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Some Meanings of Art Activities
 Passively waiting to be teacher fed
RECOGNIZE that the real values of a democracy lie in its most precious
asset, the individual . . . [Cmg 3].
Factual learning and retention, unless exercised by a free and flexible
mind, will benefit neither the individual nor society [Cmg 7].
Art is a dynamic and unifying activity—Every person may put thoughts
and emotions into an art form [Cmg 3].
It may be that one of the basic abilities that should be encouraged in our
public schools is the ability to discover and to search for answers, instead of
passively waiting for answers and directions from the teachers [Cmg 4].
The development of the perceptual sensitivity, then, should become a most
important part of the educative process—The task encompasses taking in
through the senses a vast amount of information, mixing it up with the
psychological self, and putting into a new form the elements that seem to suit the
asestheic needs of the artist at the time [Cmg 4, 5]. ¤
Serious questions can be raised about how much we have been able to
educate beyond the making and consuming of objects [Cmg 3].
In a well balanced educational system, the total being is stressed, so
that his potential creative abilities can unfold [Cmg 7].
Selecting, interpreting, and reforming elements often gives more than a
picture or a sculpture; the creator has given us a part of himself: how he thinks,
how he feels, and how he sees—From the age of five or six to sexteen,
eighteen, or beyond, growing individuals are forced by law and job requirements to
spend ten, twelve, sixteen, or even twenty years behind school doors. That is a
severe sentence for being born a child [see Cmg 3].
 Emphasis on drawing a bit, favours many skills, and can also aid
cognitive development
YOUNG CHILDREN use art as a means of learning, through the making of symbols
which capture and are an abstraction of the environment, and through the
organization and positioning of these symbols together on one
configuration—Mental growth depends on a rich and varied relationship
between a child and his environment [Cmg 3, 6-7].
Every society, from the most primitive to the most sophisticated, has
expressed itself through art—Some mastery of memorization (or learning) goes
along with art in very many cases [Cmg 3].
Have we really put enough sane emphasis on human values?—It must be
called tremendously important to bear in mind that, and that the
process of drawing, painting, or constructing is a complex one that may enrich
some, and favour many others still [see Cmg 3]. ¤
The Meaning of Art for Budding Artists
Aesthetic sensitivites should be fed, and fed well
throughout a life
TEACHERS AND ADULTS may prevent budding artists from using art as a true
means of self-expression by suggesting proper colours and forms, colour schemes,
proportions, and manner of painting and imposing such stuff on the budding artists
[Cmg Cf 8].
Try to encourage each developing artist to identify with is own
experiences and help him to go as far as he can in developing concepts that
express his feelings and emotions, and his own aesthetic sensitivities. We should
never be satisfied with the stereotyped response or with the unfeeling or
automated drawing [Cmg 11].
Each growing artist differs even from his earlier self as he constantly
grows, perceives, understands, and interprets his environment—It is the
growing artist's process - his thinking, his feelings, his perceiving, in fact,
his reactions to his environment - that is important [Cmg 9, 7-8].
Whenever we hear growing artists say "I can't draw," we can be sure that
some kind of interference has occurred in their lives. This loss of
self-confidence in one's own means of expression may be an indication of a
withdrawal into one's self [Cmg 8]. ¤
Through the process of art . . . art itself evolves [Cmg 11].
The artistic standards of the teacher must be subordinated to the needs of
growing artists in art education [Cmg 11].
Occasionally we hear of a growing artist who is outstanding in art. This
may be a growing artist who performs in ways that are neat and proper, who
satisifies the artistic likes of the teacher . . . However, it may be a developing
artist who is silent and withdrawn who most needs the opportunity for art
expression [Cmg 11].
Let
growing artists express growing artists
THE MISTAKE is made of evaluating growing artists' creative work by how
the product looks, its colours and shapes, its design qualities, and so forth.
This is unjust, not only to the product, but even more to the growing artist [Cmg
8-9].
The teacher should realize that his or her own learning experiences will
avail growing artists nothing, for it is the growing artists' learning that is
important in the educational process . . . the growing artist's striving toward
misses, one way or another. [Cmg 11-12].
Use deeply rooted creative impulses with as little inhibition as
possible— because expression grows out of, and is a reflection of, the total
growing artist— and for a growing artist, art is primarily a means of
expression [Cmg 8, 9, 7]. ¤
A growing artist is a dynamic being . . . as he grows his expression
changes [Cmg 8].
The Senses As Basic to Learning
Having things amply and at hand suggests an affluent
environment
OUR FOREFATHERS were in daily contact with their environment . . . they
also made their own music and art [Cmg 12].
Even a very young growing artist needs to be truly encouraged to see,
touch, or become involved in his environment . . . It is not just a question of
the presence of sounds, or of having things available to touch and see; it is the
stiumulation of the interaction between the developing artist and the environment
through the senses that makes the difference between the growing artist who is
eager to explore and investigate that environment and one who retreats from it
[Cmg 13]. ¤
Obviously, deprived developing artists can come from what might be called
affluent surroundings [Cmg 13].
Smelling can be developed into quite an art; human wine
connoisseurs know of it too
TOUCHING, seeing, hearing, smelling, and tasting involve the active participation
of the individual [Cmg 13].
Self-identification and Self-expression
There is a definite cause for discontent if basic needs are
not met full well
THE TERM "self-expression" has often been misunderstood. Self-expression
is giving vent in constructive forms to feelings, emotions, and thoughts at one's
own level of development. What matters most is likely to be the mode of
expression, not the content [Cmg 19].
A study of the organization of the factory - an organization that made
workers feel isolated, dominated, detached, and discontent - was made by Blauner
(1964)—There is great satisfaction in expressing one's own feelings and
emotions in art. Even the very young growing artist is expressing his own
importance through his own means, and the satisfaction is self-evident [Cmg 14,
20].
In a young artist there is definitely a need for the ability to identify
with others [Cmg 19].
To a great extent our educational system is geared toward measurable
academic skills [through] defining learning in a very narrow sense [Cmg 16].
¤
Learning does not merely mean the accumulation of knowledge; it also
implies an understanding of how this knowledge can be utilized—Occupations .
. . that entail a good deal of craftsmanship and personal involvement have more
satisfactions to offer to workers than mere money. This dehumanization of the
worker is of great concern to many, and one should allow for an increase in the
quality of life for the worker [Cmg 16, 15].
Production of stout producers is needed a lot
THE PRODUCTION of technically excellent art products may be far removed
from the real expressive needs of the producer [Cmg 20]. ¤
 Achievement is often tapped from being united to something
larger and bigger, or one or more partners to draw from
ACHIEVEMENT and self-concept are related [Cmg 20].
The Meaning of Art for Society
Art work is predominantly intuitively made on its maturer
levels
GROWING ARTISTS' creative works differ from one individual to another.
Great differences can be seen from one stage of development to another [Cmg cf
30].
One method of looking at growing artists' drawings and paintings is
called the psychoanalytical approach [Cmg 24].
The art product becomes a record of the developing artist's preparation
and his success in achieving certain levels of proficiency [Cmg 28].
To examine the picture without understanding what the growing artist's
intention was, to make assumptions about personality from one example of art work,
or to assess compentence in art on the basis of what is uncluded or omitted from
the product, does both the product and the growing artist an injustice [Cmg
30].
Art can have meanings within our society other than as the highest form of
expression [Cmg 21].
True art is something that is cherished—Art as a projective measure
in helping to understand the problems faced by growing artists and adults.
However, there is much inconsistency in the method of interpreting drawings even
by those who are supposed to be experts in the field. There is no standard system
of scoring drawings, and much of the interpretation is intuitive [Cmg 20, 24].
¤
The role of the art teacher seems to be that of providing the materials,
developing tasks which will be executed by the growing artist in mastering certain
artistic skills, and motivating the growing artist so that the drawing and
painting continue—To understand the growing artist and give support for his
expressions, find out how we can involve him more fully in life - that could be a
legitimate friend and teacher purpose [Cmg 27, 30].
One
may reap "the looking insignificant" from fine artistic development for a long
time
A THIRD WAY of looking at growing artists' drawings is the developmental
approach. Here the drawing or painting is examined from the point of view of
seeing how the growing artist measures up to what is expected of him at any
particular age [Cmg 26].
One may get a broader understanding, which may feel like thin ice to skate
upon for the best clinician [Cmg 25].
One important factor to keep in mind is that creative work must be
understood individually [Cmg 29].
An insignificant and timidly executed work may provide insight for the
teacher so that activites can be planned that will give the growing artist the
opportunity to develop confidence in his expression [Cmg 29].
Art is often considered the highest form of human expression [Cmg 20].
¤
Fashion gives stupid examples that surely are good for
nothing, roughly said
FOR THE GROWING artist, the value of an art experience is in the
process—The drawing or painting activity is also considered
therapeutic—It may happen that the growing artist portrays an emotional event
that has great personal significance. To the adult these may be ordinary
paintings; they may even be ugly from an aesthetic point of view. Yet the work
produced may be an important resolution within the growing artist's own life; to
direct attention only to the painting and to be concerned only with technical
abilites would be an injustice [Cmg 30, 2429].
Each art work must be considered on its own merit, and this is true for
all levels of teaching [Cmg 29-30.].
A fourth approach to looking at growing artists' art is often relegated
to an art teacher, and this method has the least amount of excitement in it. Here
the basic assumption is that the growing artists need to develop a vocabulary,
both verbal and pictorial, on which they can build their expression [Cmg
27].
Art is also a reflection of the society that creates it—Thus, art can
be used in the most crassly commercial fashion to advertise [Cmg 20,
21].
Be that as it may, some art activites build on one another from the point
of view of artistic achievement [Cmg 27]. ¤
It is also good and needed for many to be favoured to learn the mastery of
skills, to be taught regularly how to how to use a brush, to clean off the excess
paint and much else that could come in handy as the winds of interest change, for
example [Cmg 27]. ¤¤
Arts of Development
A budding artist should learn a lot in order to develop a
lot. And what is more, artist contexts host embedded concepts, needs, and urges to
become better aware of and perhaps express somewhat delicately
THE STUDY of growing artists' art can be fascinating—It seems that
some things cannot be taught until a growing artist is cognitively able to grasp
the concepts—But all along it should be emphasized that learning takes place
in the context of that which is known [Cmg 33, 45, 47].
Good creative development may skip many stages and re-enter
stages - it's of the creative process
DRAWING and other art activities obviously are not merely the results of
manipulative skills—Still, not a few young artists draw in predictable ways,
going through fairly definite stages [Cmg 45, 36].
- A Scribbling Stage - till ca 4 years old [Cmg 36].
- A Preschematic Stage - ca 4 years old [Cmg 36-37].
- A Schematic Stage - ca. 7-9 years old [Cmg 37].
- A Stage og Dawning Realism - 9 years old [Cmg 37].
- A Pseudo-Naturalistic Stage¸ the stage of reasoning. - ca. 11-12 years old -
There is a great deal of self-criticism - a great deal of detail, attempts at
cartoons - For some, this stage marks the end of their artistic development and we
often find that adults, when asked to draw something, will make a drawing that is
very typical of the twelve year old [Cmg 38-39].
- Also: Ca 14 years old - angles and curves - it's a real interest [Cmg 40].
These developmental stages are primarily for normal and growing artists—They
relate in gross lines to Jean Piaget's stages: "Although Piaget's stages are for
intellectual development, it is not surprising to find the same stages in art (Cmg
43)." [Cmg 40, 43].
Student knowledge may or may not be very much appreciated
ALSO, "KNOWLEDGE is usually thought of as flowing from the teacher to the
student." [Cmg 33].
Art as a Basic Means of Learning
Writing is made into an art by some. It is feasible in
many ways
IN SOME places, meaningless drills often are parts of how reading,
writing, and artithmetic skills are taught [Cmg 49].
Little is known about the success of fimitolup . . .
THE SUCCESS of any remedial program can be seriously questioned [Cmg 51].
Actually, there is very little known about how childen learn to read [Cmg
49]. ¤
Art as a Means of Understanding Growth
Having fun can be essential to the development of
artistic skills and intimacy in general
PERCEPTUAL GROWTH involves a growing sensitivity to tactile and pressure
sensations [Cmg 59].
One investigation, examining the drawings by growing artists from a
variety of societies, indicated that group values can readily be seen in growing
artists' drawings of men [Cmg 61].
Those growing artists who have been inhibited in their creativity by rules
or forces unreated to themselves, may retreat or resort to copying or tracing.
They may quickly adopt styles from others, constantly ask for help, or follw
examples of work that has been produced by their peers. Needless to say, the mere
command to stop copying and become creative accomplishes nothing [Cmg
64].
Apply sound intelligence against that. Intelligence is usually defined as
the ability to think in rational ways, to deal effectively with one's environment,
and to learn the kinds of things expected in school (and further, after that)
[Cmg 56-57].
Aesthetic form is not created by the imposition of any external rule, but
rather a creative work grows by its own principles [Cmg 62]. ¤
To have fun, pour coloured water into a large jar while growing artists
watch . . . Ask the growing artists to draw the water level. Do not try to correct
the drawings [Cmg 65].
Physical growth in a growing artist's creative work is seen in his ability
for visual and motor coordination, in the way he controls his body, guides his
line, and performs skills [Cmg 58].
Aesthetic development is certainly an integral part of
education—Aesthetics is also intimately tied to personality [Cmg 63,
62].
Be not distracted, but see well enough ahead!
THE STEREOTYPED repetition of a flower is repeated in a meaningless way
without any involvement or new experience shown on the part of the developing
artist. This may be an escape from facing a world of experiences and may in fact
be satisfying to the individual who made it [Cmg 55-56].
Education has been thought of as the cultivation of expression in an
organized manner—But learn to observe things on your own. Every artist
should. Why not observe a class of budding artists as they draw. Notice which ones
are restless, easily distracted, uncertain, or asking supposed superiors for
approval. Compare the art products of these growing artists with those of the
developing artists who appear to be very involved in their work and
self-sufficient. Look for stereotypes, inclusion of the self, simple objective
reports, rich detail, action of the figures, and aestheic quality. What
conclusions will you make? [Cmg 62, 64-65].
The relationships between intelligence tests are reasonably high.
Apparently, the development of artistic ability closely parallels a growing
artist's intellectual growth up to a certain age level.— But: There
are no set standards for aesthetics [Cmg 57, 62].
A drawing can provide the opportunity for emotional growth, and the extent
to which this is accomplished is in direct relation to the intensity with which
the creator identifies with his work [Cmg 54]. ¤
The art process itself provides a means of social growth. As a means of
communication, art becomes a social rather than a personal expression. The drawing
can then become an extention of the self out into the world of reality as it
begins to encompass others in the viewing of the subject matter [Cmg
60].
Each art material may have many ingredients and many
demands tied in to it somehow
THE LITERATURE on creativity has grown tremendously in the last few years.
This area is becoming of increasing concern [Cmg 64].
Aesthetic growth is often considered the basic ingredient of any art
experience. Aesthetics can be defined as the means of organizing
thinking, feeling, and perceiving into an expression that communicates
these thoughts and feelings to someone else [Cmg 62].
Each art material has different demands in terms of its aesthetic use [Cmg
62]. ¤
The Importance of Creativity
Being creative and being conform do not have to conflict a
lot with one another
A CRUCIAL period occurs in early adolescence, when attitudes are formed
that remain into adult life: feelings of personal worth and assessments of one's
place in the larger world—Along with this, growing artists create with the
aid of whatever knowledge they happen to have at the time [Cmg 70, 69].
Creativity dos not just happen. It is an essential part of the learning
process [Cmg 70]. ¤
In an area of conformity, of mental conformity, good art may or may not be
perceived to be of danger to the society; it depends on the content among other
things. Gross mind conformity, however, often is much of a threat to our society
[Cmg 69].
Development may be "portioned out" into sequences
PROBABLY the most crucial time in the encouragement of creative thinking
is when the growing artist is beginning formal schooling [Cmg 69].
At one time distinct stages were suggested for the development of creative
thinking. These consisted of an initial stage called Preparation, followed
by a thinking period called Incubation, which was background for the next
stage of Illumination, which was followed by a period called
Verification. These stages were looked on as sequential. Now it is outmoded
to think of creativity in so limited a format. Creativity is more closely related
to thinking abilities and to attitude development [Cmg 71].
Go for safety - also in the form of regulation matters
THERE IS real joy in discovery - which not only is its own reward but
provides the urge for continuing exploration and discovery [Cmg 71].
Creativity has been considered the opposite of conformity, but this may
not always be true. We have to conform a great deal in our society to rules and
regulations that mean safety for ourselves and others [Cmg 69]. ¤
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7 
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Supporting "well medleys"
are presupposed throughout:
