whether or not these perceptions are
valid and indeed depict Canada as they know it. Students will create an
interdisciplinary piece that comments on this ‘Canadian’ identity.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate:
• adopts a holistic approach to life by integrating learning from various subject areas and experience. (OCE.3e)
• examines, evaluates and applies knowledge of interdependent systems (physical, political, ethical, socio-economic and ecological) for the development of a just and compassionate society. (OCE.3f)v
• finds meaning, dignity, fulfillment and vocation in work which contributes to the common good. (OCE.5d)
• exercises Christian leadership in the achievement of individual and group goals. (OCE.5f)v
• exercises the rights and responsibilities of Canadian citizenship. (OCE.7h)v
Strand(s): Creation, Analysis, and Theory
Overall Expectations
At the end of Grade 9, students will:
• create works by using technologies and new technological information; (LCV.03x)v
• use the creative process to produce artworks that demonstrate innovative connections among the arts; (LCV.04x)v
• demonstrate the ability to conduct a step-by-step critical analysis of their own work and that of others; (LAV.01x)v
• demonstrate an understanding of cultural characteristics that distinguish an individual’s and/or community’s artistic identity; (LAV.02x)v
• explain the socio-economic function of the arts; (LAV.03x)v
• describe similarities and differences among careers in the arts and arts-related fields; (LAV.04x)
• describe, orally and in writing, the elements and principles of the arts found in their own work and that of others; (LTV.01x)v
Specific Expectations
Students will:
• create an artwork / production that combines materials and techniques from various art forms; (LCI.04x)v
• apply the process of critical analysis (initial reaction, description, analysis, interpretation, and judgement) to selected works and productions; (LAI.01x)v
• explain how a culture’s social and economic priorities influence the arts and arts production; (LAI.07x)v
• identify several careers that reflect the individual student’s interest; (LAI.10x)v
• explain how chosen techniques used in works and productions communicate mood and message; (LTI.07x)v
• identify moral and legal ramifications in arts production (e.g., copyright and plagiarism). (LTI.08x)v
Planning Notes
• Stereotypical images may surface and if so may need to be addressed.
• Students should be encouraged to conduct themselves in a professional manner (i.e., appropriate language, attitudes, posture...).
Prior Knowledge Required
• Explain how the effective use of the elements and principles of design contribute to an artwork’s ability to communicate feelings, convey ideas, and enrich people’s lives.
Teaching/Learning Strategies
• The students gather Canadian images presented to global community for viewing by the class. (Canada’s image(s) associated with Olympics; consumer ads; travel brochures; political ads; film clips abroad…)
• The students arrange themselves into design teams (groups).
• The student design team creates an information file and conduct a search for mass media advertisements (e.g., posters, flyers, newspaper ads, magazine ads, Internet/websites) presenting the Canadian identity.
• The students analyze and critique items in an information file.
• The students discuss/investigate and analyze the significance of the elements and principles of design as they relate to successful advertisement design.
• The student design team identifies the elements and principles of design inherent in selected works they have collected as discussed in the groups.
• The student design team, with informed background knowledge, selects and designs one product that promotes a healthy cultural image of Canada and develops their advertisement.
• The student design team presents the final product to class through an interdisciplinary presentation.
Assessment/Evaluation
• The student design team submits its information file for formative assessment by the teacher. (quality of images, understanding demonstrated for principles and elements of design). (CGE.3f, 5f, LAV.01x, LAV.02x, LTV.01x)
• The student design team presents its completed product in an interdisciplinary manner (e.g., poster, button, pamphlet, radio ad, TV ad ...) to be assessed by their peers and the teacher based on communication skills, work ethic and innovation. (OCE.7h, LCV.03x, LCV.04x, LAI.01x)
• Students present their information files during student/teacher conferencing, emphasizing links with the wider community. (LAV.03x, LAI.07x, LAI.10x, LTI.07x, LTI.08x)
Resources
• Booth-Clibborn, Edward. The Language of Graphics. N.Y.: Harry Abrams, 1980.
• Laurence, Jocelyn, ed. Canadian Art. Toronto: Maclean Hunter Ltd. and Ley Publishers Co. Ltd.
• Feldman, Edmund Burke. Varieties of Visual Experiences. 3rd ed. New Jersey: Prentice-Hall, Inc. New York: Harry N. Abrams, Inc., 1987.
• Landa, R. An Introduction to Design. N.J.: Prentice-Hall, 1983.
• Magnus, Gunter. Graphic Techniques. Toronto:Woodbury Pub., 1980.
• Nelson, R. P. The Design of Advertising. Iowa: Wm.C. Brolon, 1981.
• Opie, Robert. Packaging Source Book, N.J.: Chartwell Books Inc., 1989.
• White, J. Designing for Magazines. N.Y.: R.R. Bowken, 1982.
• Wrede, Stuart. The Modern Poster. Boston: New York Graphics Society, 1988.
Accommodations
• Encourage enriched students to examine possible appropriate exhibition spaces in the community for this artwork, report their findings to the class and submit a proposal for an exhibition.
• Encourage students to be aware of all citizens of Canada when presenting and designing.
• Enriched students could conduct a survey, or form focus groups to do a feasibility study on the success of product/presentation, ties to Math, History, English, and Guidance.
ACTIVITY 6: Canadian Image Making
EVALUATION SCALE
STUDENT:_________________________DATE:__________________ LEVEL:____/
Individual Assessment
1. The student has contributed samples of Canadian mass media images to the collective portfolio.
1 2 3 4
2. The student as a member of the design team has demonstrated knowledge and application of elements and principles of effective design.
1 2 3 4
3. The student is an active agent, exercising Christian leadership, in the group presentation of its product.
1 2 3 4
4. The individual student’s contribution to the collective work reflects a critical analysis of the arts, media, and technology used in the presentation.
1 2 3 4
Group Assessment:
5. The group has presented the product effectively.
1 2 3 4
6. The content, presented through images, is appropriate to the assignment.
1 2 3 4
7. The group has conveyed an understanding of principles and elements of design in the presentation of the product.
1 2 3 4
8. The product effectively communicates the message of the group.
1 2 3 4
9. The group worked cohesively toward achievement of the goal.
1 2 3 4
1=50-59% 2=60-69% 3=70-79% 4=80-100%
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