Techniques for Motivating Students in Art

Techniques for Motivating Students in Art SYNOPSIS FOR DISSERTATION Exploration of selected water colour techniques to motivate students in painting. An action Research at Form IV level. INTRODUCTION Learning is an ongoing process that occurs every minute in the field of education. Learning means to gain knowledge or skill by studying, practicing, being taught, or experiencing something. As teacher, our goal is to encourage learning in the classroom. The purpose of this study is to carry out an action research through selected watercolour techniques to improve pupil’s performance. A student comes in class with a certain degree of motivation. But, teacher’s behavior and the way of his teaching, the structure of the course, and interactions with the students all have a broad effect on the student motivation. There are three things to remember about education as per Maher and Meyer’s concept (1997, p 377), â€Å"the first is motivation, the second is motivation and the third is motivation.† Teaching effectively involves not only the use of tools, techniques, and strategies to optimize student learning but an understanding of context, in particular how your students learn, how they process information, what motivates them to learn more, and what impedes the learning process. Its not easy keeping children interested and motivated in classroom instruction. However, several tips and selected techniques can help teachers actively engage students and encourage them to learn and interact positively with others. THE RATIONALE In the course of my teaching of Art and Design at form four level in my college, I have noticed that there are some topics where students meet difficulties. The subject has been introduced since more than 35 years at Hamilton College Girls department, at Mahebourg, students have adopted the teacher centred approach and depend entirely on what the teacher gave them as instructions. Since, the majority of the students come from different socioeconomic backgrounds and they are mostly low achievers, they should be boost up in creating their own learning environment whereby they know what and how they are doing it. At form four levels, students will be having enough time to adapt to the new teaching and learning techniques which will be implemented. Enough time will be given to them for active learning during their practical classes.. Purpose and justification of the study I have been working as a practicing teacher for almost 15 years in a private secondary school, located in a coastal area. I have been teaching art and design both in lower and upper classes. When I started working with Form IV students this year I noticed that pupils at this level perform very poorly while using water colour technique in their painting. They had great difficulties in handling this media. They lack confidence and hence they fear to spoil their drawing and painting. When these pupils undergo the examinations, they come with poor results. These are some of the reason for me to use some selected watercolour techniques to boost up their level, thus ensuring better examination results. Students Profile Usually students who pass the CPE (Standard VI) with C, D, and E are admitted in the school. Very rarely a student is seen to have been admitted with B’s and least often with A’s. Apart from their low intellectual baggage, pupils from this school come from coastal regions like Grand Port, Bois des Amourettes, Grand Sable and other neighboring villages. Their social background is quite poor as there are many girls who have only one parent or who live with grandmothers or aunts- the result of broken homes due to alcoholic parents. The pupils do not have art materials most of the time. The absenteeism rate is quite high. Low ability pupils Low ability pupils are those pupils whose pace of learning is very slow and they exist in all schools. They should be provided more time than the average and high achievers so that it will be easy for them to grasp the basic of the learning activities. These students need special help over a lengthy period from the teachers. Some causes of low achievers are poverty, broken family, emotional or personal factors. Aims of the study To apply selected water colour techniques in the class in order to promote learning among students in practical classes. This research has objectives as: To create an interest in painting using watercolour among the pupils and encourage participation in class. To make students aware of different water colour techniques in painting. To promote self-learning. Implement the selected strategies in the class. Analyse and reflect critically whether the use of the strategies have been effective. Improve pupil’s performance Effectively use elements and principles of design while painting with water based paint. Problem statement Aproblem statementis a concise description of the issues that need to be addressed by a problem solving team and should be presented to them (or created by them) before they try to solve the problem. The primary purpose of aproblem statementis to focus the attention of the problem solving team. As I have mentioned above that pupils at Form IV level perform very poorly while using water colour technique in their painting. They had great difficulties in handling this media and they lack confidence and hence they fear to spoil their drawing and painting. So certain questions should be put forward to remedy the situation in art and design classes. Research Questions: What are pupils’ overall perception in painting with watercolour? Why do pupils perform poorly while using watercolour techniques? Can selected watercolour techniques boost up pupil’s performance while painting? LITERATURE REVIEW This chapter highlights the theoretical and empirical literature of this study on the exploration of selected water colour techniques and motivation of students. Many college teachers today want to move from passive learning to active learning, to find better ways of engaging students in the learning process. I have gone through the book â€Å"WATERCOLOUR† by the author Milind Mulick where it is mentioned that watercolour as an independent genre was brought in vogue by Joseph Turner and John Constable, two British painters of the 18th century. John Singer Sargent, Winslow Homer, William Russell Flint took the art of watercolours to new heights. In this book Milind has mentioned the important features of water colour, techniques and about the materials to be used, such as paper brushes and paints. He has also written about the practice, composition and sketching which is the beginning of drawing. The demonstration part of the book will greatly help students understand the application of water colour throughout the painting of landscape. Exploring Watercoloris to discover new ways to get expressive with colourideas for using natures patterns to inspire enticing designshow to expand your repertoire and unleash your creativity by experimenting with freeform collages, found imagery, and other innovative techniques. Wherever you are as an artist, this hands-on guide (Exploring watercolour Techniques by Elizabeth Grove)will help you master the watercolor medium and develop your individual style, and move beyond a literal rendering of your subject matter. MOTIVATION Motivationis a  psychological  feature that arouses an organism to act towards a desired  goal  and elicits, controls, and sustains certain goal-directed behaviors. Motivation involves a constellation of beliefs, perceptions, values, interests, and actions that are all closely related. Motivation is an important factor in learning. Type of motivations Intrinsic and Extrinsic motivation. Intrinsic motivation means that the individuals motivational stimuli are coming from within. Intrinsic motivation is motivation that is animated by personal enjoyment, interest, or pleasure. Extrinsic motivation means that the individuals motivational stimuli are coming from outside. In other words, our desires to perform a task are controlled by an outside source. Motivation refers to â€Å"the reasons underlying behaviour† (Guay et al., 2010, p. 712). â€Å"Motivation in school learning involves arousing, sustaining and desirable conduct† (Woolfolk, 1988). It depends upon how well a teacher can arouse the interests and motives of student. â€Å"The ultimate goal of schools is to transform its students by providing knowledge and skills and by building character and instilling virtue† (Sergiovanni, 1991). Motivation has been defined as the level of effort an individual is willing to expend toward the achievement of a certain goal. Biehler and Snowman (1993) state that â€Å"motivation is typically defined as the forces that account for the arousal, selection, direction, and continuation of behavior†. responsibility is to create the conditions that will enhance students’ motivation to pursue academic goals actively over a long period of time. MASLOW THEORY OF MOTIVATION â€Å"If you have a hammer, you tend to see any problem as a nail,† meaning, the more tools you have in your toolbox, the better prepared you are to face any challenge that awaits you.† â€Å"A musician must make music, an artist must paint, a poet must write, if he is to be ultimately at peace with himself.† â€Å"In you lies something, a passion that makes you truly happy. Find it and don’t let go.† (www.youmotivation.com/-By Abhaham Maslow) Water COLOUR PAINTS Paint is an ideal medium for developing the child’s sensitivity to colour, because it is fluid and its effects are immediate. It is important to explore the expressive and descriptive effects of a variety of colour media and to encourage adventurous use. Colour awareness promotes sensitivity to and enjoyment of colour in the child’s surroundings and is further enhanced when the child has opportunities to look at the work of artists. Watercolor paint is made by mixing pigments with a binder, usually gum Arabic, and then applying it with water to a support such as vellum (fine animal skin) or paper. It also contain glycerin, ox gall and preservative for the durability of the pigment. The water evaporates and the binder fixes the pigment to the support. Watercolor was used long before Prehistoric humans in the Paleolithic ages painted the walls of their caves with mixtures of ochre, charcoal, and other natural pigments. Watercolors were also painted on papyrus and used in Egyptian art forms. In Asia, traditional Chinese painting with watercolors developed around 4,000 B.C., primarily as a decorative medium, and by the 1st century A.D., the art of painting religious murals had taken hold. By the 4th century landscape watercolor painting in Asia had established itself as an independent art form. While early European artists prepared their own watercolor mixtures for fresco wall painting, this was soon applied to paper. Some of the 20th-century artists who produced important works in watercolor are Wassily Kandinsky,  Emil Nolde,  Paul Klee,  Egon Schiele and  Raoul Dufy. Watercolor painting emerged in Europe during the Renaissance period with advancements in papermaking. Modern watercolor paints are now as durable and colorful as oil or acrylic paints, and the interest in drawing and multimedia art has also encouraged demand for fine works in watercolor. Watercolor has been around since painting began, but didn’t really take off until the Renaissance. The German printmaker Albrecht Durer was an early practitioner, and found the medium ideal for small, detailed studies. Many beautiful landscapes, portraits, and other scenes have derived from watercolor paintings. Some of the famous authors of these paintings are Marina Abramoviac, Yaacov Agam, Constantin Alajalov, Henri Matisse, Rene Magritte, and Alfred Maurer. These painters are known for having created some of the most remarkable works of watercolor art.. Clapp’s opinion about water colour,†I would suggest a student just work with one colour, monochromatically, for a while. This will allow seeing more clearly the effects of different brushes and amount of water you are using.† â€Å"If I were to teach a water colour class, there are really only a couple of things I would do that are different from how I would teach any painting in any media. Both of these ideas address the heart of the problem people face when trying to paint in water colour.’ â€Å"Since the amount of water in the brush controls your values, edges, and the kind of marks you can make, you cannot paint well in the medium, until you understand how to control the amount of water in your brush.† THE SELECTED STRATEGIES It is proposed that strategies promoting active learning be defined as instructional activities involving students in doing things and thinking about what they are doing. The selected ones are: Demonstration Pair and share Guided lecture Class Discussion Peer teaching SELECTED TECHNIQUES I will choose three technique from the following: Wet on wet Wet on dry Sponge wash Splatter Resist Salt texture METHODOLOGY The study necessitate an action research. Action research in classrooms involves the teacher directly. Peer teachers, the Rector, teachers, students and classroom researchers are part of the process. An action research is a process in which participants examine their own educational practice systematically and carefully used techniques of research and it is based on the following assumptions: It involves: a specific problem within a particular classroom Planned action elements of the formal research improvement of classroom practice. Contributes to the self evaluation process I am going to do an action research for the actual problem(difficulty in using watercolour techniques) of the Form IV students. I will look for some new methods to motivate students and to enhance their performance. Sample The study will be targeted at students of form four studying Art and design at Hamilton College Girls Department. A class sample of 10 students will be taken from two different classes. For group work the students will be selected randomly as the class is considered to be a mixed ability one but the number of low achievers is quite high. Interview and observation Interviews will be carried out with the students during the class or after and the feedback of students will be noted. Students will be observed by the teacher during their practical classes and their approaches towards the lesson on a particular topic will be noted. Use of assessment both summative, formative and diagnosis and the use of mark sheets. (ii) Method to be used during class Observation Checklists Formulated questions Cycle 1 Direct teaching – teacher centered – chalk and talk Cycle 2 2 Lesson plans use of selected watercolour techniques Expectation of results above 60% Comparison between cycle 1 and cycle 2 Cycle 3 More lessons on watercolour techniques. (iii)Analysis and Interpretation of data Data will be represented as: Bar chart Pie chart Conclusion I will investigate through the research and come to a conclusion and I hope that this study will be useful to teachers in better creating the conditions that will foster students participation. BIBLIOGRAPHY Barry K King L, (1998), Beginning Teaching and Beyond, 3rd Edition. http://barrycoombs.wordpress.com/tag/watercolor-demonstration/ http://voices.yahoo.com/21-ways-motivate-students-art-class-guide-5440335.html?cat=4 http://olc.spsd.sk.ca/DE/PD/instr/categ.html http://www.crlt.umich.edu/gsis/p2_5 http://www.bing.com/search?q=exploring+watercolour+techniquesgo=qs=nform=QBREpq=exploring+watercolour+techniquessc=0-0sp=-1sk=

Different Styles of Imitation Essay

In The Transmission of Knowledge by Juan Luis Vives, Vives describes his idea of proper imitation. His basic theory is that people are not innately born with skills of art or rhetoric and therefore, these skills are obtained through the imitation of other skilled artists or rhetoricians. This idea is parallel to those of Petrarch and Alberti. Petrarch and Vives both say that proper imitation should be analogous to the way a son resembles his father. Vives says â€Å"A son is said to be like his father, not so much in that he recalls his features, his face and form, but because shows to us his father’s manners, his disposition, his talk, his gait, his movements, and as it were his very life, which issues forth in his actions as he goes abroad, from the inner seat of the spirit, and shows his real self to us.† (190) Petrarch says, similarly, â€Å"As soon as we see the son, he recalls the father to us, although if we should measure every feature we should find them all different.†(199) The father to son resemblance is the basis of imitation to both these authors. They both believe that a good writer should use imitation in a way where what they imitate resembles the original, but does it not duplicate it. For Petrarch and Vives, this can be achieved by properly integrating reading with writing. They both believe that by reading something and being able to digest it thoroughly, one can transport the overall idea and feeling of what he read onto his own writing. This creates a deep imitation, rather than copying what a writer says in different words. Both authors use the father to son metaphor to show that imitation should be meaningful and evocative. Petrarch supplements this idea by claiming that reading should be an alterative to experience. As one would in a sense â€Å"experience† the father through the son, one should similarly be able to experience the author a writer imitates. To illustrate this he referrers to â€Å"wandering† and â€Å"transport† throughout his works. Specifically, Petrarch interchanges writing with experience when he describes climbing Mont Ventroux. He says â€Å"But nature is not overcome by a man’s devices; a corporeal thing cannot reach the heights by descending† and, further, â€Å"there I leaped in my winged thought from things corporeal to what is incorporeal and addressed myself in words like these†¦Ã¢â‚¬  (39) The physical and spiritual are linked so closely together that they transport and overlap one another. According to Petrarch, characteristics like this are traits of a good imitator. Vives also relates to the kind of imitation which interchanges the bodily action with spiritual. He describes an oration, which links actions with rhetoric. He says â€Å"But these modern imitators regard not so much the mind of the orator in his expression, as the outward appearance of his words and the external for of his style.† (191) Both writers believe that by interchanging techne which psyche, one can properly imitate and transcend a deeper significance of what the writer is imitating. Although Petrarch and Vives share similar ideas, they also hold a contradictory belief: Petrarch only imitates Cicero, while Vives believes that one should imitate several models to create a single work. Although Vives clearly states that Cicero is the best model for writing in the conversational style: â€Å"Caesar and Epistles of Cicero will come into the first rank of conversational style,† (192) he also states that one should comprise writing by mimicking several writers: â€Å"The more models we have and the less likeness there is between them, the greater is the progress of eloquence.† (190) Foremost, Petrarch is not writing in the conversational style, instead he using the plain style. Therefore, he should mimic another writer from the list Vives has specified. Also, Petrarch is only interested in imitating one writer, Cicero. He defends the Ciceronian tradition by writing only in Cicero’s style. For this reason, Petrarch does not read other writers, like Dante, because he is afraid that he will become the product of what he reads, ideas and style. Instead he immerses himself in Cicero’s style by reading his work in such depth that he essentially writes in Cicero’s style without knowing he is doing so. Vives respects Cicero’s work, but he does not believe that Cicero is the best writer. Other than Vives’ belief that Petrarch should have imitated several conversationalists, Vives also states that â€Å"imitation of Cicero’s work is useful and safe, but not of his style; for if anyone cannot achieve success in the attempt he will degenerate into redundant, nerveless, vulgar and plebeian kind of writer.† (191) Therefore, the difference between Vives and Petrarch is that Vives believes that one should imitate several writers and that Cicero is not the best writer. Further, he offers a list of writers which should be imitated when trying to achieve a certain style. Petrarch, on the other hand, writes in Cicero’s style and believes that Cicero should be imitated while engaging in every kind of writing. Alberti was an author who was more like Vives in this sense. He also believed that one should embrace all the things which would make something beautiful into one. For example, he says that all arts are linked to painting somehow, and that all arts take from incorporate the skills associated with painting into their works: â€Å"The architect, if I am not mistaken, takes from the painter architraves, bases, capitals, columns, faà ¯Ã‚ ¿Ã‚ ½ades and other similar things. All the smiths, sculptors, shops and guilds are governed by the rules and art of the painter. It is scarcely possible to find any superior art which is not concerned with painting. so that whatever beauty is found can be said to be born of painting .†(Book II) Furthermore, it was important to Alberti to imitate the laws of nature, rather than nature itself. He pointed out that an architect should mimic the structure of reality and the geometry hidden in reality. Like Vives and Petrarch, Alberti joined the bodil y with the spiritual to create the perfect art. But, he resembles Vives, in the sense that he believes that one should imitate several things to create one thing. One difference between Alberti and Vives is that Vives believes that one should start out imitating a person who is not the best at what he does, but someone who is better than the imitator. Eventually, according to Vives, one should be able to move up in rank and imitate the best. He says â€Å"it is a wise precept of M. Fabius Quintilian that boys should not at first attempt to rise to emulation of their master, lest their strength fail them. An easier and quicker method will be to let them imitate someone more learned than themselves among their fellows, and contending with him let them gradually rise to copying their master himself.† (189) Alberti does not mention this method of imitation. Instead he says that when it comes to art, on must have â€Å"the favors of nature.† (Book I) In other words, Alberti strongly believes that one should have a natural talent for what he is doing, and that the gradual chain of improvement is not necessarily an established method, a s Vives indicates. Also, Alberti uses a style that is short and to the point. He says â€Å"I beg that I may be pardoned if, where I above all wish to be understood, I have given more care to making my words clear than ornate. I believe that which follows will be less tedious to the reader. (Book I) This type of frankness is a distinguished style of writing. He uses simple rhetoric so that his audience can grasp the idea quickly. This kind of style corresponds to the type of art he is writing about. He says that he writing about a new type of art: â€Å"We are, however, building anew an art of painting about which nothing, as I see it, has been written since this age.†(Book II) His new style is imitating his concept of having a different type of manual towards art. Also, his main is to gear away from the Ancients and more towards the Florentine. By changing his style of writing he is achieving this, not only through what he saying about graduating art from mechanical to liberal, but also through his style and techne. Both Alberti and Vives spend time discussing subject matter. Vives splits up who should be imitated based on the subject of the piece being writer. Similarly, Alberti pays attention to the subject matter of the painting. He says that an image can only bring pleasure of the subject matter of the painting brings pleasure. Alberti believes that one must imitate the feeling he wants the viewer to have in the subject of his painting for the artwork to be successful. This is what Vives is saying when he illustrates that one must pick the best writer in the subject that he wants to write about and imitate that style to be successful. Both Petrarch and Alberti can be compared with Vives and his ideas on imitation. To all three writers imitation plays a huge role on how to present written and artistic works. All three of them believe that imitation of others will lead to success. Further, they believe that imitation is the only way to learn how to write properly. Alberti adds another assumption: he says that to be the best, one must imitate, but before the imitation process takes place, one must have a natural talent for art. Petrarch and Alberti both believe that one must mimic what they believe is the right tradition through their styles. Petrarch believes in the Ciceronian tradition and follows in Cicero’s footsteps by imitating his style. Alberti is more concerned with understanding than the use of eloquent language. Overall, to all three writers imitation plays a huge role in their understanding of how written works influence their audiences.

America Is Not So Great - 850 Words

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Sex Offenders And Sexual Abuse - 1937 Words

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Sexual assault can involve physical contact which involves unwanted touching, penetration, etc. Sexual assault also includes no physical contact which would include sexual solicitation through the internet as well as sexual adv ances via internet, or cell phone etc. Profiling of sex offenders often leads to many misconceptions. Often times an average person would argue that sex offenders are white uneducated males. Also that they are unemployed with a poor family history and past criminal records. This isn’t always the case, a much higher percentage of sex offenders are male but there are female offenders. Examples of female offenses can be a mother who knew that her child was being assaulted and chose not to doShow MoreRelatedThe Alcohols/Drug Scale Identifies Use in Youth1278 Words   |  6 Pagesbetween maltreated and non-maltreated female juvenile offenders (Roe-Sepowitz and Krysik, 2008). 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The following studies haveRead MoreChildhood Victimization And Adult Criminals Essay1474 Words   |  6 Pageschildhood abuse, neglect, or sexual abuse and adult criminals. A common assumption amongst those in the field of criminal justice is that most adult criminals were victims of physical abuse, sexual abuse, and/or neglect in their childhood. A study by Steele in 1975 found that, of 200 detained juvenile offenders, between 72% and 84% had backgrounds of child abuse (Weeks Widom, 1998). A 1979 study by Lewis, Schanok, Pincus, and Glaser found that of a sample of male juvenile offenders, 75% had experiencedRead MoreJuvenile Female Sex Offenders : Offender And Offence Characteristics933 Words   |  4 PagesAssignment #1 CRIJ 2313-Dr.Koenigsberg 9/17/14 Juvenile Female Sex Offenders Wijkman, Miriam, Catrien Bijleveld, and Jan Hendriks. Juvenile Female Sex Offenders: Offender And Offence Characteristics. European Journal Of Criminology 11.1 (2013): 23-38. European Journal Of Criminology. Web. 14 Sept. 2014. http://euc.sagepub.com/content/11/1/23. For this critical paper I evaluated the article, Juvenile Female Sex Offenders: Offender And Offence Characteristics†. This article conforms to the libraryRead MoreThe Statistics Of Prevalence For Child Sex Abuse Essay1483 Words   |  6 PagesThe statistics of prevalence for child sex abuse varies because of all the unique cases of child sex abuse that is reported. Although, statistic show that one in three girls will be sexually abused at one point in the United States and boys are one in seven to be sexually abused (Anderson, 2014). Children are not susceptible to crime as shown in the statistics because predators like pedophiles have fetishes towards little boy or girls. One study found that 10% of children experienced or came closeRead MoreCharacteristics Of Juvenile Sex Offenders892 Words   |  4 Pages Juvenile Sexual Offending Sex offenders are described as a person who commits a crime involving a sexual act. They are people convicted for sexual crime in a criminal court. Sex offenders make a high percentage of the offender population and are considered special circumstance offenders. Sex offenders typically use sex as a coping mechanism. Juvenile sex offenders are those age from adolescences to an adult, who committed a sexual act without consent both physically and verbally. The differenceRead MoreThe Consequences Of Early Studies On Attraction To Children1380 Words   |  6 Pagesstudies on the victim-offender cycle specifically regarding CSA became more frequent in the late 1990’s, so the studies summarized in this section will be studies based off these early studies. The more recent studies have improved upon older studies by great measures, so it is necessary only to go into depth with the newer information. One of the earliest relevant studies was performed in 1996 by Briggs and Hawkins, where they took a convenience sample group of male sex offenders against children whoRead MoreChild Molestation And Its Effect On Children1638 Words   |  7 Pagesof the nature of the crime or offense. One of the most traumatizing experiences that a child can ever encounter in their adolescent life is sexual abuse. Child molestation has been inflicted on many children throughout history and most will agree that it is a harmful and despicable act, however do we know why it occurs? Do we know what causes child sexual abuse and does it have the same effect on every child? Are some children even aware of the fact that they are being victimized? There are many questionsRead MoreWhy Do Sex Offenders Do The Things They Do?971 Words   |  4 Pagespedophiles, sexual assault, sex offenders, and the role that you can play in keeping your community protected. Unfortunately, sex crimes are not the exception in our country. Statistics indicate that one in every five girls and one in every seven boys are sexually abused by the time they reach adulthood (CSOM, 2006). â€Å"One in six adult women and one in 33 adult men experience an attempted or completed sexual assault. 1 in 6 female children and 1 in 20 boys are victims of sexual abuse† (NCVC, 2015)Read MoreSexual Abuse And Its Effect On Children1517 Words   |  7 Pages In the state of California predatory offenses consist of sexual battery by restraint, misdemeanor child molestation, lewd and lascivious acts with a child under the age of 14 or 15, continuous abuse of a child, statutory rape, annoying a molested child under the age of 18, oral copulation, solicitation of a minor, continuous sexual abuse of a child, and lewd and lascivious of a child under the age of 14. Sexual crimes is one of the most world wide offense, and in California is no different from