CHAPTER 7 - ARTISTIC AND CREATIVE LITERACY.pptx

Powerpoint Presentation for CPE109 Chapter 7

1. ARTISTIC AND CREATIVE LITERACY GROUP-6 LEMOSNERO, MACALA, MACASAGA, MAMARICO & MANGGIS CHAPTER 7

2. At the end of this chapter, you should be able to: Characterize artistic literacy; Discuss the value of art, education, and practical life; Identify approaches to developing/designing curriculum that cultivates the arts and creativity among learners; Formulate a personal definition of creativity; and Design creative and innovative classroom activities for specific topic and grade level of students. OBJECTIVES

3. The knowledge and understanding required to participate authentically in the arts. While individuals can learn about dance, media, music, theater, and visual arts through reading print text, artistic literacy requires that they engage in artistic creation processes directly though the use of materials and in specific space. Researchers have recognized that there are significant benefits of arts learning and engagement in schooling. (Eisner et al. 2002) ARTISTIC LITERACY

4. THE FLEXIBILITY OF THE FORMS COMPRISING THE ARTS POSITIONS STUDENTS TO EMBODY A RANGE OF LITERATE PRACTICES TO: Communicate complex ideas in a variety of forms; Use their minds in verbal and non-verbal ways; Image new possibilities; and Understand words, sounds or images; Persevere to reach goals and make them happen.

5. Being able to critically read, write, and speak about art should not be the sole constituting factor for what counts as literacy in the Arts (Shenfield, 2015). The cultivation of Imagination and creativity and the formation of deeper theory surrounding multimodality and multi-literacies in the Arts are paramount. ARTISTIC LITERACY

6. Being able to critically read, write, and speak about art should not be the sole constituting factor for what counts as literacy in the Arts (Shenfield, 2015). The cultivation of Imagination and creativity and the formation of deeper theory surrounding multimodality and multi-literacies in the Arts are paramount. ARTISTIC LITERACY

7. VALUABLE LESSONS OR BENEFITS THAT EDUCATION CAN LEARN FROM ARTS By: ELLIOT EISNER

8. Elliot Wayne Eisner was a professor of Art and Education at the Stanford Graduate School of Education and was one of the United States' leading academic minds. He was a visionary in the field of arts and education. He maintained that the arts were critical to developing skills in young students. ELLIOT EISNER

9. VALUABLE LESSONS or BENEFITS that Education can Learn from THE ARTS Form and content cannot be separated. How something is said or done shapes the content of experience In education, how something is taught, how curricula are organized, and how schools are designed impact upon what students will learn. Thus, the real main effects of practice are considered to be as “side effects”. 2. Everything interacts; there is no content without form and no form without content. When the content of a form is changed, so too, is the form altered. Form and content are like two sides of a coin. One cannot have one without the other.

10. VALUABLE LESSONS or BENEFITS that Education can Learn from THE ARTS 3. Nuance matters. To the extent to which teaching is an art, attention to nuance is critical. It can also be said that the aesthetic lives are the details that the maker can shape in the course of creation. How a word is spoken, how a gesture is made, how a line is written, and how a melody is played, all affects the character of the whole. All depend upon the modulation of the nuance that constitute the act. 4. Surprise is not to be seen as an intruder in the process of inquiry, but as a part of the rewards one reaps when working artistically. No surprise, no discovery; and if there’s no discovery, there will be no progress. Therefore, educators should not resist surprise, but create the conditions to make it happen. It is one of the most powerful sources of intrinsic satisfaction.

11. VALUABLE LESSONS or BENEFITS that Education can Learn from THE ARTS 5. Slowing down perception is the most promising way to see what is actually there. It is true that we have certain words to designate high levels of intelligence. We describe somebody as being swift, or bright, or sharp, or fast on the pickup. Yet, one of the qualities we ought to be promoting in our schools is a slowing down of perception: the ability to take one’s time, to smell the flowers, to really perceive in the Dewayan sense, and not merely to recognize what one looks at. 6. The limits of language are not the limits of cognition. We know more than we can tell. Literacy is associated with high-level forms of cognition. We tend to think that to know, one has to be able to say. As Michael Polany reminds us, we know more than we can tell. That is, the implications of that idea are profound for education.

12. VALUABLE LESSONS or BENEFITS that Education can Learn from THE ARTS 5. Slowing down perception is the most promising way to see what is actually there. It is true that we have certain words to designate high levels of intelligence. We describe somebody as being swift, or bright, or sharp, or fast on the pickup. Yet, one of the qualities we ought to be promoting in our schools is a slowing down of perception: the ability to take one’s time, to smell the flowers, to really perceive in the Dewayan sense, and not merely to recognize what one looks at. 6. The limits of language are not the limits of cognition. We know more than we can tell. Literacy is associated with high-level forms of cognition. We tend to think that to know, one has to be able to say. As Michael Polany reminds us, we know more than we can tell. That is, the implications of that idea are profound for education.

13. VALUABLE LESSONS or BENEFITS that Education can Learn from THE ARTS 7. Somatic experience is one of the most important indicators that someone has gotten it right. Somatic experience is abody knowledge; a sense of rightness of fit, an ability to discriminate without being able to articulate the conditions that made it possible. Thus body knows and forms the basis for intuition. As Susanne Langer once commented, "the senses are our first avenues to consciousness”. Therefore, there is nothing in the head that was not first in the hand. 8. Open-ended tasks permit the exercise of imagination, and the exercise of imagination is one of the most important of human aptitudes. In the arts, imagination is a primary virtue, not necessity, which is the mother of invention. It should be in the teaching of mathematics, in all the sciences, in history and, indeed, in virtually all that humans create. This achievement would require for its realization a culture of schooling in which imaginative aspects of the human condition were made possible.

14. CHARACTERIZING ARTISTICALLY LITERATE INDIVIDUALS

15. use a variety of artistic media, symbols, and metaphors to communicate their own ideas and to respond to the artistic communications of others; develop creative personal realization in at least one art form in which they continue active involvement as an adult; cultivate culture, history, and other connections through diverse forms and genres of artwork; find joy, inspiration, intellectual stimulation, and meaning when they participate in the arts; and seek artistic experiences and support the arts in their communities. LITERATURE ON ART EDUCATION AND ART STANDARDS IN EDUCATION CITED THE FOLLOWING AS COMMON TRAITS OF ARTISTICALLY LITERATE INDIVIDUALS:

16. ISSUES IN TEACHING CREATIVITY

17. SIR KEN ROBINSON In his famous TED talks on creativity and innovation, Sir Ken Robinson (Do schools kill creativity? 2006; How to escape education’s Death Valley?, 2013) stressed paradigms in the education system. He emphasized that schools stigmatize mistakes. Curriculum competencies, classroom experiences, and assessment are geared toward the development of academic ability. Students are schooled to pass entrance exams in colleges and universities later.

18. educate the well-being of learner and shift from the conventional leanings toward academic ability alone; give equal weight to the arts, the humanities , and the physical education; facilitate learning and work toward stimulating curiosity among learners; awaken and develop powers of creativity among learners; and view intelligence as diverse, dynamic, and distinct, contrary to common belief should be academic ability-geared. BECAUSE OF THIS PAINFUL TRUTH, ROBINSON CHALLENGED EDUCATORS TO:

19. In “First Literacies: Art, Creativity, Play, Constructive Meaning-Making,” McArdle and Wright asserted that educators should make deliberate connections with children’s first literacies of art and play. The authors proposed four essential components to developing or designing a curriculum that cultivates students’ artistic and creative literacy.

20. A creative curriculum will not simply allow, but will actively support, and play and playfulness. The teacher will plan for learning and teaching opportunities for children to be, at once, who they are not, transforming reality, building narratives, and mastering and manipulating signs and symbol systems. IMAGINATION AND PRETENSE, FANTASY, AND METAPHOR

21. In a classroom where children can choose to draw, write, paint, or play in the way that suits their purpose and/or mood, literacy learning, and arts learning will inform and support each other. ACTIVE MENU TO MEANING MAKING

22. A creative curriculum requires a creative teacher, who understands the creative processes, and purposefully supports learner in their experiences. Intentional teaching does not mean drill and rote learning and, indeed, endless rote learning exercises might indicate the very opposite of intentional teaching. What makes for intentional teaching is thoughtfulness and purpose, and this could occur in such activities as reading a story, adding a prop, drawing children’s attention to a spider’s web, and playing with rhythm and rhyme. INTENTIONAL, HOLISTIC TEACHING

23. Educators must be reminded of the importance of understanding children as current citizens, with capacities and capabilities in the here and now. It is vital for teachers to know and appreciate children and what they know by being mindful of the present and making time for conversation, interacting with the children as they draw. Teacher must try to avoid letting the busy management work of their days take precedence and distract them from the ‘being. CO-PLAYER, CO-ARTIST

24. THANK YOU! Hope you learn something from our discussion!