Controlling Emotions: A Lesson from Angry Birds

Susan Harmon Artist/Professor Blog: Blooming Minds: Why should students study art?

Susan Harmon Artist/Professor Blog: Blooming Minds: Why should students study art?

INSIDE OUT - TEACHING CHILDREN ABOUT EMOTIONS

https://www.youtube.com/watch?v=6x4lp2X214Y

INSIDE OUT - TEACHING CHILDREN ABOUT EMOTIONSthis article is about the movie INSIDE OUT.
"Last weekend, my children and I went to see the new Disney/Pixar movie Inside Out and it quickly became my most favorite family movie ever! Putting aside for a moment that Inside Out is a theme park attraction waiting to happen and that I possibly laughed at the dream sequence more than my kids, it's message is one that resonated strongly with me as a parent and teacher - that without sadness, there is no joy."

Inside Out follows the story of 11 year old Riley as she and her family move house from one side of the US to the other and we are given a front row seat to the inside mechanisms of her brain as she deals with this milestone event. We are introduced to Joy, Sadness, Fear, Disgust and Anger who are in HQ directing Riley just as they are all of us (even dogs and cats). At the start of the movie, everyone sees Joy as the star in Riley's production which reminded me of many conversations I have had with parents over the last few years as an educator. As adults, we spend very few days being happy all day long. We know that we can experience many emotions in a day but sometimes expect our children to be different.
Consequently, many young children do not recognize that experiencing different emotions is both normal and healthy. Disney/Pixar have done an excellent job in creating characters young children can identify with and understand. Whilst we may want to shield our children from the worst life can throw at us, they do need to see us showing our emotions and most importantly, how we cope and regulate them. We need our children to see how resilient we are, that life is a balance, that without sadness, there can be no joy.

Of course trying to learn how to regulate your emotions can be hard work the younger you are. Add in long days at school, negotiating with peers, not enough sleep or not enough of the right foods, and the job of self-regulating emotions gets harder still. As a parent of three, I've been there. It's not easy but I can see this movie and its characters being a powerful tool that can be used to help children navigate their way through those difficult moments. Their most powerful emotions now have a face, a colour and even a name! 


Case in point, it's nearing the end of second term here in Australia and after a long day at school, my six year old was not impressed by the actions of her two older sisters. Her face told the world she was losing the fight and Anger was about to win. Fresh from watching Inside Out, I simply asked her who was driving? Who had control of the console in HQ right now inside her head? She stopped, looked at me and then very slowly started to smile. Anger had been push out of the way for now but we were able to talk about how she felt when Anger was in control - that she felt herself getting hot like when he burnt a hole in the window, that her eyes felt 'all squinty' and that her breathing was hard. We also talked about what she can do to change that. When she's home, she likes to go and jump on the trampoline by herself whereas one of her sisters likes some time to herself in her room where she'll sit and read for a while.
As a classroom teacher of young children, I think having a set of these characters from Inside Out in the classroom will prove to be a useful tool as students would have a visual prompt for them to be able to help explain their feelings. Or have some of these free Inside Out colouring in pages available for them to use while they calm down and regain control of their emotions. 

Inside Out Teaser Trailer UK - Official Disney Pixar | HD

I Feel - Audio Book

Get to Know your "Inside Out" Emotions: Joy

Meet Anger - Inside Out

Creatively Teaching Multicultural Art 

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Text and photography by Marvin Bartel , Ed.D., Professor of Art and Art Education ,Goshen College Other essays in Art Education by this author can be found at this link.

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Can I teach art in a ways that makes my students take pride in their own cultural identity while gaining respect and appreciation for the art of other cultures?  Those teaching in international schools are likely to have students with more diversity or at least more understanding of cultural diversity than an art teacher in a national school.In North America, I frequently see school displays of projects based on tribal art of Native American Tribes.  Some of these are dolls that are felt to have magic powers in their traditional settings.  Some are totem pole projects that are copies of Native American Totems.OWNERSHIP ISSUESIs it right to imitate what might be sacred or at least traditional in another culture?  How do I teach art in a way that makes my students take pride in their own culture while gaining respect and appreciation for the art and customs of other cultures?  Is imitation really flattery?  Might there be more authentic ways to be creative while developing appreciation for the art forms and artworks of another culture? What does imitation teach about the role of artists?  What should be the role of artists in today’s world?  What is critical thinking in art?  Shouldn’t we teach that artists interpret and create meaning rather than copy that which is already created?WHAT ARE THE UNDERLYING CONCEPTS?May I suggest some ideas about how we might teach about multicultural attitudes while teaching art with integrity?  As a teacher, I must first familiarize myself with the intention of the “other” artist.  In the case of the Northwest Native American Totem Pole maker, I must understand the role of the Totem pole as an identity symbol for the family or tribe that it represents.  I must have some appreciation for the Totem’s cultural role in helping tell the spiritual stories of the tribe’s interdependence on nature, animals, and their deep respect for their ancestors.  If I know the artist’s intentions, I have prepared myself to motivate my students to create art based on similar intentions related to the culture of the students in my class.Many art lesson are started by the teacher employing what is called image flooding.  In image flooding the teacher shows many examples of completed work by artists and former students.  I do not think much of image flooding because it works by giving many answers to the problem before the students have even considered the problem or worked at their own solution finding skills.  Image flooding results in skillfully produced imitations, but does not teach much about problem finding and problem solving.  Teachers who depend on image flooding may pride themselves on achieving skillfully slick student artwork, but I wonder whether students are learning how their art can create visual meaning and feeling in response to their own lives.USING WHAT WE OWN  In the approach I am suggesting, we might begin the lesson with some self-reflection.  Who are we?  Students individually list things important to their identities. Lists are not only words.  Lists can be made with small sketches.  Several groups made up of students with common interests might be formed in the class.  The groups brainstorm and add things to theirs lists and sketches.  They emphasize things that they can agree to represent themselves, “Who We Are and What We Like.” 

SPEICIFIC IDEAS  Youth culture has lots of popular arts, sports, pets, hobbies, music interests, brand names, clothing, hair styles, jewelry, foods, makeup, heroes, and so on that they can list. In some schools they might be encouraged to articulate values and beliefs.  A particular classroom might have a very nationalistic group and a very international group.  As a high school student, my social studies teacher encouraged me to be in a group to take a world government position against another group that took an isolationist position.  We learned the arguments for each position.  We didn’t create a sculptural assemblage or a collage, but if it were an art project these would be logical outcomes.  Click the image for a larger view of it.

CREATIVE COLLABORATION 
For the art projects each group could work together to develop an assembled sculpture that would represent the important aspects of their particular set of interests, values, or beliefs.  Media might be heavy paper or card stock that is cut, folded, and glued into three dimensional forms to represent the symbols.  Their colors, sizes, textures, shapes and their juxtapositions would help produce dominance and subordination of various inclusions.  Artistically and aesthetically they should strive for unity with interesting variety.DEVELOP CRITICAL THINKING AND CREATIVITY  I admire art teachers who discourage trite cliché symbols.  These teachers do not give suggestions or answers when students are having problems.  These teachers use questions that move students to invent experimental and expressive ideas.  These teachers are pleased with a variety of unexpected outcomes. These teachers help students become independent critical thinkers, problem solvers, and self-assessors.  When teachers make suggestions and answer student questions they may be teaching students to become dependent on “experts.”  Students do not find the joy of thinking, researching, experimenting, and solving problems for themselves. When the groups complete the artworks, they could be given a writing guide and asked to write a statement or viewer’s guide articulating the work’s intentions.  Other class members should be asked to respond without seeing the statement to point out what they first notice and explain why they notice it.CULTURAL AND HISTORICAL CONNECTIONS  Finally, near the end of the unit, the teacher should feel free to provide a lesson about Totem Poles.  Think of it as image flooding at last.  Students should now be able to respond to the teacher’s questions about the possible meanings of Totems within Native American culture.  They will have a better appreciation for the how the artist must have struggled to decide on each part of the project. Better yet, a group of students does research.  They then write and present a drama they have written about being members of the culture.  Their roles include art-makers and art-users in the selected culture. Art education research has shown that this method of learning art history and multicultural art is one of the favorites among high school students. 

My Story

In 3-5 sentences tell your story,here is mine...Telling a story about me...I took my first art lesson with an adult art class at the age of 7, at The School of The Art Institute of Chicago, over 50 years ago and after winning a $50.00 set of oil paints, that year, for my first still life made with oil paints.I was hooked and have been painting ever since then.It is still my passion and my life.It is who I am and it is what I do.... I know nothing else.My work is informed by literature about women who have suffered a trauma and their journey to heal.My intention is not to illustrate these stories rather to paint my emotional response to them.My works are typically 10' x 5' and emphasize emotive mark making and color.I have been nicknamed"Kandinsky"whilst working on a PHD in art in Australia.I leave you with this thought..Robert Frost said his poems must "begin with a lump in his throat"my art embraces this attitude.What is your story?Now let us paint our stories.

Experiments in Art Education

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Mark Rothko: Color + Emotion

How delicious are the colors and compositions of these Mark Rothko inspired chalk pastel drawings!?
To introduce the links between color and emotions, we read the story "My Many Colored Days" by Dr. Seuss". We then made a mental list of all the emotions we had felt during the day (tired when we woke up, excited to be at school, happy hamburgers were for lunch, and so on). Whatever color we felt we drew.

Our next step was to talk about artists who use color to influence emotional responses from a viewer. Enter...Mark Rothko! 
Using chalk pastels on black construction paper we mixed and blended our Rothko inspired works. WOW! I'm still getting goose bumps, they turned out so stunning! I'm so proud!

IMAGES FOR TEACHING EMOTION IN ART

QUESTIONS TO ANSWER FOR GARY

What are you planning to do with the lesson? Using it to teach my own class

Are you planning on using this for your class?Yes

Also how is emotion connected to learning? ...........

More of an FYI for lesson plans. Lesson plan need to have objectives listed.

What are the students learning from this lesson?

What skills are they gaining?

How is learning/skills connected to the state or national art standands?

How are you going to assess they learned what you state they will learn?

Remember your final project is a culmination of what you have learned in the program. This is another reason an exhibition is problematic for you. You have not taken any studio courses with us. Pull from what you have learned in your classes here at tech.

 For your 6 credits face to face are you planning on taking studio or seminar since you have studio credits transferred from your MFA?Seminars

Gary

EMOTION PAINTING

EMOTION PAINTING

Level: Primary and up
Grades: K and up | Age: 5yrs and up | Written by: Andrea Mulder-Slater
[Andrea is one of the creators of KinderArt.com]

Summary:

Students will gain an understanding of how much of a role emotion plays in art making as they create paintings based on feelings.

Vocabulary:

image, feeling, emotion, idea, expression, color, texture, line, imagine, create, change, evolve, happy, sad, angry, excited, alone, bright, dull, acrylic, tempera, experience, share, design
What You Need:

·         a large sheet of heavy paper (or canvas)

·         acrylic paint (for older students)

·         tempera paint - or crayons (for younger students)

·         paintbrushes

·         water

·         containers

·         mixing trays (could be styrofoam trays or sheets of old cardboard)

·         paper towels

·         newspapers

·         old shirts or painting smocks

·         music (various styles)

·         scrap newsprint

·         pencils

What You Do:

1. Talk about emotion. What does the word emotion mean? What kinds of emotions do we experience on a day-to-day basis?

2. Talk about color. How do certain colors make us feel? Why?

3. Talk about line. What kinds of lines are there? Straight, jagged, squiggly, zig-zag, etc.

4. Warm up by having students draw lines (using pencil on newsprint) based upon certain feelings. IE: draw happy lines, draw angry lines, etc.

5. You can also encourage your students to draw lines based on the music they are hearing (IE: jazz, classical, pop etc.)

6. Once everyone is "warmed up" begin working with the paint. Make sure each student has a paintbrush, water and access to at least the three primary colors (red, yellow and blue).

7. Give a quick demonstration of how paints are used properly (always clean brushes before dipping into a new fresh color ... treat the brushes well by not squishing them down on the paper etc. Also, review color mixing (yellow + blue = green; red + yellow = orange; red + blue = violet)

8. Everyone can then decide on an emotion or feeling which they will express using various paint colors, lines, textures and shapes.

9. Allow your kinderartists to take as long as they need to create the final work, encouraging them to stand back from time to time to have a really good look at what they are doing. Is it moving in the direction they want it to? Are the desired feelings starting to emerge?

10. Remember too that this is a very intuitive and subjective exercise and as such the works should not be analyzed by the instructor, but rather by the kinderartists themselves.

11. When the paintings are complete, hang them up and see how others interpret the work. Does everyone see similar emotions in the same works? Yes? No? Why? Refer to How to Look at Art.

Curriculum Connections:

History: Look at the works of various artists throughout time. While looking at the works, see if you can pick out any strong emotional feelings.
Language Arts: Write an emotion story or poem to go along with your painting.
Music: Look at rhythm and movement in music and compare the idea of "emotional music" with "emotional painting".

Recommended Books/Products:

My First Paint Book
by Dawn Sirett
Twenty-two activities, from stenciled boxes to T-shirt designs, are presented along with step-by-step, full-color photographs and clear instructions, in a visual introduction to making and decorating things with paint. 

 

DUAL SELF PORTRAITS ART LESSON

This art lesson is written by Cynthia Emerlee

Selfie (where I want to be) - Lesson Plan

A Suprasensorial Experience

Blind artist paints with imagination

Teaching art or teaching to think like an artist? | Cindy Foley | TEDxCo...

PAINT BLOBS

Jon Tsoi Artist-Father Of Tao-Blindfold-mystery Art Medicine #08262013-3

YIN/YANG

http://jontsoi.com ***** http://www.flalvarezgallery.com ***** world Contemporary art - Worship the unnameable and unexpected art--the Yin, yet embrace and be indiscriminate towards all art--the Yang. Observe the world and one's outer surroundings, yet trust one's inner vision and intuition. As such, I use a blindfold to create art through the inner spirit (Yin), which in turn can be absorbed through the eyes (Yang). By using art as holistic medicine, we can all benefit from the mystery of art, balancing ourselves physically, mentally and spiritually. My art is a remedy promoting a harmonious way of life. Furthermore, it is a prescription for a new wave of art...http://jontsoi.com/

MY PAST AND FUTURE HANDS PROJECT

Art Therapy Group: My Past & Future

Today in my art therapy group we did a thought-provoking project using a tracing of our hands to represent what we were into in the PAST and what we hope for in the FUTURE.  Since this was such a personal exercise, I will only show you mine. 

This was a project written by Cynthia Emerlee,Art Therapist

Read more:http://emerlyearts.blogspot.com/2014/05/art-therapy-group-my-past-future.html#ixzz40cvVZcHX

PENN STATE, WHERE I STARTED MY GRADUATE ARTS EDUCATION

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Reflecting on 50 Years of Research and Curriculum Development in Art Education

The 1965 Art Education Seminar at Penn State is a landmark in the field. Participants and attendees included leaders who shaped the field into the next century. Organized by art education faculty members Ed Mattil (Penn State), David Ecker and Jerome Hausman (Ohio State), and moderated by Harlan Hoffa (Penn State), the seminar was funded by the U.S. Office of Education and planned in conjunction with leading art educators such as Elliot Eisner (University of Chicago), Kenneth Beittel (Penn State), and Manuel Barkan (Ohio State). Participants at the 1965 Seminar argued that curriculum in visual arts education should draw on contemporary art practice, and introduce art history and criticism to school children. They carried these ideas back to their institutions, exploring them with succeeding generations of graduate students who then implemented new paradigms. Join us April 1–3, 2016, as we reflect on the 50th anniversary of this important event.

"The conference will serve as a critical reflection on the 1965 seminar held at Penn State, which served as a milestone event in the field," said Professor B. Steven Carpenter, member of the conference planning committee. Current and emeritus Penn State Art Education faculty and students, as well as alums and scholars from across the globe, will present at the conference. President Barron is scheduled to make a few remarks on Friday afternoon. The conference format will include panels, roundtable sessions, a poster session, and discussions. In addition to these conference activities, additional planned outcomes of the 2016 conference include published proceedings, online resources and documentation, and a special issue of a scholarly journal.

The 1965 seminar was a ten-day gathering at Penn State, and became a benchmark in academic art education. The 1965 seminar influenced profoundly the study and practice of art education in the United States as it brought together artists, art historians, critics, art educators, curriculum experts, and psychologists. The seminar is a landmark in the field as it shifted the focus of art education from psychologically grounded, developmental approaches to teaching and researching to a more self-conscious stance as part of the humanities and interdisciplinary scholarship.

For complete details, and to register for the event, visit: http://sites.psu.edu/arteducationseminarfifty/. Attendees can pay for single day or full conference registration. PreK-12 teachers can earn ACT 48 hours by registering for and attending the conference Friday (5 hours), Saturday (6 hours), and Sunday (2.5 hours). For more information, contact pennstate50@psu.edu

The conference is made possible through a grant from the Institute for the Arts and Humanities at Penn State, and support from the College of Arts and Architecture, the Penn State School of Visual Arts, and the Art Education Program.