IB MYP Arts Unit Plan Cedar Ridge Middle School Visual Arts MYP Year 2 Kaye Warren Visual Arts 2006-2007 Name of the Unit: Out of Africa: Viruses and Virtues Title: Printing Panels with Purpose Duration: The unit involves approximately two weeks or ten to twelve fifty minute class periods. Other than having the classroom procedures for orderliness and cooperative behavior in place, students do not need prior knowledge of artistic terms or skills before initiating the unit. Main content details, with vocabulary in boldface: 1. Students investigate the source of the symbolism in the Nike swoosh in the Nike of Samothrace. [National Standards for the Visual Arts Item 4b places an art object in historical and cultural context.] 2. Students discuss symbolism, the use of a visual motif to communicate an idea, in day to day experiences such as traffic signs (walk/don’t walk), universal symbols (restroom gender images, circle with diagonal “no” line), culturally accepted icons or imagery (heart, crucifix), commercial logos (Nike swoosh ) [NSVA 3b use themes and symbols that demonstrate knowledge of contexts, values, and aesthetics that communicate intended meaning in artworks] 3. A discussion of theme motivates students to create a “quilt” that conveys an overall message. [NSVA 3b, above] 4. Some African craftsmen create and sustain a sense of community with a dyed fabric cloth. Students peruse the symbols in African Adinkra cloths. [NSVA 4a asks that students know and compare the characteristics of artworks in various eras and cultures] 5. Explicit instruction emphasizes a cross-cultural connection by incorporating American story quilts, such as those by Faith Ringgold or Harriet Powers, into the lesson and discussing similarities in the artists’ purposes for creating the textile pieces and the messages their quilts communicate. [NSVA 4a above, and NSVA 5a considers the multiple purposes for creating works of art] 6. Students will work in pairs or trios to create symbols of their own that adhere to a specific theme chosen by the class as a whole. They will create a motif, model a clay stamp, stamp print their design with India ink, contributing to the construction of the class quilt, The optimum number of panels per class is eight or eleven. The center panel interprets the symbolism or contains a piece of creative writing that expresses the overall theme. Enduring Understanding: A sense of community is fostered as students contribute their ideas and imagery to the creation of a class quilt. Areas of Interaction Homo Faber Engaging in the creative effort by creating a design/motif, modeling a stamp for printing, and stamp printing Inventing a symbolic message to convey through the motif Focusing on a theme Community and Service Contributing a panel to the class “quilt” artwork links the efforts of the individual student (pair) to the success of the whole Health and Social Education An interdisciplinary unit on Viruses will guide the theme of the production activity in 2007 Some people insist that the virus responsible for AIDS originated in Africa. Viruses can decimate or even eliminate communities, causing the erosion of societal unity. Computer viruses can eliminate a computer’s memory. MYP Guiding Question How can the creation of a work of art create and sustain a sense of community? Assessment Activity After studying the symbolism in artworks from ancient Greece, American quilters, and African tribes, each class of seventh grade art students will create a themed quilt, resembling an Adinkra cloth, of panels that each contribute to a communal idea or message. The quilt is constructed of paper (or fabric) panels measuring 12” square. Each square panel consists of sixteen smaller squares printed with India ink. Students work in pairs or trios to create an original 3”square motif (resembling an Adinkra stamp design) that symbolizes an idea related to a class-chosen theme. Students form their designs in non-hardening, modeling clay and print the motif onto the 12” square panels of paper or fabric. The panels for each class are connected with 4” wide strips creating a quilt. Students may choose to interpret the symbolic meaning of the individual panels, or synthesize the panels’ symbolism into an overall piece of creative writing. The written interpretation is mounted as a panel on the quilt. Assessment details Formative assessment takes place in 1. teacher observations in an ongoing manner throughout the introductory study of artworks and during production exercises 2. Warm Ups and journal notes in the student’s DW [See Calendar below] Summative assessment occurs in the 1. production activity culminating in a symbolic stamp design, a printed panel [See Calendar Day 8 below] 2. student-created crossword puzzle vocabulary exercise [See Calendar Day 9 below] 3. student’s written self-evaluation and reflective statements at the end of the unit [See Calendar Day 11-12] MYP Criteria Criteria A Knowledge and Understanding - each student remains focused on their own work, and cooperatively continues to work on the assignment(s) until vocabulary review crossword puzzles are completed - exchanging crossword puzzles replaces the traditional vocabulary quiz; students grade one another’s work For this Unit a specific group of vocabulary words are introduced. The final student production activity, making a crossword puzzle, achieves two goals. First, students review the vocabulary; and second, they continue to work with their knowledge and understanding of the vocabulary after they complete the production activity. Criteria B Application - a 3” square motif, made of clay, is used to stamp print a 12” x 12” square of paper or fabric - students cooperate in the selection of the symbolic message and the creation of an image (motif) to communicate their idea Students work in pairs to design a symbol, create a clay stamp, and print the motif on 12” square panels of paper or cloth. Students consciously implement the Design Cycle during the production activity. Students unite the individual panels to create a themed quilt. Criteria C Reflection and Evaluation - the motif symbolizes an idea that adheres to the specified theme Students devise an interpretation of their symbol and relate its connection to the overall theme Criteria D Aesthetic Awareness and Personal Engagement - each student remains focused on their own work, and cooperatively continues to work on the assignment(s) until all work is completed on the class quilt Students contribute to an artwork that does not belong to any single person or pair, and communicates the theme more successfully as a quilt than as any single panel does or could. Combining panels to form a single, themed, class quilt fosters a sense of class unity similar to the sense of tribal unity created by an Adinkra cloth. Additional formative assessments 1. Observation of Student cooperation in pairs or trios as they address the stated project criteria Work ethic and focus on the sequence and completion of tasks 2. Reflective writing in their DW, and responses to Warm Up prompts [See calendar below] 3. Individual efforts or contributions, beyond the project criteria, toward assembling the quilt or writing for the interpretive panel Descriptors of exemplar work. I. Knowledge and Understanding High level The student remains focused on the assignment, and cooperatively continues to work on creating a symbolic clay stamp until the panel is printed. The student assists in the organization and assembly of the class quilt, after voluntarily composing a vocabulary review crossword puzzle using all terms accurately on a neatly organized puzzle with informative clues. The student eagerly exchanges and completes crossword puzzles (replacing the traditional vocabulary quiz) and self-grades the work. Average level The student completes the quilt panel assignment, creating a symbolic clay stamp and printing of a panel according to criteria, but the vocabulary exercise lacks thoroughness or inaccurately uses the terms, definitions or clues. Low level The student’s lack of understanding of symbolism may be evidenced in a lack of adherence to the theme or project criteria. A lack of understanding of the terms results in few, or no, vocabulary words used correctly on the crossword puzzle or incorrectly states the clues. II. Application High level The student cooperates with classmate(s) to design a 3” symbolic motif, cooperates to create a mirror image stamp out of non hardening clay, and uses it to neatly stamp print a 12” x 12” square of paper or fabric. The student communicates the message or idea with a visual image that is artistically sound, with well defined lines and/or shapes, resulting in a hard-edged print having strong, visible, contrast.. Average level Most or all of the project criteria are met, but the resulting panel or its interpretation evidence a lack of attention to: the theme, the construction of the stamp, or the process or alignment during printing, results in a panel of irregularly placed motifs that have a muddy-edged appearance, or do not convey the intended message. Low level The project criteria are not addressed successfully, resulting in an incomplete or inaccurate representation. The panel’s quality, or lack thereof, shows a lack of attention to adherence to the theme, creation of a symbol, construction of the stamp, or the printing process. III. Reflection and Evaluation High level The student successfully interprets the symbolism of the motif, and articulates how the design genuinely adheres to, or expands upon, the specified theme in an inventive or extraordinary way. Average level The student successfully interprets the symbolism of the motif; however, it comes across as expected and ordinary because it lacks creativity, inventiveness, or depth of content. Low level If evidenced, the symbolism is trite, overused, or expected; or, the interpretation may be non-existent or communicates a message out of alignment with the class theme. IV. Aesthetic Awareness and Personal Engagement High level The student works cooperatively with classmates to select a symbolic message and create an image (motif) to communicate their idea The student remained enthusiastically focused on the work, and cooperatively lends a hand to classmates until all components of the class quilt activity are completed, including the creation of crossword puzzles. Average level The student works to accomplish the assigned project criteria, but shows little interest in going beyond the specified requirements to improve the quality of his/her own work, or to help others. Low level The student makes little or no connection to the overall goal of creating a quilt that relies upon the concerted effort of everyone in class. The student must be reminded to return to work and pay attention to the criteria or the timeline for completion of tasks. The student impedes the progress or work of others. Assignments may be incomplete or non-existent. Unit Calendar Day 1 Warm Up involves the students in the upcoming study of symbolism by presenting a modern symbol that many recognize as imagery, but do not know the true symbolism of the swoosh logo representing the wing, or wings, of swift victory. Present the words, like, bike, Mike, and Nike. Why do you pronounce Nike with two syllables? Where did the word come from? Present a poster or example of the Greek-Hellenistic statue, Nike of Samothrace, c.200-190 BC, (8 ft. in height), The Louvre, Paris What did the statue symbolize to the people of Samothrace in the 2nd C. BC? How does the commercial logo reflect that symbolism? Day 2-3 Warm Up asks students to list or draw examples of symbols they see in day to day life. A class discussion of symbolism extends from their various contributions. Explicit instruction, if required, ensures that a variety of visual symbols/icons are included and discussed. Students study African tribal arts with particular attention to Kente and adinkra cloths which both utilize culturally specific symbolism. Emphasize a cross-cultural connection by incorporating American story quilts, such as those by Faith Ringgold or Harriet Powers, into the lesson and discussing similarities in the artists’ purposes for creating the textile pieces and the messages their quilts communicate. Day 4 Warm Up asks students to define “theme” in their DW’s. Based on their written responses, explicit instruction ensures that all students connect their idea of what a theme is to the use of the word, theme, as it applies to their upcoming project. Students peruse the imagery and symbolism in Adinkra cloths in teacher selected resources (handouts or textbooks). The students should hypothesize on the ways the lines or shapes of the imagery may suggest the symbolic meaning of the design or motif. Day 5 Warm Up is based upon a grade-level interdisciplinary focus designated early in the school year by the teachers. Students are asked to reflect upon a topic, which, in 2007, is Viruses. Each art class discusses the topic and determines a theme for their class which will be the springboard for designing their symbolic motifs. Students select their partners and begin preliminary sketches—they measure and draw within 3”squares [supporting the use of rulers, and 90 degree angles]. Materials: index cards, rulers, Sharpie markers for designating printable and non printable areas of the design, handout on process: steps to follow to complete the assignments Day 6 Warm Up is the class activity for the day, and consists of determining the symbolic meaning of the motif, and the completion of the design. If the design is not symmetrical, students must create one version in reverse — because it prints in reverse. Formative assessment: The motif design drawn in reverse on an index card with the interpretation must be reviewed by the teacher before clay will be distributed to the students. Day 7 Students are engaged in the creation of a 3” square modeling clay stamp. If the clay sits overnight, the stamp cools and hardens, making the printing surface sturdier for stamp printing. Remind students that the raised area (printing surface) must be level. REMIND students India ink is permanent black ink; it would be wise to wear black clothes to school the days they print. Materials: 1/4 pound of modeling clay per pair of students, various tools for carving the clay Day 8 Students are given 12” squares of paper (or fabric) which they fold according to instructions; the fold lines create sixteen boxes. On the back, students write their names and the symbolic meaning or interpretation of their motif. If using India ink, clean up is simplified if students apply ample hand lotion before printing. Using shallow trays lined with improvised ink pads, students ink and press the stamp sixteen times—I suggest they print one section and re-ink before the next pressing. Students may want to create an alternating design; but an individual panel visually “shouts” its irregularity if all the panels are not executed the same way. Materials: 12” squares of paper, India ink, lotion, ink pads/plastic plates or Styrofoam trays, butcher paper to cover work surfaces, and a telephone for panicking little girls to call for a change of clothes when they get ink on a white sweater--some won’t listen when you suggest wearing black clothes on printing days. After printing the clay should be stamped on scrap paper until it’s clean; do not wash ink off of the modeling clay; just let it dry. Day 9 Early finishers should begin the vocabulary crossword exercise while slower workers complete their panels; but anticipate and rely on students finishing the assignment at different times. Activities for early finishers include 1.) printing 4”x 4’strips to connect the printed panels, 2.) creating the center interpretive theme panel, 3.) assisting others with the printing, 4.) constructing the quilt, and the requisite 5.) creating vocabulary review crossword puzzles. As students review the terms that they added to their vocabulary as they progressed through the lessons, they create their own vocabulary list and write their own definitions. Their formal assignment is to create a cross word puzzle on graph paper using the terms in this unit. Day 10 Construction of the quilts and hanging for display. Glue paper panels together with 4” strips. While this unit’s production activity has always been printed on paper, its potential as a quilted fabric activity remains a lofty and enticing goal. Day 11-12 Students review the quilts from each class hanging in a public venue, hallway, stairwell, etc. They vocalize, and evidence their knowledge and understanding as they view (and informally critique) the quilts created by other classes. Back in the classroom, students engage in a formal analysis of the process by following the steps of the Design Cycle. Students relate in their Developmental Workbooks their creative ideas, revisions, experiments, frustrations, contributions and successes, in the symbolic motif stamp printing unit. Some IB MYP students may be capable of reflection as they work each day. If not, students must engage in reflective writing at the end of this unit. Suggestions for topics on which students may write include: Ask students to explain how the Greek Nike and American story quilts related to their stamp printing unit. Ask students to identify and contrast the differences between an authentic Adinkra cloth and their class quilts. To ensure that students reflect on the utility of the Design Cycle, have students make a flow chart of the process of designing and creating their symbolic stamp image on paper and in clay. What lessons did they learn about working with modeling clay as a medium for creating a stamp for printing? Consider the finished quilt and explain the part their particular panel plays in communicating the theme. Then, choose another panel and explain its contribution to the overall message. Choose which panel is visually striking and attractive, and explain its visual qualities. If applicable, analyze why your own particular panel may not be as visually appealing as the others on the quilt. If you had an opportunity to create another quilt, what changes would you make, or what would you do differently?