A study of certain methods of motivating students in pre-college art classes
by Donald Lee Walters
A thesis submitted to the Graduate Faculty in partial fulfillment of the requirements for the degree of
MASTER OF APPLIED ART
Montana State University
© Copyright by Donald Lee Walters (1969)
Abstract:
The purpose of this study was to determine successful methods of motivating K-12 art students, as
identified by experienced teachers of selected school districts, in the state of Montana, for the years
1967-69.
The problem was discussed with the city art supervisor of Great Falls, Montana; and with his
cooperation a questionnaire was compiled and distributed to four hundred local teachers connected
with teaching art in their classrooms, A return of over seventy-five per cent of the completed
questionnaires was received and evaluated in conjunction with twenty-eight personal interviews and
personal observations by the author. The teachers were asked to identify the types of motivation which
they found to be most successful.
The use of demonstrations as an aid to motivate in the art classroom was recorded from the survey and
the interviews as the most successful aid to the teacher. Teacher enthusiasm and the use of displays
also ranked very high in the study of the teachers of art.
It was shown that there were a variety of ways to motivate, but the teachers did not rely on any one
certain method; rather, they incorporated several within an art lesson. It was also found in the study that
there is no single motivational factor that can be termed successful for all art situations.
This research also showed that there is a use for further investigation in the subject of motivational
techniques in the art room. In p re se n tin g th is
th e s is in p a r t i a l fu lfillm e n t of th e req u ire^
m e n ts f o r a n .advanced d e g r e e a t M ontana S t a t e U n i v e r s i t y y I a g r e e t h a t
t h e l i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r i n s p e c t i o n .
I fu rth e r
a g re e t h a t p e rm is s io n f o r e x te n s i v e co p y in g o f t h i s t h e s i s f o r s c h o l a r l y
p u r p o s e s .may be g r a n t e d by m y .m a jo r p r o f e s s o r , . o r , i n h i s a b s e n c e ,, by
th e D irecto r, o f L ib r a r ie s .
It
i s u n d e r s t o o d t h a t any c o p y i n g o f p u b l i c a ­
t i o n o f t h i s t h e s i s f o r f i n a n c i a l g a i n s h a l l n o t be a l l o w e d w i t h o u t my
w r itte n p erm issio n .
S ig n a tu re
D a te
■
(K
A STUDY OF CERTAIN METHODS
OF MOTIVATBJQ STUDENTS'
IN PRE-COLLEGE ART CLASSES
*
DONALD LEE WALTERS .
A t h e s i s su b m itted t o th e Graduate F a c u lty i n p a r t i a l
f u l f i l l m e n t o f th e req u irem en ts fo r th e d eg ree
of
MASTER OF APPLIED ART
Approved:
M k d , Major Department
Chairman, E xan in in g Comm^-^e
MONTANA STATE UNIVERSITY
Bozeman, Montana
A ugust, 1969
iii
.
ACKNOWLEDGEMENTS
The s t a f f o f th e S ch o o l o f Art o f Montana S ta te U n iv e r s ity and Dr0 Harry
H ausser,. P r o fe ss o r o f P h ilo so p h y , Montana S ta te U n iv e r sity *
John B ashor, Chairman, Art D epartm ent, Montana S ta te U n iv e r sity *
James P oor, Art S u p e r v is o r , Great F a l l s , Montana, th e te a c h e r s o f Great
F a l l s , Montana, and th e te a c h e r s in te r v ie w e d .
Dre Thomas Q0 Kennedy, W estern Montana C o lle g e , D ill o n .
C la r ic e W a lter s, my w ife*
TABLE OP CONTENTS
CHAPTER
PAGE
* » * * @ . . 0 * 0 0 0
X• XNTRODUCTION
Im portance o f th e stud y
The Problem
* . ........................* . . .
. . .
I
* .
I
. . o * . . . * * * * * . * * * . . * * * * . .
2
S tatem en t o f th e pz*oblem . . * « . ................... .... *
D e f in it io n s o f Terms Used
. . . . . . . e *
S u c c e ssfu l . . . . » * * .
o * .
■ 2
........................ . .
. . . . . * o @.
2
@ . . .
2
M o tiv a tio n . . * * . * . . * . . . * . . . * . ■* . * * . .
2
E xp erienced
3
. * ■ * * . * * • . . * * * * * . * . * * . * *
S tu d ie s
E xperim ents
3
....................................................................
3
E v a lu a tio n . . . . . . . . . . . . . . . . . . . . . . . .
3
P r o je c t
R esearch D esig n
' * . o
. . . . . .
# . . . o .
* « 0 0 . 000
3
. * . . . . . # . .
it
I n s t r u m e n t s .......................
II.
h
D e lim it a t io n s o f th e Study . . . . . . . . . . . . . . . . .
U
O rg a n iza tio n o f th e Study
U
. . . . . . . . . . . . . . . . .
REVIEW OF THE LITERATURE . . . . . . . .
B a sic f a c t o r s o f m o tiv a tio n
Im portance o f th e te a c h e r
. .
. . . . . . . . . .
. . . . . . .
.. «.
. .
6
.
o . . . . .
7
. . . .
. . . . .
.
7
O b je c tiv e s o f t h e l e s s o n ................... .... . . . . .
. . . . .
.
9
I n s t r u c t o r 's in f lu e n c e on th e stu d en t
. . . . .
0. . .
.
9
T a le n t . . . * . * . . . . . . . - .
. . * *
. . . ...
.
10
M o tiv a tin g t h e in h ib it e d . . . . .
.
. . . . . . . . . . . .
10
V
CHAPTER
III.
PAGE
M o tiv a tin g th e s e lf - c o n s c io u s
11
M o tiv a tin g t h e u n in te r e s te d
11
M o tiv a tio n from g u e st a r t i s t s . . o o o « . o . « . o C e
12
O v er-m o tiv a tio n o o o o o o o o e e o * * * * * * * * * *
■12
TECHNIQUES TO MOTIVATE H THE ART CLASSROOM . . . . . . . . .
H1
I n t r i n s i c and e x t r i n s i c m o t i v a t i o n ......................
Ii 1
What !takes a good te a c h e r ......................................................
Ii 1
T ea ch ers' i d e a l working c o n d itio n s
........................ . . . . .
17
. . . . . . . . . . . . .
I?
S tu d e n ts • cla ssro o m c o n d itio n s
A r t i s t —te a c h e r
. . # * . . . * . . * . . . . . . . * @..
Im portance o f in tr o d u c tio n
. . . . . . . . . . . . . . .
18
19
C la ss d is c u s s io n
20
Use o f themes w ith d is c u s s io n . . . . . . . . . . . . . .
21
Use o f e x a m p le s .......................
22
Proper ca re and u se o f equipm ent
. . . . . . . . . . . .
2li
D ev elo p in g s k i l l s and te c h n iq u e s
. . . . . . . . . . . .
26
F ie ld t r i p s
S u b ject m a tte r
28
. . . . . . o . . . . . . . . . . . . . .
31
Time l i m i t a tid n s
32
Changing a c t i v i t i e s . . . .
Group p r o j e c t s
. . . . . . .
. . . . . . . .
. . . . .
S tu d en t e v a lu a tio n and c r i t i c i s m
T eacher e v a lu a tio n
. . . . . . .
.
32
.................................
3k
. . . . . . . . . . . .
. . . . . . . . . . . . . . .
i . . .
%: •.
•■ .
.
• r- ' -
'
3h
.
36
vi
CHAPTER
IVe
PAGE
REPORT OF FINDINGS............................ * . . . . . . ................................. 3?
R eview o f th e P r o b l e m ................................
37
Fxndings e e e o e e e e e e e e e e e e e e e e e e e e e e
39
M o tiv a tio n a l f a c t o r s f o r f i r s t grade e e e e e e e e e o o
M o tiv a tio n a l f a c t o r s f o r secon d grade
e e e e e e e e e e
U2
M o tiv a tio n a l f a c t o r s f o r t h ir d grade . ............................
UU
M o tiv a tio n a l f a c t o r s f o r fo u r th g r a d e ................................. .... „
Ve
M o tiv a tio n a l f a c t o r s f o r f i f t h grade e e ....................................
U6
M o tiv a tio n a l f a c t o r s f o r s i x t h g r a d e ............................ .... . , ,
k7
M o tiv a tio n a l f a c t o r s f o r se v e n th —t w e lf t h grade
. , „ , .
U9
F u rth er d is c u s s io n o f m o tiv a tio n a l f a c t o r s ........................ . e
$0
SUMMARY AND CONCLUSIONS
Summary
e e e .
»
.........................................
C on clu sio n s
. . . . . . . . . . . . .
5U
. . . . . . . . . . . . . . . . . . . . . .
56
o . . . . . . . . . .
BIBLIOGRAPHY . . . . . .
52
52
. . . . . . . . . . .
Recosnmendations
APPE2JDIX
. . . . . . . . .
. . . . . . .
. . ' . . . .
. . . . . . . . . . .
. . . . .
« . . . .
59
6l
v ii
LIST OF TABLES
TABLE
I.
PAGE
P ercen ta g e o f M o tiv a tio n a l F a cto r s Which Were Found t o be
Most E f f e c t i v e by Great F a l ls T eachers f o r an Art
E xp erien ce A ccording t o Grade L e v e l ..........................................
.
38
v iii
ABSTRACT
The purpose o f t h i s stu d y was t o d eterm in e s u c c e s s f u l methods o f
m o tiv a tin g K- 12 a r t s tu d e n ts , a s i d e n t i f i e d by ex p erien ced te a c h e r s o f
s e le c t e d s c h o o l d i s t r i c t s , in th e s t a t e o f Montana, f o r th e y e a r s 1967-69»
The problem was d is c u s s e d w ith th e c i t y a r t su p e r v is o r o f Great
F a l l s , Montana; and w ith h is c o o p e r a tio n a q u e s tio n n a ir e was com piled
and d is t r ib u t e d t o fo u r hundred l o c a l te a c h e r s co n n ected w ith te a c h in g
a r t in t h e i r c la ssr o o m s» A r etu rn o f o v er s e v e n t y - f iv e p er c e n t o f the.
com pleted q u e s tio n n a ir e s was r e c e iv e d and ev a lu a te d in c o n ju n c tio n w ith
tw e n ty -e ig h t p e r s o n a l in te r v ie w s and p e r s o n a l o b s e r v a tio n s by th e a u th o r.
The te a c h e r s were asked t o i d e n t i f y th e ty p e s o f m o tiv a tio n which th e y
found t o be m ost s u c c e s s f u l .
The use o f d em o n stra tio n s as an a id t o m o tiv a te i n th e a r t c l a s s ­
room was record ed from th e su rv ey and th e in te r v ie w s as th e most
s u c c e s s f u l a id t o th e te a c h e r . T eacher en th u siasm and th e u se o f
d is p la y s a ls o ranked v e r y h ig h i n th e stud y o f th e te a c h e r s o f a r t .
I t was shown th a t th e r e were a v a r i e t y o f ways t o m o tiv a te , but
th e te a c h e r s d id n o t r e l y on any one c e r t a in method; r a t h e r , th e y
in co r p o r a te d s e v e r a l w ith in an a r t l e s s o n . I t was a ls o found in t h e •
stu d y t h a t th e r e i s no s i n g l e m o tiv a tio n a l f a c t o r th a t can be termed
s u c c e s s fu l fo r a l l a rt s itu a tio n s .
T h is r e se a r c h a ls o showed t h a t th e r e i s a u se f o r fu r th e r in v e s ­
t i g a t i o n i n th e s u b je c t o f m o tiv a tio n a l te c h n iq u e s in th e a r t room.
CHAPTER I
INTRODUCTION
A rt i s a c o n s t a n t ly growing p a rt o f th e cu rricu lu m in our p u b lic
s c h o o ls , and i t s grow ing im portance i s b e in g r e c o g n iz e d .
Art i s b ein g
ta u g h t in th e s c h o o ls n o t f o r a c e r t a in few p eo p le but f o r a l l in d i­
v id u a ls .
I t i s p a r t o f th e a r t t e a c h e r 's fu n c tio n t o s t im u la t e .c r e a t iv e
e x p e r ie n c e s fo r . ev ery o n e.
The a r t te a c h e r u s u a lly has s e v e r a l b a s ic o b j e c t iv e s to fo llo w
i n s tim u la tin g stu d e n ts in a s c h o o l a r t program.
Some o f th e o b j e c t iv e s
are t o d ev elo p an a p p r e c ia tio n and u n d ersta n d in g o f a r t and t o encourage
a r e c o g n itio n o f a r t ' s p la c e i n th e s t u d e n t 's everyday l i f e .
The te a c h e r
sh ou ld s t r i v e t o g iv e each stu d en t t h e o p p o rtu n ity f o r p e r s o n a l ex p res­
s io n and s a t i s f a c t i o n w ith in d iv id u a l accom plishm ent and t o develop a
knowledge o f m an's v i s u a l a r t h e r ita g e f o r a b e t t e r in t e r p r e t a t io n and
e x p r e s s io n o f h is own.
Furtherm ore, th e in s t r u c t o r sh ould em phasize th e
developm ent o f th e knowledge and th e u se o f v a r io u s m edia and t o o l s .
To h e lp accom p lish th e v a r io u s g o a ls, o f an a r t te a c h e r in th e cla ssro o m ,,
c e r t a in m o tiv a tio n a l p roced u res are ad op ted .
Im portance o f th e stu d y .
Much o f a g e n e r a l n a tu re has been
w r it t e n about m o tiv a tio n in th e r e g u la r cla ssro o m , but l i t t l e has been
record ed iri p a r t ic u la r co n cern in g m o tiv a tio n in th e a r t cla ssro o m .
In
e i t h e r o f t h e s i t u a t i o n s , i t has o f t e n b een s a id how im portant m o tiv a tio n
i s , but l i t t l e has been w r it t e n d e s c r ib in g th e a c tu a l p r o c e s s .
we n eed t o m o tiv a te?
Why do
What are some o f th e te c h n iq u e s t h a t one can u se?
-2 -
Teachers are o f t e n a sk in g t h e s e q u e s tio n s .
With th e v a r ie t y o f a r t t a le n t t h a t may be presumed t o e x i s t in
th e p u b lic s c h o o ls , th e developm ent o f ways to m o tiv a te t h e s e v a r io u s
t a l e n t s i s very im portant i n d ev elo p in g c r e a t iv e e x p e r ie n c e s .
Lawrence
M cV itty em phasized in h is stu d y th a t " It i s c le a r th a t some s tim u lu s ,
e i t h e r i n t e r i o r or e x t e r io r , moves th e c h il d t o r e sp o n d ."I
I.
S tatem en t o f th e problem .
THE PROBLEM
The purpose o f t h i s stu d y was t o
d eterm ine s u c c e s s f u l m ethods o f m o tiv a tin g K- 12 a r t s t u d e n t s , a s
i d e n t i f i e d by ex p e r ie n c e d te a c h e r s o f s e l e c t e d s c h o o l d i s t r i c t s , in
th e s t a t e o f Montana, fo r th e y e a r s 1967-69«
II.
S u c c e s s f u l.
DEFINITIONS OF TERMS USED
An a c t o f m o tiv a tio n may be c o n sid e r e d s u c c e s s f u l
when th e m a jo r ity o f t h e s tu d e n ts have shown a h ig h ly p e r so n a l in v o lv e ­
ment w ith th e p r o j e c t p r e s e n te d .
I f a v a r i e t y o f r e sp o n se s are g iv en
by th e c l a s s , t h e m o tiv a tio n was broad and d iv e r g e n t in scop e arid was
s u c c e s s f u l il l en cou ragin g u n iq u e n e s s .^
M o tiv a tio n .
" M otivation i s th e s tim u la tio n t o a c t io n r e s u lt in g
^■Lawrence M cV itty , "An E xperim ental Study on V ariou s Methods in
Art a t t h e F i f t h Grade L evel" (D o c to r a l d i s s e r t a t i o n , P en n sy lv a n ia
S ta te U n iv e r s it y , 195U )j p* 1«
2Donald and Barbara H erb erh o lz, A C h ild 's P u r su it o f Art
(Dubuque, Iowa: Wm. C0 Brown Company P u E lisL ers,' 1 £ 6 7 } , p . 32«"
-3 -
from an in d iv i d u a l 's d e s ir e t o reach an e s t a b lis h e d g o a l or purpose*"3
E xp erien ced .
A te a c h e r who has g a in ed know ledge, wisdom, and
s k i l l i n te a c h in g ov er a p e r io d o f tim e i s c o n sid ered e x p e r ie n c e d .
In
t h i s stu d y an e x p erien ced te a c h e r was one who had a t l e a s t one yea r or
more o f cla ssro o m te a c h in g .
S tu d ie s .
The p r o c e ss o f g a th erin g in fo rm a tio n through r e a d in g ,
o b s e r v a tio n s , in t e r v ie w s , and th e u se o f q u e s tio n n a ir e s .
Much o f th e
knowledge a cq u ired through p e r i o d i c a ls , p u b lic a t io n s , and books con firm s
cla ssro o m m o tiv a tio n a l e x p e r ie n c e s .
E xp erim en ts.
Experim ents are a s e r i e s o f t e n t a t i v e p ro ced u res.
Concerning t h i s t h e s i s , exp erim en ts were a c t u a ll y u sed by classroom
in s t r u c t o r s .
P rocedures w ere a ls o t e s t e d by o th e r p r o f e s s io n a ls and
were record ed in t h i s p a p er.
E v a lu a tio n .
E v a lu a tio n by th e in s t r u c t o r d eterm ined th e d eg ree ,
th rou gh o b s e r v a tio n , o f a s t u d e n t 's i n t e r e s t i n a s u b je c t or in a
p r o je c t.
its e lf.
A l e s s e r d eg ree o f em phasis was p la c e d on th e f in is h e d product
C o n sid e r a tio n was g iv e n t o th e s t u d e n t 's a r t a b i l i t y and h is .
p a s t e x p e r ie n c e .
P r o je c t,
Any u n dertak in g which i s planned and c a r r ie d out w ith
a purpose i n mind.
^Sm ith, K rause, and A n d erso n ,.The E d u ca to r's E n cy clo p ed ia
(Englewood C l i f f s , New J e r se y : P r e n tic e HapLl, 1 9 6 i ) , p . 5>8U.
-U III.
In stru m en ts.
RESEARCH DESIGN
The in stru m en ts u sed in t h i s stu d y were q u e stio n ­
n a ir e s , p e r so n a l in t e r v ie w s and o b s e r v a tio n s .
In t h i s stu d y te a c h e r s
who showed a w ide v a r i e t y o f number o f y e a r s ta u g h t and a ls o had a v a r ie d
g e o g r a p h ic a l background in te a c h e r t r a in in g were s e le c t e d a t random.
The
te a c h e r s were asked to i d e n t i f y th e t y p e s o f m o tiv a tio n which th e y u sed
f o r an a r t c l a s s and which were found t o be most s u c c e s s f u l .
The
q u e s tio n and th e d is c u s s io n can b e found in Chapter IV .
IV .
DELIMITATIONS OF THE STUDY
T h is stu d y has b een d e lim ite d t o grades K-12 in th e p u b lic
s c h o o ls .
Q u e s tio n n a ir e s , in t e r v ie w s , and o b s e r v a tio n s were u sed on
th e elem en ta ry and secon d ary l e v e l .
The r e s e a r c h fo r t h i s stu d y was
conducted du rin g 196 ? t o 1969 and d e lim ite d t o th e s c h o o ls as o u tlin e d
in th e s e l e c t e d s t u d i e s .
V.
. ORGANIZATION OF THE STUDY
Chapter I in c lu d e s .a d is c u s s io n o f th e problem , t h e method o f
r e se a r c h em ployed, and o u t lin e s th e o r g a n iz a tio n o f t h e . rem ainder o f
th e stu d y .
C hapter I l p r e s e n ts th e im portance o f th e s t u d ie s and th e r o le
t h a t th e te a c h e r p la y s .
The Review o f th e L ite r a tu r e a ls o in c lu d e s
th e im portance o f m o tiv a tio n and an in t r o d u c t io n t o some o f th e r e s u l t s
-5 -
o f c e r t a in tech n iq u es,,
Chapter I I I d is c u s s e s many te c h n iq u e s th a t co u ld m o tiv a te stu d e n ts
in th e a r t room.
T hese methods were found f u n c t io n a l by th e author and
are su pp orted by r e se a r c h in l i t e r a t u r e .
Chapter IV in c lu d e s v a r io u s methods th a t co u ld be u sed fo r
p r e s e n tin g an a r t l e s s o n .
F in d in g s o f t h e stu d y and o th e r methods o f
m o tiv a tio n t h a t co u ld be a p p lic a b le in th e classroom are o u t lin e d .
Chapter V p r e s e n ts a summary o f th e stu d y , i t s f in d in g s , and th e
c o n c lu s io n s d e r iv e d th erefro m .
P o s s ib le recommendations based on th e
stu d y are a ls o p r e se n te d i n t h i s f i n a l c h a p ter.
CHAPTER I I
REVIEW OF THE LITERATURE
In ta k in g up th e problem o f m o tiv a tio n , two a s p e c ts t o keep i n
mind are:
.
( I ) th e Im portance o f m otivation,j. and ( 2 ) how t o m o tiv a te .
The im portance w i l l be brought out in t h i s ch a p te r .
New id e a s may r e s u lt
from th e p r o c e s s o f m o tiv a tio n , but more im portant i s h avin g th e expe­
r ie n c e s d e r iv e d from c r e a t i v i t y up t o th e com pleted o b j e c t iv e .
The rea so n s fo r. m o tiv a tio n seem t o o v erla p .and have some c o r r e ­
l a t i o n w ith one a n o th e r .
The E d u ca tio n a l P o l i c i e s Commission o f th e
N a tio n a l E ducation A s s o c ia tio n s t a t e s , "The c e n t r a l r o l e o f th e te a c h e r
rem ains th e s t im u la t io n o f le a r n in g f o r in d iv id u a ls and f o r grou p s, lf^
E. B. H urlock i n h i s book. C h ild Growth and Developm ent, h e lp s em phasize
fu r th e r th e f u n c tio n o f th e te a c h e r in le a r n in g and th e c l o s e r e l a t i o n ­
sh ip o f m o tiv a tio n and le a r n in g ; fo r he s t a t e s :
When m o tiv a tio n appears t o be la c k in g in s tu d e n ts , th e
t e a c h e r ’ s r o le i s p r im a r ily t h a t o f m o tiv a tin g them so th a t
le a r n in g can ta k e p la c e . I t i s p o s s ib le t o d evelop th e
le a r n e r ’ s accep ta n ce o f th e t e a c h e r ’ s g o a l as h i s own;
how ever, a h ig h er aim i s t o e s t a b l i s h g o a ls on which b oth
te a c h e r and le a r n e r can a g r e e ,^
The t e a c h e r 's m o tiv a tio n i s alw ays im portant in a cla ssro o m fo r
th e stu d e n ts o f any a g e .
Even t h o s e w ith o u tsta n d in g a b i l i t y must have
some need or r e a s o n .f o r d oin g a t a s k .
Most te a c h e r s can t e l l us th a t t o
•kin th e R ole o f th e T each er, A Report Prepared by th e Educa­
t i o n a l P o l i c i e s Commission o f th e NEA (W ashington, D. C ., 1 9 6 7 ), p . I .
^E0 B 6 H urlock, C hjld Growth and Development (New York: McGrawH i l l Book Company, 1966 ) , p . $ 86 .
-7 -
walk in t o a classroom and sa y in so many w ords, "Draw a p ic t u r e ," w ith
no b u ild -u p or e x p la n a tio n w i l l f in d th e s tu d e n ts s i t t i n g th e r e wondering
what t o do*
A p ic t u r e o f what?
How la r g e ?
With what media?
What k ind
o f paper?
These p o in t s must be e x p la in e d a s p a rt o f th e in s t r u c t io n a l
p roced u re.
A p u p il wants t o know and sh o u ld know what t o do and what
h is freedom s f o r e x p r e s s io n a r e .
These d ir e c t io n s can be conveyed t o
him by th e te a c h e r and d ev elo p ed in t o a m utual u n d erstan d in g o f th e
o b j e c t iv e s .
A stu d y by M cVitty s t a t e s :
The m o tiv a tio n s which in v o lv e d th e " p erso n a l fa c to r " o f
a s tu d e n t-te a c h e r p a r t ic ip a t io n r e s u lt e d in th e g r e a t e s t
d egree o f c r e a t iv e growth a s in d ic a t e d by th e c r i t e r i a u se d .
Mere p a r t ic ip a t io n by th e stu d en t a lo n e does n o t gu aran tee
le a r n in g .3
The above sta tem en t does n o t mean t h a t a stu d en t sh o u ld always
or c o n tin u o u sly be g u id e d , e s p e c i a l l y in a c r e a t iv e e x p e r ie n c e .
There
are tim es when he sh o u ld be by h im s e lf t o c o n c e n tr a te and b rin g fo r th
h is own id e a s .
B a s ic f a c t o r s o f m o tiv a tio n .
The t e a c h e r , th e atmosphere he
p r e s e n t s , th e c la ssr o o m , t h e r e la t io n s h ip betw een s t u d e n t s , th e i n t e r e s t
i n th e s u b j e c t , th e m a t e r ia ls , th e. p a s t e x p e r ie n c e s , th e t e a c h e r ’s ex p la ­
n a tio n o f th e u n it or p r o j e c t —th e s e are some o f th e b a s ic f a c t o r s in
s t a r t in g t o c o n s id e r m o tiv a tio n .
Im portance o f t h e te a c h e r .
The b eg in n in g o f th e m o tiv a tio n a l
ex p e r ie n c e sh o u ld commence w ith th e t e a c h e r .
The m ental a t t it u d e o f
-8 -
th e te a c h e r i s one o f th e prim ary, im portant a s p e c ts o f m o tiv a tio n ,
He
or she sh o u ld t r y , th rou gh p e r so n a l i n t e r e s t w ith th e u se o f th e v o ic e ,
f a c i a l e x p r e s s io n s , and even body movement, t o c r e a t e an e x c i t i n g ,
i n t e r e s t i n g in tr o d u c tio n or atmosphere t h a t w i l l ca rr y over t o th e
s tu d e n ts .
I t i s t h i s i n t e r e s t shown by th e in s t r u c t o r t h a t w i l l g iv e
an a t t e n t iv e and e n t h u s ia s t ic s t a r t t o a r t i n s t r u c t i o n , . Manual Barken
sp eak s o f th e te a c h e r , "They can c r e a t e th e atm osphere t h a t can make th e
a r t la b o r a to r y a haven f o r p e r so n a l developm ent and s e l f f u l f i l l m e n t ,
The im portance o f th e t e a c h e r , e s p e c i a l l y during th e in tr o d u c to r y p e r io d
o f a le s s o n o r a u n i t , i s p o in te d ou t a g a in by Barken when he s t a t e s :
The c o n d itio n s c r e a te d by a te a c h e r in which s o c i a l i n t e r ­
a c tio n o ccu rs are as p o te n t a f o r c e tow ard c r e a t iv e a c t io n as
th e developm ent c h a r a c t e r is t ic s o f th e c h ild r e n th e m s e lv e s .
In f a c t t h e developm ent c a p a c it ie s o f c h ild r e n can grow to
t h e i r o p tim a l l e v e l o n ly when th e e d u c a tio n a l s it u a t io n
encou rages t h e i r grow th,5
The developm ent which Barken speaks o f h ere i s an im portant developm ent
which b e g in s as th e te a c h e r b e g in s t o d ev elo p th e i n t e r e s t .
Through th e i n t e r e s t c r e a te d , th e te a c h e r hopes in s p ir a t io n w i l l
f o ll o w .
However, in Manfred L, K e lle r ’ s book. The Art o f T eaching A rt,
he p o in ts o u t t h a t one cannot fo r c e in s p ir a t io n , but th a t once i t i s
p r e s e n t , i t r e q u ir e s proper guidance tow ard a d e s ir e d g o a l ,^
Some
^Manual B arken, A Foundation f o r Art E ducation (New York: Ronald
P r e ss Company, 1 9 5 5 ) , p7 221,
^ I b ld . , p , 219 o
^Manfred L, K e ile r , The Art o f T eaching Art (U n iv e r s it y o f
Nebraska P r e s s , 1 9 6 1 ), p , h5c
-9 -
. im portant te c h n iq u e s f o r t h i s n e c e s s a r y guidance w i l l be b rought out In
th e n ex t ch ap ter*
O b je c tiv e s o f th e le s s o n .
When m o tiv a tin g th e s tu d e n t, i t i s
v ery im portant t o p o in t ou t t h a t th e com p leted p r o j e c t f o r th e le s s o n
b ein g p r e se n te d i s n o t th e o n ly o b j e c t iv e .
e x p r e s s io n o f e x p e r ie n c e s*
The main o b j e c t iv e i s th e
"A c h ild whose a n x ie ty about r e p r e s e n ta tio n
i s appeased by a s e n s e o f achievem ent i s o f t e n w i l l i n g t o go fu r th e r in
a c r e a t iv e way th an a c h il d who i s stym ied b ecau se he f e e l s he ca n ’t
draw*"7
T h is i s when th e p roper m o tiv a tio n t o p rev en t t h e hindrance o f
a s t u d e n t 's c r e a t iv e n e s s i s im portant*
The in d iv id u a l d if f e r e n c e f o r ah
a s sig n e d end r e s u l t must be acknowledged*
th e r e s u l t o f th e p r e c lu d in g ex p erien ce*
"The f i n a l product i s o n ly
I f th e c h ild cannot id e n t i f y
h im s e lf w ith th e e x p e r ie n c e , th e f i n a l p rod u ct w i l l n e c e s s a r ily show
i t ." *
8
I n s t r u c t o r ' s in f lu e n c e on th e s t u d e n t *
The te a c h e r can u se any
number o f te c h n iq u e s i n a id in g th e stu d en t who i s c r e a t in g a product
n ot o n ly t o com p lete th e work b u t a ls o t o d ev elo p h is own s t y l e in doing
it*
The im portance o f th e te a c h e r in th e above p r o c e ss cannot be o v er­
em phasized, as p o in te d out b y B u rk h a rt's sta tem en t:
Only th o s e te a c h e r s w ith some b rea d th in t h e ir t r a in in g and
background in a r t ed u ca tio n were a b le t o h e lp t h e i r p u p ils
^Helen M e r r it, G uiding Free E x p ressio n in C h ild r e n 's Art (New
York: H o lt, R in eh art and W in ston , I n c . , 1 9 6 k ), p . £ 6 .
8V ik to r Lowenfe l d . C rea tiv e and M ental Growth ( t h ir d e d it i o n .
New York: The M acm illan Company, 19^7T, Po ££*
-1 0 -
de v e lo p t h e i r own in d iv id u a l s t y l e s o f work i n ways t h a t co u ld
n o t be r e a d ily i d e n t i f i e d w ith t h e ir t e a c h e r ’s own p a in t in g s e
Though in a r t ed u ca tio n our predom inant concern i s t o h elp a l l
our p u p ils t o work in any one c o u r s e , t o h elp each p u p il d i s ­
co v er ways o f becom ing more c r e a t iv e i n h is own p a r t ic u la r and
in d iv id u a l ways o f worke9
T a le n t«
T h is r a is e d th e q u e s tio n :
p erso n be encouraged t o ta k e a rt?
Should th e "non-1a len ted "
To e v a lu a te a s t u d e n t 's t a l e n t
r e q u ir e s some knowledge o f th e s t u d e n t 's background.
T a le n t , accordin g
t o McFee1s s tu d y , appears t o be a com plex f a c t o r ; f o r she s t a t e s :
"Talent" in a r t has n ever been c l e a r l y d e fin e d . The t r a d i­
t i o n a l con cep t t h a t one i s b o m w ith t a l e n t i s to o sim p le t o
e x p la in t h e co m p le x ity o f a c h i l d ' s developm ent i n a r t . Mendelo w itz c o n s id e r s t a l e n t m ain ly a m a tter o f o p p o rtu n ity and reward.
These are c e r t a in ly im portant f a c t o r s , but th e r e seem t o be
in h e r e n t t r a i t s th a t " ta le n t" a ls o co m p rises— i n t e l l i g e n c e , ■
eye-hand c o o r d in a tio n , and i n t e n s i t y o f d r iv e s .
T h e r e fo r e , i t would seem t h a t most everyone has some a r t i s t i c
knack but m ight n ot have th e a b i l i t y t o e x p r e ss i t .
n eed s i s th e o p p o rtu n ity t o d evelop c r e a t i v i t y .
U s u a lly , a l l one
However, i f a stu d en t
d oes not show h is t a l e n t , i t becomes th e o b lig a t io n o f th e te a c h e r to
m o tiv a te such a p erson th roughout th e e n t ir e l e s s o n .
I f anyone i s
p r o p e r ly m o tiv a te d , h is c r e a t iv e a p tn e ss can be u n covered .
T h is i s one
o f th e o b j e c t iv e s o f th e a r t te a c h e r .
M o tiv a tin g th e in h ib it e d .
A nother o b j e c t iv e o f th e a r t tea ch er
i s t o h elp th e in h ib it e d a r t s tu d e n t.
To overcome in h ib it i o n w i l l ta k e
9R o b e rt C. B u rk h art, Spontaneous and D e lib e r a te Ways o f Learning
(S cra n to n , P en n sy lv a n ia : I n te r n a t io n a l Textbook 'Company, 19 6 2 7 , p . 9 .
^Ojune King McFee, P rep a ra tio n f o r A rt (San F ra n cisco : Wadsworth
P u b lish in g Company, I n c . , 1 9 6 1 ) , p . 2QV.
-1 1 -
more m o tiv a tio n f o r th a t stu d en t than i t w i l l f o r an in d iv id u a l w ith
u n in h ib ite d a b i l i t y o r w ith e x p e r ie n c e .
th e s t u d e n t 's background i s im p o rta n t.
Here a g a in , as s t a t e d above,
V ik to r Low enfeld found t h a t:
A c h ild who sa y s "I c a n 't draw" has become in h ib it e d in th e
sp ontaneous c r e a t iv e e x p r e s s io n o f h i s e x p e r ie n c e s . We are
o f t e n ap t t o b e li e v e th a t i t may be an. in d ic a t io n o f la c k o f
s k i l l , t h a t i s , i n a b i l i t y t o r e p r e se n t t h in g s " a d eq u a tely ,"
That t h i s i s n ot so i s borne out by th e f a c t th a t c h ild r e n
a c t u a lly have no e x te r n a l stand ard f o r "adequate e x p r e s s io n ."
S in ce a l l c h ild r e n ex p ress th em selv es d i f f e r e n t l y a cco rd in g t o
t h e i r in d iv id u a l d if f e r e n c e s , th e r e i s a c t u a lly no " rig h t" or
"wrong," I f t h e c h il d cannot ex p ress h im s e lf , som ething must
have in t e r f e r e d w ith h is s e lf - c o n f id e n c e .- ^
G ivin g such a p erson th e gu id an ce th a t w i l l g iv e him th e s e c u r it y t o
c r e a te i s e s s e n t i a l .
M o tiv a tin g th e s e l f - c o n s c i o u s .
more s e lf - c o n s c io u s about h is work.
As a c h ild g e t s o ld e r , he becomes
Some stu d e n ts w i l l n o t o n ly need
m o tiv a tio n t o be c r e a t iv e and overcome t h i s s e lf - c o n s c io u s n e s s in an a rt
c l a s s , b u t w i l l a ls o need some in c e n t iv e t o ta k e an a r t co u rse in th e
f i r s t p la c e .
T h is would be tr u e e s p e c i a l l y i n an u p per-grad e s it u a t io n
where a r t i s an e l e c t i v e , and a stu d en t may be so s e lf - c o n s c io u s th a t
t h i s i n h i b i t i o n w i l l keep him from ta k in g a c o u r s e .
Here i s th e ca se
when someone sh ou ld m o tiv a te a r e s t r a in e d p erso n t o taka ah a r t cou rse
i n s c h o o l, f o r th e stu d e n t may have a t a l e n t but la c k th e courage to
make u se o f i t .
M o tiv a tin g t h e u n in t e r e s t e d .
Many tim e s a stu d e n t i s a ssig n e d
' -^-Viktor Lowenfe l d , Ybur C h ild and H is Art (New York: The
M acm illan Company, 1 9 5 5 ), pp. 2 8 -2 5 .
.
-1 2 -
t o an a r t c l a s s who i s n o t th e l e a s t in t e r e s t e d in art*
m o tiv a tio n , an i n t e r e s t can be i n s t i l l e d #
With th e proper
A gain, as w ith th e n o n - ta l-
en ted and in h ib it e d s tu d e n t, a l i t t l e e x t r a s tim u la tio n i s n ecessa ry #
If
th e u n in te r e s te d stu d e n t i s s tim u la te d c o r r e c t ly and shown how much a r t
i s surrounding him and how much h i s everyday l i f e i s in v o lv e d , he i s
l i k e l y t o become in t e r e s t e d #
M o tiv a tio n from g u e st a r t i s t s #
There may be some in s ta n c e s when
th e te a c h e r f e e l s in ad eq u ate t o h e lp th e stu d e n ts become in v o lv e d w ith
a c e r t a in p r o je c t#
I n t h i s c a se th e te a c h e r should n o t f e e l fr u str a te d #
For many y e a r s a r t te a c h e r s have c a l le d i n o th e r s t o dem onstrate or
d is c u s s c e r t a in a s p e c ts o f t h e i r s u b je c t a r e a .
Guest a r t i s t s in th e
cla ssro o m may be term ed t o o l s o f m o tiv a tio n ; c o n se q u e n tly , th e reg u la r
in s t r u c t o r co u ld in c r e a s e en th u siasm and i n t e r e s t by in v i t i n g in a g u est
tea ch er#
.
O v e r-m o tiv a tio n #
Another very im portant phase o f m o tiv a tio n i s
t o know when t o draw th e f i n e l i n e betw een m o tiv a tio n and o v er-m o ti­
v a tio n #
Too much t a l k or d em on stration c o u ld be boring#
As im portant
as i t i s t o m o tiv a te , th e te a c h e r sh o u ld alw ays be o b serv a n t enough t o
n o te how much i s needed#
A stu d en t m ight g e t v ery e x c it e d and in t e ­
r e s te d i n an id e a e a r ly during an in t r o d u c t io n ,
A t e a c h e r 's a b i l i t y
in tim in g in many in s t a n c e s i s ex tre m e ly im portant#
C ontinued m oti­
v a tio n may be c a r r ie d ou t during a more p e r so n a l c o n ta c t a t a l a t e r
tim e w ith o th e r stu d en ts#
I n sum m arizing, th e a s t u t e te a c h e r o f a r t i s one who g u id es h is
-1 3 -
s tu d e n ts w ith th e b e s t m o tiv a tio n a l and in s t r u c t io n a l p roced u res by b ein g
c o n s ta n tly aware o f what i s u s e f u l t o them and what i s u s e le s s *
The r o le
o f th e d is c e r n in g te a c h e r i s v i t a l , as K e ile r r e i t e r a t e s :
I n a d d it io n , th e te a c h e r must be th o ro u g h ly f a m ilia r w ith
h is own s tu d e n t a t t it u d e toward a s u b je c t in o rd er t o d ecid e
how f a r he can in c o r p o r a te o r u t i l i z e t h e i r wants and w is h e s ,
and t o what e x t e n t he must ig n o re them f o r t h e i r own b e n e f it .
T h is form o f in t e r a c t io n betw een s t u d e n t s 1 w ish es and th e
t e a c h e r 's knowledge and p e d a g o g ic a l s k i l l must ta k e p la c e
b e fo r e th e in s t r u c t o r can d isch a rg e h i s o b lig a t io n s e f f e c ­
t i v e l y * However, th e f i n a l r e s p o n s i b i l i t y f o r th e conduct o f
a cou rse alw ays r e s t s w ith th e te a c h e r ; no one e l s e can ca rry
t h i s r e s p o n s i b i l i t y f o r him , l e a s t o f a l l h is s t u d e n t s * ^
^ K e ile r * og* c i t . , p* $ 1 *
i
CHAPTER I I I
TECHNIQUES TO MOTIVATE IN THE ART CLASSROOM
I n t r i n s i c and e x t r i n s i c m o tiv a tio n .
I n t h i s ch a p ter i n t r i n s i c
and e x t r i n s i c m o t iv a t io n a l te c h n iq u e s w i l l be d is c u s s e d .
In The
E d u ca to r's E n cy clo p ed ia th e s e two te c h n iq u e s are e x p la in e d as:
M o tiv a tio n r e s u lt i n g from g o a ls or p u rp oses d ev elo p ed or
r e c o g n iz e d by th e p erso n h im s e lf i s r e fe r r e d t o as i n t r i n s i c
m o tiv a tio n . M o tiv a tio n r e s u lt i n g from g o a ls or p u rp oses th a t
are a cce p te d from o th e r s or d ev elo p ed and rec o g n ized as th e
r e s u l t o f o u t s id e in f lu e n c e s i s r e f e r r e d t o a s e x t r i n s i c
m o tiv a tio n .^
R eg a rd less o f t h e tech n iq u e u se d , th e m ost im portant f a c t o r i s
th e t e a c h e r .
V in cen t L a n ier s t a t e s i t v e r y w e ll when he sa y s:
U nd erlyin g a l l o f th e s e m o tiv a tio n a l d e v ic e s i s th e one
e s s e n t i a l in g r e d ie n t in th e phase o f m ethodology—te a c h e r
en th u sia sm . W ithout i t most o f th e s e te c h n iq u e s can e a s i l y
be u n p ro d u ctiv e o f t h e d e s ir e d r e s u l t s . With i t th ey a re
som etim es u n n e c e ssa r y . The a rt te a c h e r who can be s in c e r e ly
e x c it e d by th e wonder o f a r t arid by th e t h r i l l o f s e e in g h is
p u p ils e x p e r ie n c e t h i s wonder, can i n f e c t a group w ith th e
same f e e l i n g . At tim e s t h i s i s th e o n ly m o tiv a tio n t h a t i s
n eeded . 2
What makes a good t e a c h e r .
Innum erable s t u d ie s have been made
on th e q u a l i t i e s and c h a r a c t e r is t ic s o f a good a r t t e a c h e r 5 th e r e s u lt s
have been e it h e r in c o n c lu s iv e an d /or c o n f l i c t i n g .
There are many k in d s
o f s u c c e s s f u l t e a c h e r s , f o r one has o n ly t o go back over h is own p a st
e x p e r ie n c e s as a stu d en t t o •f in d many good q u a l i t i e s arid c h a r a c t e r is t ic s
!•Sm ith-K rause-A nderson, op. c i t . , p . £81u
2V incent L a n ie r , T eaching Secondary Art (S cra n to n , P en n sylvan ia:
I n te r n a t io n a l Textbook Company, 196L ), p . 1357
—15>—
o f h is t e a c h e r s o
The m a tter o f s a y in g what an e f f e c t i v e te a c h e r sh ould
be l i k e i s d i f f i c u l t ; a t w o r st, im p o ssib le*
T h erefo r e, we sh ou ld keep i n
mind th a t th e r e are a number o f good c h a r a c t e r is t ic s which a tea ch er
sh o u ld h a v e, b u t t h a t he has them in a number o f d eg rees and combi­
n a tio n s *3
Some o f th e good q u a l i t i e s o f a te a c h e r which w i l l h elp t o
m o tiv a te in th e a r t room are b rought ou t in th e f o llo w in g p aragraphs.
Keep i n m ind, when in tr o d u c in g any u n it w ith any k in d o f te c h n iq u e ,
i n ord er t o have i t w e ll r e c e iv e d by th e s t u d e n t s , th e te a c h e r sh ou ld
s t a r t o u t w ith en th u siasm n o t o n ly f o r te a c h in g h is s p e c i a l f i e l d o f
i n t e r e s t but a ls o t o te a c h o th er a rea s (w a ter c o lo r , d e s ig n , cer a m ics,
e t c . ) o f a r t r e q u ir e d o f him by ,h is a d m in is tr a tio n .
B ecause a r t in v o lv e s
em otion , th e te a c h e r must f e e l he w ants t o be in v o lv e d i n a number o f
w ays.
To show en th u sia sm , one would?
( I ) show i n t e r e s t i n th e s tu d e n ts ,
( 2 ) show i n t e r e s t i n th e s u b j e c t , ( 3 ) be r e c e p t iv e to id e a s , (I?) know
and understan d th e n eed s o f" th e s t u d e n t s , and ( 5 ) d ev elo p com petency i n
area s th a t are ta u g h t.
As s t a t e d ab o v e, th e s t a r t o f t h e m o tiv a tio n a l p roced u re r e s t s
w ith th e t e a c h e r , and b e fo r e anything fu r th e r i s s a i d , s tr o n g p o in ts are
th e appearance and th e e x p r e s s io n o f t h e t e a c h e r .
These are im portant
r i g h t from t h e b eg in n in g i n ord er t o p r e s e n t a p le a s a n t atm osphere in
th e classro o m ; u n le s s a gloomy one i s d e s ir e d f o r c e r t a in e f f e c t s .
^Reid H a stie and David T em pleton, Art E d u cation i n th e Secondary
S ch o o ls .(U n iv e r s ity o f M inn esota, R esearch Report 1 - 6 3 ,I t in n e a p o lis
M innesota: Departm ent o f Art E d u ca tio n , 1963 ) , p . 8 2 .
•16
I f a te a c h e r d o e s n ’t f e e l w e ll and th e r e i s good rap p ort betw een th e
te a c h e r and t h e s tu d e n ts ; he sh ould r e l a y h i s f e e l i n g s t o t h e c l a s s a
They w i l l u s u a lly be more c o n s id e r a te i n t h e ir a t t e n t io n and b eh a v io r .
T h is i s u s u a lly im portant b ecau se o f t h e o f t e n in fo rm a l atm osphere in
an a r t s tu d io c la ssr o o m ,
V ik to r L ow enfeld s t r e s s e s th e im portance o f
th e in tr o d u c to r y p e r io d when he w r it e s :
I t sh ould be s t r e s s e d in th e b eg in n in g t h a t th e r e i s no
s in g le approach t o f r e e in g c h ild r e n or a d u lts in t h e i r c r e a ­
t i v e p o t e n t i a l i t i e s , o r t o making them more s e n s i t i v e toward
th em selv es and t h e i r en vironm en t. However, i t can be s a id
th a t w hatever a te a c h e r does, i n s t im u la t in g c r e a t iv e n e s s
g r e a t ly depends on th r e e f a c t o r s ; ( I ) h i s own p e r s o n a lit y ,
o f w hich h i s own c r e a t iv e n e s s , h i s d eg ree o f s e n s i t i v i t y ,
and f l e x i b l e r e la t io n s h ip s t o environm ent are an im p ortan t
p a r t; ( 2 ) h i s a b i l i t y t o put h im s e lf i n t o th e p la c e o f o th e r s ,
and«( 3 ) h i s u n d erstan d in g and knowledge o f t h e needs o f th o se
whom h e i s t e a c h in g ,U
A good appearance i s som etim es o v e r lo o k e d .
There are some
te a c h e r s who in d ic a t e c a r e le s s n e s s and f o r g e t t h a t a m agn etic te a c h e r
sh ou ld :
( I ) d r e s s a p p r o p r ia te ly , ( 2 ) d r e s s a t t r a c t i v e l y , ( 3 ) be n e a t ly
groomed, (U) not be "extreme in a p p ea ra n ce,” ( 5>) wear c lo t h in g and
grooming a p p ro p ria te t o co m p lex io n , h e ig h t , w e ig h t, and p e r s o n a lit y , and
( 6 ) have a p le a s a n t f a c i a l e x p r e s s io n ,^
T h is does n o t mean th e te a c h e r
must alw ays d r e s s fo rm a lly when in t h e c la ssr o o m .
When working w ith c la y
and paper mache, in fo rm a l c lo t h e s would be a p p r o p r ia te .
Furtherm ore, i f
W ik to r Lowenfe l d , C rea tiv e and M ental Growth, ( t h ir d e d it io n .
New York: The M acm illan Company, 19^77» Po 3«
^Howard Conant and Arne R a n d a ll, Art i n E d u ca tio n , (P e o r ia ,
I l l i n o i s : C h arles A. B e n n e tt, 1 9 6 3 ), p , 35»
-1 7 -
a te a c h e r i s t o o " d ressed u p ," he o r she m ight be to o c o n sc io u s about
t h e i r c lo t h in g and h in d er th e in f o r m a lit y o f an a r t room.
Coupled w ith an a t t r a c t i v e outward appearance, th e te a c h e r must
p o s s e s s t h o s e genuine in n er t r a i t s t h a t d a ily enhance h is te a c h in g i n
th e e y e s o f h is s tu d e n ts such a s:
( I ) f r i e n d l i n e s s t o a l l , ( 2 ) an
a b i l i t y t o work w ith p e o p le , n o t o v er them , ( 3 ) a w illin g n e s s t o sh a r e ,
(U) a r e a l s i n c e r i t y , (S ) enduring p a t ie n c e , ( 6 ) th e a b i l i t y to drama­
t i z e , and ( 7 ) a w e ll-d e v e lo p e d s e n se o f humor.
Not o n ly sh o u ld th e stu d e n ts know th e f e e l i n g s o f t h e ir te a c h e r
f o r a b e t t e r u n d e rsta n d in g , but th e te a c h e r sh ou ld a ls o know th e k ind o f
stu d e n t he h a s—h is background, i n t e r e s t s , and f e e l i n g s toward him.
These th in g s cannot be known a t th e f i r s t c l a s s s e s s i o n b u t are lea rn ed
over a p e r io d o f tim e .
T e a c h e r s 1 i d e a l working c o n d it io n s .
F a c to r s , p le a s a n t or
u n p le a sa n t, which in f lu e n c e a te a c h e r , w i l l rea ch in t o th e cla ssro o m .
An art-m in d ed community and a d ecen t home l i f e f o r th e te a c h e r w i l l
b e n e f it th e t e a c h e r ’s i n t e r e s t in m o tiv a tio n .
For th e te a c h e r to f e e l
e n t h u s ia s t ic about h i s te a c h in g in th e a rt room, h i s room sh o u ld be
a p p ea lin g t o th e s t u d e n t s .
E x c e lle n t working c o n d it io n s , c o n g en ia l
f e llo w w ork ers, and a c o o p e r a tiv e a d m in is tr a tio n add t o th e co m p o sitio n
o f d e s ir a b le c o n d it io n s .
A lso , n e c e s s a r y m a te r ia ls sh o u ld be r e a d ily
a v a il a b l e .
S tu d en ts * cla ssro o m c o n d it io n s .
S tu d en ts can g e t fr u s t r a t e d
and d isco u ra g ed i f th e cla ssro o m s are to o crowded.
Overcrowding w i l l
-1 8
p r e s e n t a t l e a s t two problem sj one i s th a t th e te a c h e r cannot reach a l l
o f th e s tu d e n ts f o r in d iv id u a l h e lp , and th e o th er i s th e la c k o f th e
n e c e s s a r y sp ace t o ca rry on many o f th e a r t p r o j e c t s — e s p e c i a l l y th e
th r e e -d im e n s io n a l p r o j e c t s .
I f a shy or s e lf - c o n s c io u s stu d e n t i s p la ced
in t h i s u n d e s ir a b le , crowded s i t u a t i o n , h is c r e a t iv e e x p r e s s io n w i l l o fte n
be in h ib it e d .
I f t h e stu d e n t can s i t w ith frierid s o r i f he can have a
l i t t l e p r iv a c y , he m ight e x p r e ss h im s e lf more f r e e l y ,
K e ile r p o in ts out
how e s s e n t i a l t o th e c r e a t iv e p r o c e ss t h e s e th in g s a re when he w r ite s :
Im p a tien ce, im p e tu o u s ity , f e a r f u ln e s s , and a la c k o f c o n f i­
dence are d ea d ly enem ies o f th e c r e a t iv e p r o c e s s . P a tie n c e
and t r u s t in o n e s e lf are e s s e n t i a l , and b o th can be d evelop ed
through gu id ed e x p e r ie n c e s in th e a r t room , 6
A r t is t - t e a c h e r ,
"Art ed u ca tio n can f u l f i l l i t s fu n c tio n o n ly
under th e com petent guidance o f a w e ll- t r a in e d a r t te a c h e r ," ?
In th e
f i e l d o f a r t e d u c a tio n , much has been s a id about t h e a r t is t - t e a c h e r
r o le .
One cannot be th e f i r s t , le a v e ou t th e secon d , and be an educator
o f w orth .
An a r t i s t , no m atter, how w e ll tr a in e d or t a le n t e d he may be
in th e a r t s , d o es n o t always make an o u tsta n d in g t e a c h e r .
I f an a r t i s t
i s n o t in t e r e s t e d In th e "teacher" a s p e c t , he w i l l p rob ab ly te a c h o n ly
s k i l l s w ith l i t t l e rea so n or th e o r y b eh in d them,
A good a r t is t - t e a c h e r
i s one who u s u a lly te a c h e s t o share th e e x p e r ie n c e s o f a r t .
However, t o
become a good a r t te a c h e r i s ei g o a l th a t i s n o t a cq u ired s o l e l y through
e d u c a tio n .
I t i s an inward f e e l i n g co u p led w ith knowledge and
""
6 K e ile r , o £ , c i t . , p , ISc
?I b id . , p , U9.
'I
-*X9»»
e x p e r ie n c e „
The im portance o f th e a r t i s t - t e a c h e r i s w e ll s t a t e d in
U nderstanding C h ild r e n 1s Art f o r B e t t e r T ea ch in g s
C r e a tiv e work i n a r t deepens th e t e a c h e r 's u n d erstan d in g
o f h er p u p ils ' work. I t en a b les h er t o e x p e r ie n c e a t f i r s t
hand b o th th e s a t i s f a c t i o n s and th e f r u s t r a t io n s t h a t are
p a rt o f a l l c r e a t iv e en d ea v o rs. From o b se r v a tio n o f h er own
d i f f i c u l t i e s in c r e a t iv e u n d erta k in g s sh e can g a in v a lu a b le
in s ig h t s in t o th e problem s her p u p ils f a c e . From h er way o f
overcom ing d i f f i c u l t i e s , she can le a r n how t o h e lp c h ild r e n
overcome t h e ir s .®
Im portance o f in tr o d u c tio n .
Of th e c h a r a c t e r is t ic s th a t p o in t t o
a good t e a c h e r , one o f th e most im p ortan t i s th e a b i l i t y t o m o tiv a te .
B ecause o f numerous new m a te r ia ls and te c h n iq u e s b ein g d ev elo p e d , i t i s
d i f f i c u l t f o r th e te a c h e r t o keep inform ed and t o be e x p erien ced w ith
a l l o f them .
I f a te a c h e r i s p r e s e n tin g a le s s o n u sin g a new media or
te c h n iq u e , th e in d iv id u a l, i f p r o p e r ly inform ed and m o tiv a te d , can have
a s u c c e s s f u l e x p e r ie n c e .
The im portance o f good m o tiv a tio n a t th e in t r o ­
d u c tio n i s s t r e s s e d by S m ith , K rause, and Anderson:
One o f th e t e a c h e r 's major r o l e s in in s t r u c t io n i s t o m o ti­
v a te t h e s tu d e n t. E s t a b lis h in g g o a ls or purposes t h a t are
a c c e p te d by th e in d iv id u a l o f t e n p r e s e n ts a problem .
The s c h o o l i t s e l f can p ro v id e a s e t t i n g t h a t le a d s t o
i n t r i n s i c m o tiv a tio n . A c t i v i t i e s t h a t . a ffo r d o p p o r tu n itie s
f o r th e stu d en t t o probe h is own i n t e r e s t s and h i s own p a r t ic ­
u la r a p titu d e s and t a l e n t s . Such p robing amid a v a r i e t y o f
e x p e r ie n c e s o f t e n p r o v id e s th e s t im u la t io n t h a t i s n eeded in
m o tiv a tin g stu d e n ts in th e le a r n in g p r o c e s s .
S in ce m o tiv a tio n may be aroused by o u ts id e in f lu e n c e s .
® Betty L a rk -H o ro v it 55, H ild a P r e se n t L ew is, and Marc L uca, Under
sta n d in g C h ild r e n 's Art f o r B e tte r T eaching (Columbus, Ohio: C harles E.
M errill B ooks, Ync. , “ 1^6777 p . i$ 9 .
-2 0 -
c e r t a in te c h n iq u e s o r d e v ic e s may be u sed s u c c e s s f u l ly f o r
t h i s p u rp o se. In in tr o d u c in g a new le s s o n or a new t o p i c ,
te a c h e r s o f t e n r e f e r t o th e in tr o d u c tio n as m o tiv a tio n f o r
th e l e s s o n . I t i s du rin g t h i s p e r io d th a t th e te a c h e r , as
th e o u ts id e in f lu e n c e , attem p ts t o u se h i s knowledge o f th e
p u p ils* i n t e r e s t s , n e e d s , and a b i l i t i e s i n arou sin g them to
a c t io n . He hopes t o e s t a b l i s h pu rp oses fo r th e le s s o n ahead
i n such a way th a t stu d e n ts adopt th e p u rp o ses as t h e i r own
and are s tim u la te d t o a c tio n t o a c h ie v e them .
The t e a c h e r may assume th a t i n t e r e s t a lo n e w i l l m o tiv a te
th e s tu d e n ts o n ly to f in d th a t alth o u g h th e stu d e n ts seemed
t o be h ig h ly in t e r e s t e d i n th e t o p ic or problem a t hand, no
a c tio n r e s u l t s
T eaching a id s which can be u sed a lon g w ith th e t e a c h e r 's m o ti­
v a tio n can a ls o h elp i f . m ech an ical or o th e r a id s are u sed c o r r e c t ly .
Here a g a in , th e te a c h e r must be a b le to ju d ge how much and how many
exam ples to u se as a id s .
C la ss d is c u s s io n .
The a l e r t te a c h e r can t e l l by ob servin g, h is
c l a s s how lo n g a d is c u s s io n sh o u ld l a s t .
Whether th e d is c u s s io n i s
during th e in t r o d u c t io n , a re v ie w , or a p r o j e c t c r i t i q u e , stu d en t
i n t e r e s t can be h e ld fo r o n ly so lo n g .
D uring th e in tr o d u c tio n t o a
p r o j e c t , th e s tu d e n ts co u ld be a n xiou s t o s t a r t w ork in g. . When such
r e s t l e s s n e s s b e g in s , i t i s tim e t o co n clu d e th e d is c u s s io n or g e t them
more in t e r e s t e d i n t h e d is c u s s io n w ith a d if f e r e n t approach i f more
in fo rm a tio n i s e s s e n t i a l .
im p ortan t h e r e .
O b servation o f in d iv id u a l d if f e r e n c e s i s
In th e cla ssro o m s i t u a t i o n , th e a t t e n t io n span during
a d is c u s s io n w i l l v a ry w ith each in d iv i d u a l 's i n t e r e s t .
During th e d is c u s s io n * w hether i t i s during th e in tr o d u c tio n o f
^Sm ith-K rause-A nderson, 0£ . c i t . , p p . £ 814.-58 $ .
-
21 -
a u n i t o r a t a p o i n t w ith i n th e u n i t , th e o b j e c t i v e s s h o u ld be s t r e s s e d
C o n tin u o u s ly a
The v a lu e o f a c l e a r know ledge o f t h e p u rp o s e o f th e
a ss ig n m e n t o r t h e o b j e c t i v e s t o g iv e t h e s tu d e n t s m ore i n t e r e s t i s
p o in te d o u t by Shumsky when he w r i t e s : .
I t i s e v id e n t th a t g u id in g th e s tu d e n ts t o fo rm u la te th e
l e s s o n ' s o b j e c t iv e te n d s t o em phasize t h e common t a s k fa c in g
th e group, r a i s e s a m ean in gfu l g o a l t o be a ch ie v e d , and
encou rages freedom and i n i t i a t i v e t o th in k and p a r t i c i p a t e e
The c o o p e r a tiv e i d e n t i f i c a t i o n o f th e l e s s o n ' s o b j e c t iv e i s
an attem pt t o a l l e v i a t e a major d i f f i c u l t y in h ere n t i n a
le s s o n p la n n in g th e in volvem en t o f c h ild r e n le a r n in g od0
P o in ts th a t m ight be in clu d ed i n a d is c u s s io n are:
( I ) p a st
e x p e r ie n c e s o f th e s tu d e n ts and th e t e a c h e r , ( 2 ) a p p ro p ria te id e a s fo r
th e m a te r ia ls in v o lv e d , ( 3 ) numerous v a r ia t io n s on a them e, i f one i s
b ein g u s e d , a n d . (U) th e o b j e c t iv e s or g o a ls o f th e a ssig n m en t.
Use o f them es w ith d is c u s s io n .
With n e a r ly any medium or
te c h n iq u e , a theme may be a s sig n e d f o r a g u id e .
O ften a c l a s s w i l l
r e c e iv e an assign m en t w ith a p a in t medium and n ot know what su b je c t t o
p a in t ,
N a ta lie Robinson C ole sa y s t h a t , "The c h ild m ust have h is mind
and em otions a ro u sed .
Time sh o u ld be sp en t d is c u s s in g p a s t e x p e r ie n c e s
to b u ild up an i n t e r e s t fo r ex p a n sio n o f a s u b je c t m a t t e r , G i v e n
one-word them es such as w a ter, t r e e , or o ld h ou se, s tu d e n ts can come
f o r t h w ith many.f i n e id e a s .
I f th e te a c h e r s e l e c t s one word and asks
^Abraham Shumsky, In Search o f T eaching S t y le (New York:
A p p leto n -C en tu ry -C ro fts, 1^58J, p .
^ " N a ta lie Robinson C o le , The A rts i n th e C lassroom (New York:
Joh n D a y Company, 191*0),: pp, 3-1*.
-2 2 -
t h e c l a s s t o s e e how many id e a s can b e d e r iv e d from t h a t one w ord, su ch
a s t r e e ; th e y may re s p o n d w ith h a n g in g t r e e , lo n e p i n e , w indblow n,
g n a r le d , d e a d , lo g g in g camp, stu m p , o r c h a r d , and many m ore b e g in n in g
id e a s .
Themes f o r h o lid a y s seem t o be o v erw o rk ed ; y e t . a new id e a f o r
an o ld custo m alw ays makes an i n t e r e s t i n g c h a l le n g e .
O th e r id e a s f o r
th a n e s , w h ich a r e u n e n d in g , m ig h t in c lu d e m aking m u s ic , h a u n te d h o u se ,
l o s t , t h e good o ld d a y s , a w is h , o c c u p a tio n s , w a te r , s p o r t s , t r a n s p o r ­
t a t i o n , w e a th e r , and f i r e .
B lan ch e J e f f e r s o n i n h e r b o o k . T e a c h in g A rt t o C h ild r e n , d is c u s s e s
u s in g them es f o r m o tiv a tin g s tu d e n ts and how much more e n th u sia s m th e y
p u t i n t o t h e i r a r t work a f t e r d is c u s s in g th em .
"As a r e s u l t o f such
m o t iv a t io n , Debby drew a much more com plex, d e t a i l e d , and i n t e r e s t i n g
p i c t u r e . "12
J e f f e r s o n a l s o g o es on t o s a y , " C h ild re n n eed th e s u g g e s­
t i o n s t h a t th e y g a in from t h e i r c l a s s m a t e 's s ta t e m e n t s , a s w e ll as th e
s t i m u l a t i o n o f t h e i r own th i n k in g th ro u g h t h e t e a c h e r 's q u e s ti o n s .
Use o f e x a m p le s.
D uring t h e d is c u s s i o n , o r a f t e r , exam ples o f
work may b e shown. . O fte n a s tu d e n t w an ts t o hav e some v i s u a l id e a o f
■ w hat h i s f i n a l p r o d u c t o r g o a l i s s o , t h e r e f o r e , th e show ing o f c e r t a i n
te c h n iq u e s may be b e n e f i c i a l b e c a u se th e s tu d e n t c o u ld la c k p e r c e p tio n
o f w hat h i s g o a l i s .
d e s ira b le .
Showing exam ples o f an o b j e c t i v e i s n o t always
So o f t e n when a s tu d e n t h a s l i m i t e d a b i l i t y o r i s - s e l f -
!^ B la n c h e J e f f e r s o n , T e a c h in g ' A rt t o C h ild r e n (B o sto n : A lly n and
B acon, I n c . , 1 9 6 5 ), p p . 6L-65T
1^ I b i d . , p . 6 7 .
—23™
c o n s c io u s about h is work# he w i l l te n d t o d u p lic a te from exam ples o r
from p a r ts o f them .
Many tim es when a te a c h e r i s em phasizing c r e a t i v i t y ,
th e showing o f exam ples m ight i n h ib it t h e o b j e c t iv e .
H ere, c o n s id e r a tio n can be g iv e n t o th e o b j e c t iv e s .
an e x p la n a tio n be g iv en ?
Should j u s t
Should exam ples o f work be shown and th en put
away?
Should exam ples o f th e o b j e c t iv e be l e f t v i s i b l e throughout th e
u n it?
These q u e s tio n s can b e answered by a t e a c h e r ’s o b se r v a tio n o f h is
c la s s ,
He sh o u ld know h is c l a s s , h is o b j e c t i v e s , and t h e e x te n t t o which
he sh o u ld u se ex a m p les,
in t o a mannerism.
" If
th e y do become f ix e d to o so o n , th e y may f a l l
They need most o f a l l t o remain open and f l e x i b l e in
th e way th e y w o r k . T h e
im portance o f th e t e a c h e r ’ s, judgment in th e
e x te n t o f h is u se o f exam ples and id e a s p r e s e n te d t o stu d e n ts i s noted
by Hiram W illia m s:
The good a r t te a c h e r p a s s e s on p r in c ip le s to h is s tu d e n t,
p r in c ip le s u se fu l, t o th e e x p lo i t a t io n o f id e a s . As b e s t as he.
ca n , th e te a c h e r h e lp s th e stu d en t r e c o g n iz e id e a s and how t o
u n fo ld p o s s i b i l i t i e s . He makes an e f f o r t to s t a y ou t o f th e
s tu d e n t ’ s e x p e r ie n c e w ith u n fo ld in g form and g iv e s a d v ice o n ly
a t t h a t p o in t where th e s tu d e n t-p a in te r i s u n q u estio n a b ly bogged
in a h o p e le s s quandary.
Above a l l , t h e good a r t teach er> t r i e s
h is utm ost t o r e f r a in from s t i f l i n g th e stu d en t w ith h is. own
p r e j u d ic e s , h is b i a s e s , and h is s t y l e . The r e a l t a s k o f th e
a r t te a c h e r i s t o be what we m ight c a l l a f r e e in g a g e n t.^
There are d if f e r e n t ways o f showing exam p les, j u s t as th ere are
d if f e r e n t m edia t o u se f o r v a r io u s d em o n str a tio n s.
B e sid e s having tw o-
•^•Robert C. B u rk art, o £ , c i t . , p , 9»
^ H iram W illia m s, "On Teaching A rt," Art E d u cation , Volume 21:
Number 5 (May, 1 9 6 8 ), 7 ,
-2 kd m e n s io n a l exam ples t o show, th e te a c h e r may u se m o v ies, s l i d e s , t e l e ­
v i s i o n , f i l m s t r i p s , and draw ings on a chalkboard,,
D em onstrations and
th e u se o f exam ples co u ld be synonymous, f o r th e d em on stration i t s e l f
i s an example*
Depending on th e s i t u a t i o n , some exam ples m ight be
b e t t e r , and some do have l i m i t a t i o n s ,
B u g e lsk i p o in t s o u t b oth th e
advantages and th e d isa d v a n ta g e s o f u sin g a film :
What th e te a c h e r i s more in t e r e s t e d in i s w hether or not
t e l e v i s i o n and m otion p ic t u r e s can be u sed t o i n s t r u c t . The
answer i s e a sy : I f a ttIive'? le c t u r e r o r d em on stration can
t e a c h , so can a photographed one. The te a c h e r on f ilm or
ta p e can t a l k a s w e ll as th e one in th e cla ssro o m , perhaps
b e t t e r , He can dem onstrate more e f f e c t i v e l y , b eca u se in a .
s e n s e , i t i s p o s s i b l e f o r him t o ta k e th e stu d e n ts w ith him
t o a f o r e ig n c o u n tr y , th e bottom o f th e ocean , a s u r g e iy , or
a lau n ch in g p ad , He can u se equipment th a t would be p roh ib ­
i t i v e l y ex p e n siv e f o r any s in g le c l a s s or s c h o o l, H is one
w eakness i s th a t he cannot se e h is s tu d e n ts and cannot judge
( t o th e e x te n t t h a t t h i s i s p o s s ib le f o r th e l i v e te a c h e r )
w hether he has th e c l a s s "with" him or n o t , He cannot ask
th e c l a s s i f some p o in t sh o u ld be r e p e a te d o r i l l u s t r a t e d
fu r t h e r . The film e d te a c h e r cannot s e e th a t some stu d e n ts
are n o t payin g a t t e n t io n . In f a c t , he m ight be t a lk in g to
an empty c la ssr o o m .
Proper ca re and u se o f equipm ent.
B efore or during th e i n i t i a l
d em o n stra tio n o r any d em on stration th a t m igh t ta k e p la c e throughout a
u n i t , th e p roper d i s t r ib u t io n , ca re and u se o f t o o l s and m a te r ia ls
sh ould be c o n tin u o u sly em phasized.
t o m o tiv a tio n , b u t i t i s ,
T h is sta tem en t may n o t seem p e r tin e n t
As L ow enfeld p o in t s out:
M atters o f a p p a ren tly pure t e c h n ic a l im p ortan ce, such as
th e p r e p a r a tio n and d is t r ib u t io n o f a r t m a t e r ia ls , may some-
16B . R. B u g e ls k i, The P sych ology o f L earning A pp lied t o Teaching
(I n d ia n a p o lis , New York: B o b b s-M errill Company, I n c , , 19SU) , p p , giiO-Ll.
-2 5 -
tim e s be d e c i s i v e f o r th e s u c c e s s o r f a i l u r e o f an a r t
t e a c h e r "s a b i l i t y t o m o tiv a te h is p u p ils e f f e c t i v e l y *
The p r e p a r a tio n and d is t r ib u t io n o f a r t m a te r ia ls b elon g
as much t o a good a r t te a c h e r as th e m o tiv a tio n *
I t ta k e s p e r s is t e n t m o tiv a tio n t o encourage th e p roper u se and ca re o f
m a te r ia ls and t o o ls *
L ow enfeld a ls o p o in t s out th a t t o m o tiv a te th e
s tu d e n ts fo r proper ca re can be a t t a in e d by g iv in g them some o f th e
r e s p o n s i b i l i t y f o r th e p r e p a r a tio n , d is t r ib u t io n , and c o l l e c t i n g o f
th e a r t m a te r ia ls*
The f a c t t h a t th e same t o o l s w i l l be u sed by th e c l a s s again
sh ou ld be encouragem ent f o r th e s tu d e n ts t o ta k e care o f them .
The ca re
o f th e t o o l s , whether th ey b elo n g t o th e s c h o o l or t o th e s tu d e n t, i s
e q u a lly im p o rta n t,
Vihen an u n derstan d in g o f t h e s e v a lu e s i s reached,
th e m aintenance o f t o o l s and m a te r ia ls sh o u ld improve*
The g r e a te r our a f f i n i t y t o m a te r ia ls th e more we w i l l regard
them as p recio u s* T h is i s n o t f o r mere economy but as an
im portant e d u c a tio n a l m eans, f o r w ith o u t t h i s '‘em otional" r e l a ­
tio n s h ip to a r t m edia, no a i t e x p r e s s io n i s p o s s ib le * "19
To m o tiv a te s tu d e n ts i n th e proper u se and ca re o f th e t o o ls and
equipm ent, th e te a c h e r or a m onitor co u ld check t h in g s as th e y are
retu rn ed at. th e end o f each c l a s s s e s s io n *
A r o s t e r g iv in g each stu d en t
a tu r n a t th e end o f each s e s s io n to s e e t h a t th in g s are retu rn ed in
order i s u s e f u l .
The need fo r t o o l s t o be k ep t in good c o n d itio n i s an
^ V ik t o r Lowenfe l d , o g . c i t . , p . 8L.
■
l
8
I
^
i d
*
19I b i d . , p . 85*
“>26 "
ob viou s in c e n t i v e .
D ev elo p in g s k i l l s and, te c h n iq u e S0
The proper u se o f c e r t a in
t o o l s , such as th o se used f o r c a r v in g , i s n e c e s s a r y f o r th e s a f e t y o f
th e s t u d e n t s .
Not o n ly i s th e p roper p reca u tio n a ry u se o f t o o l s an
im portant f a c t o r , b u t a ls o th e c o r r e c t u s e o f a t o o l sh o u ld be known.
The c o r r e c t u se w i l l a id in o b ta in in g c e r t a in d e s ir e d end r e s u l t s .
If
a stu d e n t has a c e r t a in o b j e c t iv e , he sh o u ld have th e t e c h n ic a l s k i l l t o
m an ip u late th e n e c e s s a r y t o o l s .
As a s t u d e n t ’ s s k i l l s grow and as he
m atures p h y s i c a ll y , h is d e s ir e f o r fu r th e r developm ent w i l l in c r e a se as
Munro r e i t e r a t e s :
Older s tu d e n ts need and demand more te c h n iq u e , become d i s ­
s a t i s f i e d w ith mere p la y , and want t o know how t o do a th in g
w e ll (a s judged by contem porary a d u lt sta n d a rd s) i f a t a l l .
They become more s e l f - c r i t i c a l , im p a tie n t o f awkward groping
and mere s e l f e x p r e s s io n ; th e y d e lig h t in le a r n in g a tech n iq u e
f o r i t s own s a k e , as an in t e r e s t i n g game.20
I f th e stu d e n t has th e n e c e s s a r y know-how w ith a t o o l , he w i l l
p o s s e s s a g r e a te r in c e n t iv e fo r ex p e r im e n ta tio n , e x p lo r a tio n , and th e
c r e a tio n o f new id e a s .
The N a tio n a l Art E d u cation A s s o c ia tio n p o in ts
out th a t one o f th e o b j e c t iv e s o f an a r t program sh ould be "working
w ith t o o l s a p p ro p ria te t o th e s t u d e n t s ’ a b i l i t i e s in o rd er t o develop
m a n ip u la tiv e s k i l l s needed f o r s a t i s f y i n g a e s t h e t ic e x p r e s s io n ."21
2Orhomag Munro, Art E d u ca tio n , I t s P h ilo so p h y and P sych ology
(I n d ia n a p o lis , New York: B o b b s-M errill Company, I n c . , 1 9 ^ S ), p . IOq.
21-National Art Education A ssociation, The E ssen tials of a Quality
School Art Program (W ashington, D, C .: N a tio n a l Art E ducation Associatxon). Par(.'I T
-2 7 -
For exam ple, a stu d e n t would m iss some o f th e s a t i s f a c t i o n o f u sin g
w ater c o lo r te c h n iq u e s i f he u sed o n ly a brush and n ev er implemented
w ith th e u se o f a r a z o r b la d e or a k n if e fo r v a r ie d e f f e c t s .
S im ila r ly ,
in c r e a tin g a wood s c u lp t u r e , th e stu d en t co u ld vary th e te x tu r e o f th e
form o f th e work by p o s s e s s in g th e knowledge o f v a r io u s tech n iq u es th a t
c e r t a in t o o l s can g iv e .
L earning te c h n iq u e s i s p a r t o f e x t r i n s i c m o tiv a tio n .
sa y s o f tech n iq u e;
As Munro
" It i s s k i l l in e x e c u tin g th e d e t a i l s n e c e ssa r y f o r
ex p ert p ro d u ctio n or perform ance.
I t i s le a r n e d a b i l i t y , as c o n tr a ste d
w ith in n a te ; i t in v o lv e s a b i l i t y t o p r o f i t by accum ulated c u lt u r a l
e x p e r ie n c e ."22
A s t u d e n t , th e n , sh ould have a b a s ic knowledge o f t o o l s so th a t
he can p roceed w ith an id e a w ith o u t b ein g in h ib it e d .
O ften he may have
a c r e a t iv e u rge and be h e ld back, even f r u s t r a t e d , b ecause o f th e la ck
o f t e c h n ic a l know ledge.
The t e c h n ic a l knowledge o f t o o l s and equipment
may a ls o le a d t o a new c r e a t iv e end r e s u l t w ith t h i s k in d o f m o tiv a tio n .
"The p a r t ic u la r s k i l l s upon which p ro d u ctio n in th e v is u a l a r ts
depends are m a n ip u la tiv e and p e r c e p tu a l.
The p u p il can be tr a in e d b oth
t o u se h is hands and t o se e more e f f i c i e n t l y through a rt a c t i v i t y . "21
The im portance o f m a n ip u la tiv e s k i l l s has b een d is c u s s e d up to t h is
p o in t .
Some o f th e p e r c e p tu a l f a c t o r s t h a t can serv e as a id s in ex p e-
2% unro, 0£ . c i t . , p . 105.
2^ L a n ier, 0£ , c i t . , p . 9 6 .
-2 8 r ie n c e s and m o tiv a tio n w i l l be examined b elo w .
F ie ld t r i p s .
F ie ld t r i p s t o museums or o th e r a r t e x h ib it s are
o f t e n m o tiv a tio n a l t o young p e o p le .
Such p la c e s u s u a lly have a wide
v a r ia t io n o f m edia and su b je c t m atter e x h ib it e d which co u ld g iv e
s tu d e n ts a background o f many e x p e r ie n c e s .
I f th e c l a s s cannot go as
a group, a tte n d in g an e x h ib it may be an o u ts id e assign m en t and can be
d is c u s s e d l a t e r in th e cla ssro o m .
The te a c h e r may p o in t out a s p e c ts
o f a r t which th e stu d e n ts sh o u ld be aware o f b e fo r e th e y a tte n d an
e x h ib it in d iv id u a ll y .
An e x h ib it u s u a lly g iv e s th e stu d e n t a high
q u a lit y o f a r t t o e x p e r ie n c e .
Irma P ain e w r it e s about th e im portant
p a r t a te a c h e r can p la y w ith th e u se o f added e x p e r ie n c e s ,
No c h il d can c r e a te o r grow, m e n ta lly w ith ou t s t im u li and
c h a lle n g in g e x p e r ie n c e s . A g o a l o f t h i s s o r t may n o t be
a ch iev ed th rou gh p r e s e n ta tio n o f m a te r ia ls a lo n e . Guidance
must be a v a ila b le as th e c h il d p r o g r e s s e s , shows grow th,
f a l t e r s , l o s e s a ssu r a n c e , r e g r e s s e s , o r shows no advancem ent.
An u n d ersta n d in g te a c h e r , n ot n e c e s s a r il y an a r t i s t , would
in s p ir e and advance her ch arges through her undoubted en thu­
siasm and u n b iased e v a l u a t i o n . ^
M o tiv a tio n can be d evelop ed and m a in tain ed when th e stu d en t has
had a v a r i e t y o f e x p e r ie n c e s o u ts id e th e cla ssro o m .
The th e o r y behind
th e u n i t , t h e h is t o r y , th e a s s o c ia t io n w ith contem porary a c t i v i t y b o th
in s id e and o u ts id e a cla ssro o m , and th e s k i l l a l l enhance one another
in th e m o tiv a tio n o f a n .id e a .
H erberholz p o in t s out t h a t groundwork
b e fo r e th e f i e l d t r i p i s e s s e n t i a l .
A d is c u s s io n or l i s t i n g o f s p e c i f i c
2blrma L i t t l e r P a in e , Art A ids (M in n ea p o lis, M innesota: B urgess
P u b lish in g Conpany, 1 9 0 $ ), p.~TT
-2 9 -
p o in ts to o b serv e w i l l make a stu d en t more aware o f what t o lo o k f o r .
Emphasis by th e in s t r u c t o r upon:
( I ) "What th e shapes and fu n c tio n s o f
th in g s a r e , (2 ) What th e t e x t u r e s a r e , (3 ) What odors w i l l be encoun­
t e r e d , (U) What c o lo r s he m ight lo o k f o r , (5 ) What n o is e s he m ight h ea r,
and (6 ) How t h e s e f in d in g s are r e la t e d t o th o se t h in g s which he a lrea d y
knows"25 % iH a id s tu d e n ts in g a in in g more from t h e t r i p .
B ecause some in d iv id u a ls w i l l f e e l in h ib it e d b ecau se o f a la c k o f
o u ts id e e x p e r ie n c e s , th e te a c h e r Should encourage and s tim u la te an
i n t e r e s t f o r them .
"Most in d iv id u a ls have th e n a tu r a l endowments
n e c e s s a r y t o become more c r e a t iv e p e r s o n s.
c r e a t iv e n e s s has been s t i r r e d . "2^
However, n ot e v er y o n e’s
P r e se n tin g some o f th e above fu n c tio n s
are p art o f th e t e a c h e r ’s o b j e c t iv e s t o s t i r t h i s c r e a t iv e n e s s .
If a
te a c h e r w ants t o m o tiv a te stu d e n ts in t o .b e in g c r e a t iv e , he must keep in
mind th e aims o f a r t ed u ca tio n and what a r t i s as s t a t e d by I . 'L, Paine:
Art i s a way t o e n r ic h in d iv id u a l aw areness and u n derstan d in g
o f th e w orld o f n a tu re and th e world, o f man through an in c r e a se d
developm ent o f th e se n so r y m ech a n ics, i . e . , le a r n in g t o o b serv e,
f e e l , l i s t e n , s m e ll, and t a s t e .
Art i s a way t o d ev elo p s k i l l s i n th e u se o f a r t m a te r ia ls
through e x p e r im e n ta tio n , m a n ip u la tio n , and p r a c t ic e .
Art i s a way to e n r ic h a p p r e c ia tio n o f a r t i s t s , a r t w orks, and
a e s t h e t ic form s.
Art i s a way o f becoming a c r e a t iv e p e r so n .
25H erb erh olz, o £ . c i t . , p , 6 6 .
^ E a r l iJ. Linderman and Donald W. Herber h p lz . D ev elo p in g A r t is t ic
and P e r c e p tu a l Awareness (Dubuque, Iowa: ton. C. BrownTompany, 196L ),
p. I.
-3 0 -
Art i s a way to become a f l e x i b l e , c o n fid e n t p erso n through
t e l l i n g and sa y in g your id e a s i n a v i s u a l la n g u a g e.
Art i s a way t o c l a r i f y and f i x id e a s i n th e mind through
v i s u a l r e i t e r a t i o n , by str e n g th e n in g what has been lea rn ed
about so m e th in g .27
As i t was m entioned ab ove, one o f t h e t e a c h e r ’s o b j e c t iv e s i s t o
te a c h aw areness t o t h e w orld around u s and t o d ev elo p sen so r y ob serva­
tio n s .
Most s tu d e n ts have an i n t e r e s t o f some s o r t i n th e n a tu r a l
.
th in g s around them .
There i s such an enormous v a r i e t y o f th e n a tu ra l
m a te r ia ls th a t we can u t i l i z e .
The te a c h e r can d ev elo p and sh ould
d ev elo p an aw areness o f th e s e i n th e s t u d e n t s .
T h is aw areness o f n a tu re
can be most s tim u la tin g t o a r t stu d e n ts a s Robert Henkes e x p la in s :
S eein g in n a tu re i s s im ila r t o p e r c e p tio n . To p e r c e iv e
means t o know, to s e e , t o th in k , and f i n a l l y , in an a r t i s t i c
s e n s e , t o e x p r e s s . The e x p r e s s io n o f n atu re demands an id e a
or a s e r ie s o f id e a s . To ex p ress n a tu re v i s u a l l y su g g e sts
th e la c k o f a r t i s t i c segm ents n e c e s s a r y f o r a com p lete ex p res­
s io n . Nature sh o u ld be th e m o tiv a tio n a l or s tim u la tin g fo r c e
r e s p o n s ib le f o r th e f in is h e d p ro d u ct. I t i s th e stim u lu s th a t
g e n e r a te s th e a r t i s t in t o a c t io n . I t sh ould c h a lle n g e th e
c h il d i n l i k e m anner.28
To e x c i t e t h e c h i l d ' s i n t e r e s t , many n a tu r a l m a te r ia ls can be
brought in t o th e c la ssr o o m .
S tu d en ts can b rin g exam ples from t h e i r .own
e x c u r s io n s , or th e c l a s s can go out as a group and c o l l e c t th in g s'.
When th e w eather p e r m its , th e c l a s s may work o u tsid e w ith w hatever m edia
m ight be p r a c t i c a l .
There i s u s u a lly seme area n ear th e s c h o o l th a t can
27irma L i t t l e r P a in e , o g , c i t . , p . 6«
^ R o b e r t Henkes, "Nature: A Way o f S eeing T h in g s," Sch ool A r ts ,
Volume 67: Number 5 (Jan u ary, 1 9 6 8 ), 3 3 .
-3 1 f u m is h some n a tu r a l m a te r ia l.
T ea ch in g . th e awareness t o th e th in g s
around them i s an im p ortan t g o a l o f th e t e a c h e r .
To m o tiv a te t h i s
aw areness i s an a r t t e a c h e r 's p r i v i l e g e , r e g a r d le s s o f th e s tu d e n ts ' a r t
a b ility .
Art and th e A d o lescen t p o in t s out th e f a s c in a t in g th in g s one
can s e e i f he o n ly lo o k s f o r them:
The w orld has become a sto r e h o u se o f f a s c in a t io n , f o r a r t
has ta u g h t me t o o b s e r v e , and o b serv in g has opened a w orld I
n ev er knew e x i s t e d . A p la in o rd in a ry house has become an
amazing maze o f windows, d o o rs, trim m in gs, and c o lo r t h a t I
lo o k ed a t b e fo r e b u t n ever saw .29
S u b je ct m a tte r .
F o llo w in g a c e r t a in theme was m entioned above
as an im portant a sp e c t f o r some u n i t s .
Along th e same l i n e as "theme"
would be s u b je c t m a tter f o r such an e x p e r ie n c e as drawing or p a in tin g a
s t ill life .
V ases and flo w e r s can g e t b o rin g and u n in t e r e s t in g .
To
spark a l i t t l e more i n t e r e s t f o r a l l th e c l a s s , th e in s t r u c t o r sh ould
have a v a r ie t y o f o b j e c t s w ith appeal f o r many.
I f a v a se and flo w e r s
are in c lu d e d in th e s t i l l l i f e ; a gun, d eco y , s t u f f e d an im al, s k u l l,
s t o n e , or ca rv in g c o u ld be added,
A v a r ie t y o f o b j e c t s can m o tiv a te
i n t e r e s t ; b u t, t o av o id c l u t t e r i n a co m p o sitio n and g iv e more freedom ,
a llo w th e s tu d e n ts t o e lim in a te some o b j e c t s or t o p la c e them i n t h e ir
co m p o sitio n i n an o r i g in a l arrangem ent.
In t h i s way th e y r e c e iv e i n s p i ­
r a t io n and an o p p o r tu n ity t o ex p e r ie n c e th e o r g a n iz a tio n o f t h e ir own
arrangem ent.
When a stu d e n t i s g iv e n freedom w h ile doing a p r o j e c t , he
has g r e a te r o p p o rtu n ity t o be more c r e a t iv e .
Z^Youldon C0 H ow ell, E d ito r , Art and th e A dQ lescent ( K u tztown,
P en n sy lv a n ia : N a tio n a l Art E d u cation A s s o c ia t io n , JL95>7 j , p . U l.
-3 2 Time l i m i t a t i o n s .
a p r o je c t.
Freedom comes in t o p la y , a ls o , f o r com p letin g
Some stu d e n ts are more ex p erien ced or t a le n t e d w ith c e r t a in
c r i t e r i a o r have an in s p ir a t io n r ig h t a t th e in tr o d u c tio n o f a u n it and
are a b le t o f i n i s h so o n e r .
Other stu d e n ts are n a t u r a lly slo w e r .
S e ttin g
a d e a d lin e f o r .a n assignm ent can i n h ib it c r e a t i v i t y and good work.
If a
stu d e n t wants t o experim ent a l i t t l e more or i s more d e lib e r a t e than
o th er s tu d e n t s , th e s e p eo p le sh ould be g iv e n e x t r a tim e .
P r o je c ts do
n ot have t o be c o l le c t e d or checked on a s p e c i f i c d a te; th e u n it s may
o v e r la p .
In tro d u ce th e new u n it when m ost o f th e c l a s s i s f in is h e d and
l e t th e slo w er ones com p lete th e p r e v io u s p r o je c t on t h e ir own tim e .
There i s l e s s chance fo r c o n fu sio n when everyone works on th e same
p r o je c t s im u lta n e o u s ly .
The in s t r u c t o r can g iv e v e r b a l d ir e c t io n s , and
any q u e s tio n s th e stu d e n ts might have can be shared and d is c u s s e d by a l l
o f th e s tu d e n t s .
There are no hard and f a s t r u le s in s e t t i n g a tim e l i m i t fo r a
p r o je c t; however, i f a te a c h e r wants a c tio n and freedom u sed in a
p r o j e c t , i t m ight be b e s t to s e t a tim e l i m i t o c c a s io n a lly .
When
fig u r e drawing which in c o r p o r a te s a c tio n or working w ith w ater c o lo r s ,
wet on w e t, a ra p id resp o n se i s c a l le d f o r on th e p a rt o f th e s tu d e n ts .
A b r i e f tim e l i m i t i n th e s e c a s e s would be a p p r o p r ia te .
Changing a c t i v i t i e s .
Another way t o keep both th e t e a c h e r 's
and th e s tu d e n ts ' in t e r e s t m otivated i s t o change th e a c t i v i t i e s o f t e n .
Do n ot s t a y w ith one m edium .too lo n g .
v a tio n i s im portant h e r e .
The t e a c h e r 's power of. o b ser­
During th e in tr o d u c tio n and body o f a u n it .
-3 3 -
he can s e e how th e i n t e r e s t f a r e s .
I f i t i s n e c e s s a r y t o u se th e same
medium fo r an exten d ed p e r io d o f tim e , perhaps th e theme co u ld be
changed.
Use v a r ie t y to keep th e s t u d e n t s ’ i n t e r e s t and to avoid
monotony and r e p e t i t i o n .
A v a r ia t io n in a r t a c t i v i t i e s can be ex trem ely
b e n e f i c i a l as C r e a t iv it y in T eaching s t a t e s :
M a te r ia ls t h a t are p r im a r ily a s s o c ia t e d w ith th e graphic
and p l a s t i c a r t s —c l a y , p a in t , wood, p a p er, p a s t e , g lu e ,
cra y o n s, to name a few — have th e w onderful q u a lit y o f b ein g
a v a ila b le t o te a c h e r s f o r a l l k in d s o f p u rp o ses. They may
be made a c c e s s ib l e t o c h ild r e n fo r purposes o f e x p lo r a tio n
and m a n ip u la tio n o r , when f a m i l i a r i t y w ith th e m a te r ia ls i s
■ach iev ed and s k i l l s a r e m aturing, fo r purposes o f e x p r e ssin g
an id e a in some r e l a t i v e l y f in is h e d form . I t i s at th e tim e •
o f e x p lo r a tio n th a t te a c h e r s can p ro v id e a v a r i e t y o f m ate­
r i a l s and c r e a t e th e atmosphere o f f r ie n d l in e s s and h e lp f u l­
n e s s in w hich p u p ils may become in c r e a s in g ly w e ll a cq u ain ted
w ith th e p o s s i b i l i t i e s o f a rt m ed ia, 30
V a r ie ty may a ls o be added by changing from in d iv id u a l t o group
p r o j e c t s from, tim e t o tim e .
Lowenfeld p o in t s out t h a t i t has been
experim ent a l l y proven th a t in d iv id u a l m o tiv a tio n i s n ot alw ays th e most
e ffe c tiv e .
Classroom or group m o tiv a tio n can become " co n ta g io u s” j u s t
as ex citem en t does a t a crowded f o o t b a l l gam e.31
Croup p r o j e c t s w i l l
o f t e n h e lp a stu d en t g e t acq u ain ted w ith c la s s m a te s , h elp him t o r e la x ,
and a id him in e x p r e s s in g h im s e lf more r e a d i ly .
Under th e group p r o j e c t ,
which makes th e c l a s s atm osphere more in fo r m a l, a b e t t e r r e la tio n s h ip '
can be ach iev ed betw een s tu d e n ts and, t e a c h e r .
^0A lic e M ie l, C r e a t iv it y in T e a c h in g , (B elm ont, C a lifo r n ia ;
Wadsworth P u b lish in g Company, I n c ., 1 ^ 6 2 ), p . 171.
^ L o w e n fe ld , op . c i t . , p . 3 .
-3U Group p r o j e c t s »
Because t h e v a r ie d a r t t a le n t u s u a lly found in
a c l a s s i s an a s s e t , th e group p r o j e c t m ay-reap th e s e b e n e f i t s fo r a l l .
A fte r a te a c h e r knows each s t u d e n t 's a b i l i t y ra n g e, a more t a le n t e d
stu d en t can be a ssig n e d t o one group f o r a p r o j e c t o
be:
One example would
One stu d en t w i l l do th e drawing; one may mix c o lo r s ; o th e r s can
p a in t .
B e sid e s havin g a c e r t a in g o a l t o work f o r , th e s tu d e n ts are
le a r n in g t o p la n , t o work, and t o co o p era te w ith each o t h e r .
Robert
R e if f s t a t e s i n h is w r it in g s :
I fir m ly b e li e v e th a t s tu d e n ts I e a m more from one another
th an from t h e i r te a c h e r , c e r t a in ly as much. From such freq u en t
"group shows" s tu d e n ts work, se e a range o f p o s s i b i l i t i e s , and
h o p e f u lly , a cq u ire some co n cep t o f what i s good d e s ig n .32
Student e v a lu a tio n and c r i t i c i s m .
During an e v a lu a tio n s e s s io n
th e te a c h e r may s t r e s s an aw areness o f th e numerous elem en ts o f each
co m p o sitio n .
Each stu d e n t can be asked t o e x p r e ss h is own th ou ghts
con cern in g th e s u b je c t b ein g d is c u s s e d .
In such a s i t u a t i o n th e
stu d e n ts w ith o u t d eveloped a b i l i t y are in c lu d e d , f o r everyone should
be a b le t o e x p r e ss some r e a c t io n t o a v i s i b l e e x p e r ie n c e .
M o tiv a tio n through e v a lu a tio n ta k e s much c o n s id e r a tio n con cern in g
when i t sh o u ld be done and how much sh ould be s a id .
F ir s t o f a l l ,
c o n fid en ce can be b u i l t up by s t a r t in g w ith sim p le p roced u res so th a t
th e stu d en t f e e l s s u c c e s s .
th a t he can do w e l l .
He sh ould be p r a is e d and f e e l c o n fid e n t
He sh ould be h elp ed t o understand t h a t he cannot
32R0b e r t R e i f f , " C on fession s o f a D esig n T eacher," S ch ool A r ts,
Volume 6?: Number E> (January, 1 9 6 8 ), IUo
-3 5 -
do some t h in g s a s w e ll a s o t h e r s ,
June King McFee i n h er book. Prepa­
r a t io n f o r A r t, sa y s t h a t , "The te a c h e r can h elp t h e c h ild by making
c e r t a in he has some k ind o f s u c c e s s on which to b u ild fu r th e r s u c c e s s ."33
S in c e r e p r a is e d u rin g an a c t i v i t y w i l l g iv e th e stu d e n t c o n f i­
dence t o p roceed f r e e l y w ith h is c r e a t i v i t y .
For th e te a c h e r t o convey
s i n c e r i t y and c o n fid e n c e t o th e s tu d e n t, th e te a c h e r must choose th e
b e t t e r p a r t s i n th e work and e x p la in why he i s p r a is in g them .
Lowenfeld
e x p r e s s e s t h i s p o in t w e ll when he sa y s:
Your p r a is e sh o u ld b o o st t h e c o n fid e n c e o f your c h i l d in
e s t a b lis h in g more and more s e n s i t i v e r e la t io n s h ip s t o h i s
e x p e r ie n c e s , f o r th e more s e n s i t i v e h is r e la t io n s h ip s to
h is e x p e r ie n c e s , th e r ic h e r w i l l be h is a r t expression,3U
The te a c h e r can be h ig h ly in str u m e n ta l i n h e lp in g th e stu d en t t o
u n d erstan d , as was m entioned e a r l i e r , t h a t seldom , i f e v e r , do a r t i s t s
handle a l l m edia e q u a lly w e l l .
I f th e te a c h e r knows th e background o f
th e s tu d e n t ’ s w ea k n esses, he may encourage him t o work w ith m a te r ia l in
w hich he w i l l e x p e r ie n c e s u c c e s s .
McFee p o in ts out, t h a t , "Often in a r t
a c t i v i t i e s a c h il d can g e t h is f i r s t r e a l s u c c e s s e x p e r ie n c e , i f th e
te a c h e r h e lp s him t o s e l e c t a medium and p r o c e ss in which he i s l i k e l y
t o succeed. "35
She a ls o p o in ts, but t h a t encouragem ent can b e m o tiv a tin g
e s p e c i a l l y i f a stu d en t i s at a p la te a u or i s r e g r e s s in g .
" C on stru ctive
c r i t i c i s m in th e upper, grad es p a r t ic u l a r ly , i s needed i n k eep in g th e
c h i l d m o tiv a ted t o d ev elo p h is a r t i s t i c p o t e n t i a l , " ^
.
3^Low enfeld, Your C hild and H is A rt, o p , c i t , , p . 1 9 ,
35McFee, o g . c i t . , p . 1 2 2 ,
" ^ b id .
I
M A
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A DIVISION O F HMS TEC H N O LO G IES, INC.
O n e D iscovery P la c e , M artinsburg, W V 2 5 403
3 0 4 .5 9 6 .5 5 8 3 | w w w .docutex.com
Form IMAG-171 (5/2011) WH
-3 6 Teacher e v a lu a t io n .
When a l l o f t h e s e and o th e r methods o f
m o tiv a tio n are e v a lu a te d by th e te a c h e r , how s h a ll, he know th a t th e y
are t r u l y h e lp f u l and th a t h e , th e t e a c h e r , has accom p lished what he
s e t ou t t o do?
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Donald and. Barbara H erberholz h elp answer t h i s q u e s tio n
v
b y w r itin g !
A m o tiv a tio n may be c o n sid ered e f f e c t i v e when a m a jo r ity
o f th e c h ild r e n have shown a h ig h ly p e r s o n a l in volvem en t w ith
th e s u b je c t m a tter p r e s e n te d . I f a w ide range o f resp o n se s
are g iv e n by t h e c l a s s , t h e ,m o t iv a t io n was broad and d iv e r g e n t
i n sco p e and was s u c c e s s f u l/ i n en cou ragin g Xiniquenesse 37
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CHAPTER IV
REPORT OF FINDINGS
I.
REVIEW OF THE PROBLEM ■.
T h is stu d y was t o d eterm ine which te c h n iq u e s te a c h e r s found t o be
most b e n e f i c i a l f o r m o tiv a tin g a r t s tu d e n ts i n th e p u b lic sc h o o ls i n th e
s t a t e o f Montana®
In th e s p r in g o f 1968 a f t e r a t l e a s t a y ea r or more o f
te a c h in g e x p e r ie n c e , fo u r hundred te a c h e r s o f th e k in d erg a rten through
th e t w e lf t h grade were asked t o com p lete a q u estion n aire®
The q u e s tio n ­
n a ir e c o n s is t e d o f a su rvey which was d ir e c t e d t o th e q u e s tio n o f m o ti­
v a t io n as i t was u t i l i z e d in th e te a c h in g o f classroom art®
fo llo w s :
I t read as
" P lease d e s c r ib e i n a few s e n te n c e s th e form o f m o tiv a tio n
which you have found most e f f e c t i v e i n p rep a rin g a c h i l d . f o r an a r t
e x p e r ie n c e , ( i . e . ) m a t e r ia ls , d em o n stra tio n , d is p la y o f a r t o b j e c t s ,
classroom d is c u s s io n , poems, m usic,, s t o r i e s , f i e l d t r i p s , sen so ry
e x p e r ie n c e s , te a c h e r en th u sia sm , t e a c h e r ’ s a r t background, e t c .
Other?"
■ About an eq u a l p e rce n ta g e o f forms were retu rn ed f o r each grade
l e v e l w ith ap p ro x im a tely th r e e hundred te a c h e r s or s e v e n t y - f iv e per cen t
resp on d in g t o th e q u e s tio n n a ir e .
The q u e s tio n was asked o f te a c h e r s a t
a l l grade l e v e l s t o a s c e r t a in i f th e r e were any v a r ia t io n o f tech n iq u es
or m eth od s,o f in s p ir i n g , r e g a r d le s s o f th e s t u d e n t s 1 ages®
page 3 8 , l i s t s n in e methods o f m otivation®
Table I ,
These n in e methods were
m entioned w ith th e g r e a t e s t freq u en cy in th e su rv ey .
Some o f th e te a c h e r s who were in te r v ie w e d were approached a t a
Montana E ducation A s s o c ia t io n C onference i n H elena d u rin g t h e sp rin g o f
TABLE I
PERCENTAGE OF MOTIVATIONAL FACTORS WHICH WERE FOUND TO BE MOST EFFECTIVE
BI GREAT FALLS TEACHERS FOR AN ART EXPERIENCE
ACCORDING TO GRADE LEVEL
N - 300
Grade l e v e l
K
I
2
3
U
5
6
7— 12
O
3
9
7
U
21
6
I
M o tiv a tio n a l
Technique
vary m edia „ . . . .
r e la t e d e x p e r ie n c e s .
13
U
9
IU
11
13
0
33
f i l m s , sen so r y . . .
9
25
25
H
37
13
20
0
c iis p ls y » o o « • » •
5
22
20
37
UU
29
70
56
te a c h e r en th u siasm .
3o
37
16
29
52
28
25
' U5
9
9
5
5
U
13
6
2
s t o r i e s , poems, m usic
3o
U8
Uo
22
16
5
9.
0
d is c u s s io n ...................
21
55
30
52
U5
Uo
U3
I
d em on stra tio n s « . »
Ul
Uo
60
62
62
56
62
■ 78
f ie ld tr ip s . . . . .
'
Some te a c h e r s I n d ic a te d more than one tech n iq u ej t h e r e f o r e , th e
sum was n o t n e c e s s a r il y eq u a l t o one hundred p e r c e n te
-3 9 -
1969»
Other in te r v ie w e e s l i s t e d were f u l l - t i m e te a c h e r s a tte n d in g summer
s c h o o l fo r advanced stu d y a t W estern Montana C o lle g e .
o f in te r v ie w e e s i s g iv e n in Appendix A.
A com p lete l i s t
The te a c h e r s who were i n t e r ­
view ed were ask ed , "What ty p e or k in d o f m o tiv a tio n d id you u se th a t you
found to be most s u c c e s s f u l fo r m o tiv a tin g your a r t stu d en ts? "
The te c h n iq u e s th a t are d is c u s s e d in t h i s ch a p ter were found t o
be s tim u la t in g t o th e stu d e n ts by th e te a c h e r s su rveyed and in te r v ie w e d .
II.
FINDINGS
M o tiv a tio n a l f a c t o r s f o r k in d e r g a r te n .
The h ig h e s t p ercen ta g e o f
m o tiv a tio n a l f a c t o r s found in th e su rv ey T able I f o r th e k in d erg a rten
were te a c h e r en th u siasm and th e u se o f s t o r i e s , poems and m u sic.
In a
p e r s o n a l in t e r v ie w a k in d erg a rten te a c h e r s t a t e d th a t rea d in g books was
v e r y b e n e f i c i a l and th a t she read to t h e stu d e n ts and showed them some o f
th e i l l u s t r a t i o n s .
But she ca u tio n ed a g a in s t showing them to o many '
i l l u s t r a t i o n s b eca u se she wanted th e s tu d e n ts t o c r e a te t h e i r own id e a s
from what was read t o them .
Show th e s tu d e n ts j u s t enough to g iv e them
some id e a s from which t o w ork.^
A nother te a c h e r p o in te d ou t t h a t b u ild in g up i n t e r e s t ahead o f
tim e by t a lk in g about a p r o je c t ( d is c u s s io n ) and te a c h e r enthusiasm were
th e most b e n e f i c i a l a r t p r o je c t m o tiv a to r s f o r h e r .^
I
Statem ent by M argaret Woodrow, p e r s o n a l in t e r v ie w .
^Statem ent by L y d a -S a tte r ly , p e r s o n a l in te r v ie w .
I
1
—UO—
Both d is c u s s io n and en thusiasm ranked h ig h i n T able I in th e
k in d e r g a r te n .
The u se o f d is p la y ranked low becau se o f th e ten d en cy fo r
y o u n g ste r s t o co p y .
A ls o , a t th e k in d erg a rten l e v e l , t o v a ry media
ranked low in th e su rvey; w h ereas, d em on stration ranked h ig h , "which i t
does on a l l grade l e v e l s .
The u se o f m u sic , which i s grouped w ith
s t o r i e s and poems, was u sed by a te a c h e r in te r v ie w e d and was found h ig h ly
m o t iv a tio n a l.
She f e l t t h a t c h ild r e n were more c r e a t iv e and ex p ressed
th em selv es more o r i g i n a l l y through m u s ic .^
M o tiv a tio n a l f a c t o r s f o r f i r s t grad e.
The h ig h e s t p ercen ta g e fo r.
a s u c c e s s f u l m o tiv a tin g tech n iq u e as shown on T able I was d is c u s s io n .
One f i r s t grade te a c h e r u sed d is c u s s io n and a s to r y p e r io d , which a ls o
ranked h ig h on T able I f o r grade on e.
But she a ls o s t a t e d th a t at t h i s
grade l e v e l stu d e n ts seemed to need l i t t l e m o tiv a tio n b ecau se th e y are so
in t e r e s t e d in e v e r y th in g and are ea g er t o l e a r n . ^
Another f i r s t grade
te a c h e r who u sed d is c u s s io n found what th e c h ild r e n ’ s i n t e r e s t s were to
f a c i l i t a t e th e p la n n in g o f fu tu r e a r t a c t i v i t i e s .
Then sh e always k ep t
th e s e m a te r ia ls handy so th a t when a stu d en t had some f r e e tim e he co u ld
work on h i s own.^
A prim ary r u r a l te a c h e r found th a t working oh group
p r o je c ts (w hich do n ot show on th e su rv ey t a b le ) had g r e a t m o tiv a tio n a l
^Statem ent by Marion Z ink, p e r s o n a l in te r v ie w .
^Statem ent by H azel O lson, p e r s o n a l in t e r v ie w .
^Statem ent by Lyda S a t t e r ly , p e r s o n a l in te r v ie w .
V; ' v - > ' ; X
-la v a lu e f o r arb0°
Group p r o j e c t s were m entioned as an Im portant f a c t o r
during in te r v ie w s a t s e v e r a l grade l e v e l s ,
A group p r o j e c t t h a t co u ld
in v o lv e more than one stu d e n t would be th e p la n n in g and th e e x e c u tin g o f
a m ural, p u ttin g up a d is p la y , o r g a n iz in g h o lid a y d e c o r a tio n s , or making
a s o c i a l s t u d ie s dioram a.
Each stu d e n t would perform a f u n c tio n s im ila r
t o one which he or sh e had com pleted s u c c e s s f u l ly in th e p a s t .
The secon d h ig h e s t - r a t e d te c h n iq u e i n T able I f o r f i r s t grade was
s t o r i e s , poems, and m u sic.
One te a c h e r s t a t e d t h a t th e s t o r i e s from
c h ild r e n 's b o o k s, e i t h e r rea d by them or t o them, were b e n e f i c i a l ; and
w ith t h i s method d is c u s s io n alw ays e n te r e d i n , ^
Another tech n iq u e t h a t was s u c c e s s f u l f o r f i r s t grade m o tiv a tio n ,
n ot l i s t e d in th e su rvey t a b le but m entioned during in te r v ie w d is c u s s io n s ,
was having sh o r t p r o j e c t s , th o se t h a t l a s t one or two p e r io d s , fo r them.
The s h o r te r p r o j e c t s f o r prim ary p e o p le were im portant b eca u se o f t h e ir
sh o r t a t t e n t io n span and becau se b r i e f , com pleted p r o j e c t s gave them th e
O
f e e l i n g o f a ccom p lish m en t,0
Though th e su rvey t a b le has a low p ercen ta g e sc o r e f o r r e la t e d
e x p e r ie n c e s a t grade one and a t o th e r grade l e v e l s , d u rin g th e in te r v ie w s
most o f th e te a c h e r s u sed t h i s m ethod,
A te a c h e r from West G la cier
s t a t e d th a t th e s tu d e n ts li k e d t o r e l a t e t h e i r a r t p r o j e c t s t o th in g s
^Statem ent by A lic e M i lle r , p e r so n a l in t e r v ie w ,
^Statem ent by Jeane H e lle r , p er so n a l in te r v ie w ,
^Statem ent by H azel O lso n , p e r so n a l in te r v ie w .
-ha­
th a t th e y were f a m il ia r w ith and th a t sh e worked th e a r t in sim u lta ­
n e o u s ly w ith s o c i a l stu d y u n i t s . ^
A noth er•prim ary te a c h e r r e la t e d a r t
p r o j e c t s t o o th e r e x p e r ie n c e s and w ith groups had them make 3-D murals
t o f i t th e su b je c t*
F i r s t , stu d e n ts made anim als from c la y and th en th e y
p u t th e a p p ro p ria te ^lan d sca p e around th e a n i m a l , T h i s p a r t ic u la r
te a c h e r , and o t h e r s , m entioned how y o u n g ste r s l i k e d t o work w ith p a in t
b eca u se i t i s m essy and fu n ; and th e y c o u ld c r e a te w ith i t what th ey
wanted b ecau se th e y f e l t f r e e r .
M o tiv a tio n a l f a c t o r s f o r second g ra d e*
For th e secon d grade and
grad es th a t f o ll o w . T able I in d ic a t e s th a t d em on stration i s th e most
e f f e c t i v e form o f m o tiv a tio n .
The c h ild r e n are becoming aware o f th e
d if f e r e n t a r t t e c h n iq u e s , and a f t e r s e e in g som ething new b e in g demon­
s t r a t e d , th e y are ea g er t o t r y i t th e m s e lv e s .
s u c c e s s f u l d em o n stra tin g on th e ch alkboard w as.
One te a c h e r m entioned how
When she w anted them
t o be c r e a t iv e , sh e s t a r t e d w ith a d e s ig n and th e s tu d e n ts found id e a s
in th e d e s ig n , such as anim als and p e o p le .
She, t o o , m entioned th a t
she d id not u se exam ples o f t e n as some s tu d e n ts c o p ie d th em .^
Most
te a c h e r s in te r v ie w e d s a id th a t th e y u sed exam ples t o a lim it e d e x te n t.
Though th e u se o f r e la t e d e x p e r ie n c e s has a low p ercen ta g e in th e
su r v e y , r e l a t e d e x p e r ie n c e s can be t i e d i n w ith s t o r i e s ^ poems, and
^Statem ent by P a t r i c ia G a rter, p e r s o n a l in t e r v ie w .
^ S ta te m e n t by A lic e M ille r , p e r s o n a l in te r v ie w .
' ' Vl
S ta ta n e n t by I l a D eig h to n , p e r s o n a l in te r v ie w .
-U3~
m u sic, which a t t h i s grade l e v e l s t i l l has a h ig h score®
With th e grades
t o f o llo w , s t o r i e s , poems, and m u sic, a cco rd in g t o th e su rv ey , ten d to
d e c lin e as u s e f u l form s o f m o tiv a tio n .
S t o r ie s gave e x p e r ie n c e s and then
th e stu d e n ts c r e a te d i l l u s t r a t i o n s from t h e i r im a g in a tio n s , a " tea ch er
sta te d .
She a ls o m entioned f i e l d t r i p s , p a ra d es, h o lid a y s , and th e
im a g in a tio n , a l l as forms o f e x p e r ie n c e s ,
She added t h a t when stu d e n ts
had com pleted t h e a r t p r o j e c t s th ey were t h e i r own, and th e y showed p rid e
in t h e i r w ork,^
The u se o f d is p la y t o s tim u la te i n t e r e s t i s shown as a m oderately
im portant form o f m o tiv a tio n in T able I ,
I t s v a lu e was m entioned during
.
v a r io u s in te r v ie w s ; f o r exam ple, one secon d grade te a c h e r m entioned th a t
she d is p la y e d e v er y o n e’ s a r t work.
I f l e s s em phasis were p la ce d on th e
f in is h e d p ro d u ct, c h ild r e n would en jo y a r t m ore,^
U sing f ilm s and sen so ry e x p e r ie n c e s v a r ie s from one grade l e v e l to
a n o th er.
The t a b le in d ic a t e s s u c c e s s in t h e i r u se a t grade tw o.
For use
in c r e a t i v i t y one te a c h e r found t h a t f e e l i n g and comparing te x tu r e s
h elp ed stu d e n ts t o d ev elo p new t e x tu r e s ." ^
The t a b le shows te a c h e r en th u siasm as h avin g th e lo w e s t v a lu e a t
t h i s grade l e v e l .
T h is can be e x p la in e d by comments made by s e v e r a l o f
th e primary te a c h e r s who were in te r v ie w e d :
A te a c h e r need be concerned
^ S t a t e m e n t b y J a n e Jum per, p e r s o n a l i n t e r v i e w ,
^ s ta te m e n t by Iv y C r is w e ll, p e r s o n a l in te r v ie w ,
" ^ S ta te m e n t b y K a th e r in e F orem an , p e r s o n a l i n t e r v i e w .
—Wio n ly in a minor way about m o tiv a tin g th e c h ild r e n ; th e y j u s t lo v e a r t .
They are alw ays i n t e r e s t e d , and th ey lo o k forward t o i t .
M o tiv a tio n a l f a c t o r s fo r t h ir d g ra d e«
D em on stration , according
t o th e su rv ey r e s u l t s , ranks h ig h e s t a t a l l o f th e grade l e v e l s fo r
secon d and up; one e x c e p tio n , d is p la y , i s shown f o r th e s i x t h grade.
The u s e f u ln e s s o f a good d em on stration was fu r th e r s u b s ta n tia te d in an
in te r v ie w w ith a t h ir d grade te a c h e r when she wanted her stu d e n ts to be
o r i g i n a l . . I n ste a d o f u s in g p a t t e r n s , sh e showed them many d if f e r e n t ways
th a t a medium co u ld be handled and encouraged them t o e x p e r im e n t.^
E xp erim en tation can be done w ith a r t m a te r ia ls ; and, through demon­
s t r a t i o n , some te c h n iq u e s can le a d t o a sea rch f o r o t h e r s .
With th e u se o f d em on stration and exam p les, d is c u s s io n sh ould
e v o lv e .
Exam ples, p lu s d is c u s s io n , can p o in t out v a r io u s elem en ts fo r a
b e t t e r u n d ersta n d in g o f th e le s s o n .
One in te r v ie w e e c a u tio n e d , as d id
s e v e r a l , t h a t when u sin g exam ples one must b e .c a r e f u l so t h a t th e example
i s n ot d u p lic a te d ," ^
The same c a u tio n can ap p ly t o a d is p la y , alth ou gh a
d is p la y can be a show o f p a s t work.
th in g" u s u a lly le a v e s them v o id .
To in s t r u c t s tu d e n ts t o "draw some­
A te a c h e r who te a c h e s b oth t h ir d and
fo u r th grade s t a t e d t h a t th e s tu d e n ts needed t o be gu id ed in t o th in k in g
o f id e a s f o r a p r o j e c t through d is c u s s io n .^ ?
For exam ple, th e te a c h e r
"^Statem ent by Donna McDowell, p e r s o n a l in t e r v ie w .
l 6I b id .
^ S ta te m e n t by I n g r id W illou gh by, p e r so n a l in t e r v ie w .
-U 5c o u ld gu id e d is c u s s io n by a sk in g q u e s tio n s about m a te r ia ls o r o b je c ts
th a t th e s tu d e n ts c o l l e c t e d or by havin g th e stu d e n ts comment about a
f ilm or some o th er ex p e r ie n c e th a t th e y m ight have had or im agined.
One
te a c h e r found th a t th e com b in ation o f th e chalkboard and d is c u s s io n was
more s u c c e s s f u l than o th er methods and with, h er d is c u s s io n brought out
th e r e a so n s "why" and what th e stu d e n ts were to d o .^
M o tiv a tio n a l f a c t o r s f o r fo u r th grad e.
The su rvey t a b le shows
te a c h e r en th u siasm as one o f th e more e f f e c t i v e m o tiv a tio n a l f a c t o r s
f o r th e fo u r th grade l e v e l .
grade l e v e l s .
Teacher en th u sia sm ranks q u it e h ig h fo r a l l
Though i t was not m entioned during the in t e r v ie w s , most
te a c h e r s ev id en ced much en th u siasm when th e y d is c u s s e d t h e i r v a r io u s
a r t u n it s and te c h n iq u e s .
Though t h e su rv ey t a b le shows r e l a t e d e x p e r ie n c e s w ith a r e l a ­
t i v e l y lo w p e r c e n ta g e , th e y were o f t e n m entioned i n th e in t e r v ie w s . One
»
te a c h e r asked th e s tu d e n ts t o i l l u s t r a t e th e sea so n s when th e y stu d ie d
th e s c ie n c e o f w ea th er, to draw p r e h is t o r ic anim als when stu d y in g
h is t o r y , t o make th r e e -d im e n s io n a l maps when stu d y in g geography, and t o
i l l u s t r a t e id e a s r e l a t e d t o a s t o r y . ^
One te a c h e r s t a t e d t h a t th e a r t
work r e la t e d t o o th er s u b je c ts was th e most s u c c e s s f u l m o tiv a tio n a l
method f o r h e r .
She a ls o m entioned t h a t s tu d e n ts were alw ays in t e r e s t e d
i n making t h in g s f o r h o lid a y s , b u t h ere a g a in , d is c u s s io n alw ays e n tere d
•^ Statem ent by Avalon B i l l q u i s t , p e r s o n a l in t e r v ie w .
^ S ta te m e n t by E liz a b e th R obinson, p e r s o n a l in t e r v ie w .
-H6in .
T h eir a rt p r o j e c t s were p receded by a d is c u s s io n o f what th e y co u ld
do.2°
During one d is c u s s io n w ith a t e a c h e r , she e x p la in e d how she
r e la t e d s c ie n c e to a r t .
Her c l a s s was stu d y in g e l e c t r i c i t y arid th e
te r m in a ls o f a dry b a t t e r y .
Terms, such as p lu s and m inus, y e s and no,
p o s i t i v e and n e g a t iv e , were a n a ly ze d .
T his d is c u s s io n , which c o r r e la te d
w ith s c ie n c e , in t e r e s t e d th e s tu d e n ts in p o s i t i v e and n e g a tiv e a rt
d e s ig n a s an oth er way o f e x p r e s s in g t h i s c o n c e p t.
M o tiv a tio n a l f a c t o r s f o r f i f t h g ra d e.
The u se o f v a r io u s media
i s som etim es li m it e d i n s c h o o ls , as i s th e sp ace t o have a v a r ie t y o f
m a t e r ia l.
These c o u ld be f a c t o r s e x p la in in g th e low p erce n ta g e in t h i s
area f o r most grade l e v e l s as l i s t e d i n T able I .
One ex p erien ced te a c h e r
s o lv e d t h i s problem by o r g a n iz in g an a r t a p p r e c ia tio n c l a s s so th a t th e
s tu d e n ts co u ld have seme knowledge o f th e d if f e r e n t k in d s and tech n iq u es
o f a r t.
She a ls o arou sed t h e i r c u r i o s i t y by g e t t in g v a r io u s a r t mate­
r i a l s ou t i n advance o f an a r t c l a s s p e r io d ,,^
M a te r ia ls do not always
have t o be e x p e n siv e t o be v a r ie d or new t o th e s tu d e n ts ,
A f i f t h grade
te a c h e r found t h a t working w ith t i s s u e paper was a new ex p e r ie n c e t o her
art c la s s .
The same te a c h e r , t o add i n t e r e s t t o a s o c i a l s t u d ie s u n it
about I n te r n a t io n a l Day, had stu d e n ts b r in g in a r t i s t i c o b je c ts from
^ S ta te m e n t by B i l l y Jean R ie s e , p e r s o n a l in t e r v ie w ,
^ S ta te m e n t by D e lila h B auer, p e r s o n a l in t e r v ie w ,
^ S ta te m e n t by Marion Z ink, p e r s o n a l in t e r v ie w .
—
1x7"
f o r e ig n c o u n tr ie s t h a t t h e i r p a ren ts o r r e l a t i v e s had g a th ered * 23
The
u se o f t h e s e te c h n iq u e s a u to m a tic a lly in v o lv e d d is p la y , d is c u s s io n and
dem onstration*
T h is te a c h e r o b v io u s ly had th e en thusiasm t o do a l l o f
th e s e t h in g s f o r a u n it in a r t .
Here a g a in , as h e lp f u l as a l l o f th e s e v a r ia t io n s m ight have b een ,
th e te a c h e r must s t i l l c o n s t a n t ly s t r e s s o r i g i n a l i t y .
The showing o f
exam ples was o f t e n d is c u s s e d during th e in te r v ie w s w ith t e a c h e r s , b u t one
te a c h e r m entioned th a t i t i s b e s t t o put exam ples away t o a v o id copying*
T h is same tea ch er, u sed a r t f o r te a c h in g m a n ip u la tio n o f a compass f o r a
math c l a s s .
The stu d e n ts le a r n e d t o m a n ip u late th e in stru m en t fo r math
by c r e a tin g d e s ig n s f o r a r t w ith th e co m p a ss* ^
M o tiv a tio n a l f a c t o r s fo r s i x t h g ra d e*
The f ig u r e s i n T able I
show d is p la y c l o s e l y ranked w ith d em on stration as th e h ig h e s t m otiva­
t i o n a l f a c t o r s at t h e s i x t h grade le v e l*
n e a r ly synonymous*
These two f a c t o r s co u ld be .
During an in te r v ie w w ith a s i x t h grade te a c h e r , he
s t a t e d th a t he u sed a d is p la y o f f in is h e d p r o j e c t s from a p rev io u s
le s s o n fo r a d em o n stra tio n and found t h i s t o be h is most s u c c e s s f u l
method t o i n t e r e s t th e stu d e n ts in an a r t p r o je c t *25
S im ila r ly , in th e
u se o f d is p la y as a method t o g a th er i n t e r e s t , a s i x t h grade te a c h e r put
out m a te r ia ls ahead o f tim e t o arou se c u r i o s i t y , th en in co rp o ra ted th e
^ S ta te m e n t by J a n ic e Anderson, p e r s o n a l in terv iew *
2b statem en t by S h ir le y Schwark, p e r s o n a l in terv iew *
S tatem en t by Jim C arp en ter, p e r s o n a l in terv iew *
18-
- *
d i s p la y w ith h er dem onstration* ^6
T h is sane te c h n iq u e o f d is p la y in g
m a te r ia ls t o a rou se i n t e r e s t was m en tion ed e a r l i e r by a r u r a l te a c h e r .
The s ix t h grade te a c h e r s in te r v ie w e d o f t e n m entioned th e u se o f
s t o r i e s and r e la t e d e x p e r ie n c e s f o r s u c c e s s f u l m o tiv a tio n , although th e
t a b le r a t e s th e s e v e r y lo w .
During one in te r v ie w a te a c h e r m entioned
d if f e r e n t ways o f r e l a t i n g e x p e r ie n c e s .
F i r s t , th e s tu d e n ts made a m ural
o f l o c a l t h in g s th e y had seen ; th en th e y d evelop ed a th r e e -d im e n sio n a l
diorama b a sed on th e m u ral.
In an oth er u n i t , sh e combined math and a r t .
From a n g le s drawn i n math and from math grap h s, her s tu d e n ts cre a ted
d e s ig n s .
For u se in a w eaving u n i t , t h i s same te a c h e r had th e stu d en ts
b r in g i n m a te r ia ls from t h e i r environm ent t o add i n t e r e s t t o th e
p r o j e c t . 2?
Such t h in g s as w eed s, sm a ll b ranches w ith d if f e r e n t k inds o f
b ark , and v a r io u s g r a s s e s are some m a t e r i a l s .th a t co u ld b e in co rp o ra ted
in t o th e w eavin g.
Again i t was m entioned how s e lf - m o t iv a t in g a r t can b e , e s p e c i a l l y
by u s in g b o l i d e s f o r a them e.
H olid ays were always m ost s u c c e s s f u l, f o r
th e y are alw ays o f g r e a t i n t e r e s t to c h i l d r e n .2®
A t e a c h e r , who l i k e d t o work w ith h o lid a y s , s e a s o n s , and s o c ia l
s t u d i e s , dem onstrated w ater c o lo r te c h n iq u e s w ith th e overhead p r o je c to r
by p a in tin g d i r e c t l y on th e f ilm w ith th e tra n sp a r en t p igm en t.
2^Sta.tement b y Helen D a v is , p e r s o n a l in te r v ie w .
27sta tem en t by F lo ren ce P e t t a p ie c e , p e r so n a l in te r v ie w .
2 “Statem ent by W alter W aters, p e r s o n a l in t e r v ie w .
He a ls o
-in ­
s t a t e d , as d id te a c h e r s o f o th e r grade l e v e l s , t h a t one sh ould alw ays be
c a r e f u l o f c o p y in g .
Furtherm ore, most c h ild r e n o f t h i s age group need
l i t t l e m o tiv a tio n b eca u se th e y l i k e a r t so much,^
-
M o tiv a tio n a l f a c t o r s fo r s e v e n t h - t w e lf t h grad e.
The grades sev en
through tw e lv e l i s t e d on th e su rvey and th o s e r e fe r r e d t o in th e i n t e r ­
v iew s are grouped in t o one b eca u se a r t i s u s u a lly an e l e c t i v e su b je c t
a t th e s e grade l e v e l s , .
In th e grad es below th e se v e n th , a r t i s a p a rt
o f th e r e g u la r cu rricu lu m ; w hereas, in th e upper g ra d es, a r t i s u s u a lly
an e l e c t i v e s e le c t e d by th e s tu d e n ts who have an i n t e r e s t in i t .
M otiva­
t i o n a l f a c t o r s , p e r c e n ta g e -w is e , v a r ie d e x t e n s iv e l y fo r t h i s group as
compared w ith low er grade l e v e l s .
For exam ple, a t th e 7— 12 grade l e v e l
th e su rv ey r a te d d is c u s s io n low b eca u se i t was found u s u a lly in co rp o ­
r a te d w ith a d em o n stra tio n .
on th e s u r v e y .
f ilm s .
In th e low er grad es d is c u s s io n r a te d h ig h
A nother example o f a low r a t in g would be th e u se o f
One h ig h s c h o o l te a c h e r h e s it a t e d t o u se f ilm s b eca u se he f e l t
th a t th e y were th e l e a s t e f f e c t i v e m o tiv a tio n a l f a c t o r ,
He s ta te d th e
d isa d v a n ta g e o f f ilm s i s t h a t i t i s d i f f i c u l t to sto p them so th a t th e
stu d e n ts can ask q u e s tio n s and d is c u s s c e r t a in a s p e c t s .
Though t h i s
same in s t r u c t o r d id show v a r io u s exam ples and th en d em on strated , he
fo llo w e d through w ith in d iv id u a l guidance', which was h is m ost s u c c e s s f u l
method o f m o tiv a tio n , ^
^ S ta te m e n t by Robert P a rso n s, p e r s o n a l in t e r v ie w ,
^ S ta te m e n t by James C o rf, p e r s o n a l in t e r v ie w .
-5 0 -
Even a t t h i s grade l e v e l stu d e n ts must be gu id ed so th a t th e y do
n ot Copye
O lder stu d e n ts are v ery s e lf - c o n s c io u s and are q u ite concerned
w ith what t h e i r f in is h e d product w i l l lo o k l i k e .
To overcome t h i s s e l f -
c o n s c io u s n e s s o f t h e s tu d e n ts , one ju n io r h ig h a r t te a c h e r d isc o v e r e d
th a t working w ith im a g in a tiv e s u b je c ts fo r i n c i t i n g i n t e r e s t was
rewarding*
She o c c a s io n a lly read "nonsense poetry" or p la y ed music f o r
a b a s ic s t a r t in g p o in t f o r c r e a t iv e i d e a s , 31
B e s id e s d em o n str a tio n s, an in te r v ie w e e s a id th a t he lik e d to g e t
th e s tu d e n ts in v o lv e d w ith a l l a s p e c t s o f a r t , such as p u ttin g up
b u l l e t i n board d is p la y s *
a rt, 32
He li k e d t o g e t th e stu d e n ts t o r e la x w ith
G e ttin g th e s tu d e n ts in v o lv e d co u ld in c lu d e doin g re se a r c h on
v a r io u s a r t i s t s and s t y l e s , h e lp in g t o p la n l e s s o n s , and p rep a rin g
m a t e r ia ls .
They are p e r s o n a lly in v o lv e d when a r t i s c o r r e la t e d w ith
r e la t e d e x p e r ie n c e s .
F u rther d is c u s s io n o f m o tiv a tio n a l f a c t o r s .
The u se o f film s
ranks low f o r most grade l e v e l s on th e su rv ey t a b le .
can be u n d ersto o d w ith in te r v ie w s o f t e a c h e r s .
The reason f o r t h i s
I t was o f t e n sta ted , th a t
t h e ir s c h o o l d id n o t have th e equipment f o r m ovies or s l i d e s ; o th e r w is e ,
th e te a c h e r would l i k e t o t r y u sin g th em .a s a m o tiv a tio n a l te c h n iq u e .
Other te a c h e r s who d id have some equipment commented t h a t f ilm s from, th e
s t a t e o f f i c e were to o o ld and t o re n t from f ilm com panies was to o
33-Statement by E liz a b e th Schwegman, p e r so n a l in t e r v ie w ,
32gtatement by Glenn Young, p e r s o n a l in ter v ie w .
e x p e n s iv e .
Other te a c h e r s have u sed f il m s and have found them s u c c e s s f u l
m o tiv a to r s .
The lo w s c o r e s f o r f i e l d t r i p s on th e su rv ey t a b le c o r r e la t e w ith
th e b r i e f m en tion o f them during in t e r v ie w s .
synonomous w ith r e la t e d e x p e r ie n c e s .
F ie ld t r i p s c o u ld be p a r t ly
As was e x p la in e d e a r l i e r , f i e l d
t r i p s need n o t be done by th e c l a s s as a w hole; but th e stu d e n ts co u ld
g a in s im ila r e x p e r ie n c e s on an in d iv id u a l b a s i s .
T eachers commented t h a t th e y u sed many d if f e r e n t methods t o m o ti­
v a te .
Some te a c h e r s found i t hard t o say which one te c h n iq u e was b e s t ,
f o r each group o f s tu d e n ts r e a c te d d i f f e r e n t l y .
I n te r v ie w e e s a ls o s t a t e d
th a t b eca u se o f c e r t a in p h ra ses or wording t h a t th e y u s e d , one c la ss,
m ight be more c r e a t iv e than a n o th er.
T h e r e f o r e ,. th e te a c h e r sh ould ta k e in t o c o n s id e r a tio n th e stu d e n ts
th e o b j e c t iv e s , and th e s i t u a t io n throughout an a r t le s s o n .
There i s no
s in g le m o tiv a tio n a l f a c t o r th a t can be termed s u c c e s s f u l f o r a l l a rt
s it u a t io n s
CHAPTER V
SUMMARY AND CONCLUSIONS
. I.
SUMMARY
. ©
A number o f c o n tr ib u tin g f a c t o r s f o r th e m o tiv a tio n o f a rt
stu d e n ts were i d e n t i f i e d in th e l i t e r a t u r e c o n s u lte d , th e w r itte n su rvey
o f a r t t e a c h e r s , and th e p erso n a l in te r v ie w s w ith a rt t e a c h e r s .
Some o f
th e im portant f in d in g s o f t h i s stu d y were:
1.
The t e a c h e r 's r o le i s b a s ic a ll y t h a t o f m o tiv a tin g s tu d e n ts so th a t
le a r n in g and e x p e r ie n c in g c r e a t i v i t y can ta k e p la c e ,
2.
The te a c h e r must d ev elo p th e i n t e r e s t o f each stu d en t and guide him
toward th e c r e a t iv e g o a ls .
3.
There are many good te a c h e r s who make u se o f e f f e c t i v e ty p e s o f
m o tiv a tio n .
Some o f th e im portant a s p e c ts o f a good te a c h e r are
en th u siasm f o r what th e y are doing and an u n d erstan d in g o f s tu d e n ts .
I t i s im portant th a t a te a c h e r know h is s t u d e n t s ' a b i l i t i e s and
t h e i r l i k e s and d i s l i k e s so th a t he may gu id e them w ith s u c c e s s f u l
ty p e s o f m o tiv a tio n .
U.
An a r t te a c h e r sh o u ld be w e ll tr a in e d i n h is f i e l d and co n tin u e w ith
h is own c r e a t iv e e x p e r ie n c e s f o r a deeper in s ig h t o f h is stu d e n ts'
c r e a t iv e p rob lem s, alth ou gh i t may be d i f f i c u l t fo r th e te a c h e r t o
fin d tim e .
So
The p rop er a r t m a te r ia ls and equipment and t h e ir c o r r e c t u se and
ca re are im portant m o tiv a tio n a l f a c t o r s .
6.
.
The lim it e d u se o f f ilm s i s : shown in th e su rvey t a b l e .
During th e
j
-5 3 -
in te r v ie w s a nximber o f te a c h e r s from s e v e r a l grade l e v e l s s t a t e d th a t
th e y had l i t t l e or no a u d io -v is u a l m a te r ia ls t o u se and t h a t many o f
th e s t a t e f ilm s are o u td a te d .
T h is co u ld be a s u c c e s s f u l method i f
th e te a c h e r s had a c c e s s t o b e t t e r m a t e r ia ls .
7.
The t e a c h e r ’s and th e s tu d e n ts ' knowledge from p a st e x p e r ie n c e i s
im portant as i t can be u s e f u l in th e fu r th e r developm ent o f c r e a t iv e
a c tiv itie s .
9,
The problem o f co p y in g by s tu d e n ts i s c o n s t a n t ly en cou n tered at a l l
grade l e v e l s , e s p e c i a l l y when d is p la y s and exam ples are u sed .
9.
Teacher en th u sia sm , s t o r i e s , poems and m usic were r a te d most
s u c c e s s f u l f o r m o tiv a tin g k in d erg a rten s t u d e n t s .
The u se o f d is p la y
and t o v a ry m edia ranked low a t. th e k in d erg a rten l e v e l .
10.
Teacher en th u sia sm , th e u se o f s t o r i e s , poems and m u sic, and
d is c u s s io n were in d ic a t e d as s u c c e s s f u l methods o f m o tiv a tin g th e
f i r s t grade s t u d e n t s .
The low ranking tech n iq u e fo r t h i s grade
l e v e l was t o vary m edia.
I li
The u se o f s t o r i e s , poems, and m usic and d em on stration were ra ted
th e most s u c c e s s f u l methods o f m o tiv a tin g second grade s tu d e n ts .
Teacher en th u siasm ranked low but t h i s was ex p la in e d by te a c h e r s
during th e in t e r v ie w s .
The s tu d e n ts at. Ipwer grade l e v e l s seem t o
need l e s s m o tiv a tio n b ecau se o f t h e i r en thusiasm and i n t e r e s t . i n a r t .
The en th u siasm o f th e te a c h e r s was o b viou s by t h e i r h ig h i n t e r e s t and
e la b o r a tio n when t e l l i n g about t h e ir a r t stu d e n ts and c l a s s e s .
12,.
The u se o f d em o n stra tio n ranked as th e most s u c c e s s f u l method o f
™5U~
m o tiv a tin g f o r th e t h ir d grade l e v e l .
To le a v e stu d e n ts w ith j u s t
th e in s t r u c t io n s t o draw som ething i s .not v e r y s u c c e s s f u l .
T his
method u s u a lly le a v e s them wondering what t o draw and what th e
c o r r e c t th in g i s t o draw.
13.
Teacher en th u siasm and r e la t in g a r t t o o th er s u b je c ts were found t o
be most s u c c e s s f u l form s o f m o tiv a tin g art, stu d e n ts a t th e fo u rth
grade l e v e l .
To v a ry media and f i e l d t r i p s had a low r a t in g fo r
t h i s grade l e v e l , though many te a c h e r s do u se t h e s e methods and
f in d them s u c c e s s f u l .
I lu
C la ss d is c u s s io n and th e u se o f d em o n stra tio n were r a te d th e most
s u c c e s s f u l ty p e s o f m o tiv a tio n f o r th e f i f t h g rad e.
The u se o f
exam ples was k ep t lim it e d t o a v o id c o p y in g .
15.
The u se o f d is p la y and d em on stration were found to be th e most
s u c c e s s f u l methods o f m o tiv a tio n f o r th e s ix t h grade l e v e l .
F ie ld
t r i p s , s t o r i e s , poems and m usic had a r e l a t i v e l y low rank f o r th e
s i x t h g ra d e.
T h is c o u ld be an in d ic a t io n t h a t th e s i x t h grade
te a c h e r s sh o u ld t r y th e s e low ran k in g methods which were s u c c e s s f u l
f o r o th e r grade l e v e l s .
16.
D em onstrations were r a te d th e m ost s u c c e s s f u l way o f m o tiv a tin g
secon d ary l e v e l s t u d e n t s .
Film s and se n so r y ( f e e l i n g , s m e llin g ,
h e a r in g , s e e in g ) e x p e r ie n c e s had a low r a t in g f o r t h i s grade l e v e l .
II.
CONCLUSIONS
From th e f in d in g s i t was con clud ed t h a t :
Ie
There was an im portant in t e r a c t io n betw een th e te a c h e r and th e
stu d en t during th e a r t a c t i v i t y .
2.
S tu d e n ts , i f p r o p e r ly m o tiv a te d , co u ld be c r e a t iv e during an a r t
p r o je c t.
3.
S u c c e s s f u l methods o f m o tiv a tin g th e a r t stu d e n ts d i f f e r f o r th e
v a r io u s grade l e v e l s .
T h is co u ld be an in d ic a t io n t h a t a l l te a c h e r s
sh ou ld be more ex p erim en ta l and t r y o th e r m ethods.
U.
Teacher en th u siasm i s a c h a r a c t e r is t ic f o r s u c c e s s f u l m o tiv a tio n o f
a r t stu d e n ts in th e low er elem en tary g r a d e s, k in d erg a rten through
secon d g ra d e.
T h is does n ot mean t o sa y th a t te a c h e r enthusiasm
i s n ot im portant a t a l l grade l e v e l s .
5.
S t o r i e s , poems and m usic are s u c c e s s f u l methods o f m o tiv a tin g low er
elem en tary s t u d e n t s , k in d erg a rten through second grade; b u t th e y
c o u ld be s u c c e s s f u l at o th er grade l e v e l s .
6.
Film s as a id s ranked low as a method o f m o tiv a tin g k in d erg a rten
th rough t w e lf t h grade a r t s t u d e n t s .
T h is co u ld be e x p la in e d by
la c k o f s c h o o l funds and o b s o le t e m a t e r ia ls .
7.
There i s no s i n g l e m o tiv a tio n a l f a c t o r th a t can be termed s u c c e s s f u l
fo r a l l art s itu a tio n s .
The te a c h e r sh ou ld ta k e in t o c o n s id e r a tio n
th e s tu d e n t, t h e o b j e c t iv e s arid th e s i t u a t i o n th rou gh out an a rt
le s s o n .
8o
Art p r o j e c t s were o f t e n c o r r e la t e d s u c c e s s f u l l y , t h e .t e a c h e r s f e l t ,
w ith o th er s u b je c t m a tter as a means o f m o tiv a tio n .
9.
;
D ir e c t in te r v ie w s were more r e v e a lin g and conbI u s i ve than a w r it t e n
su rv ey , f o r in te r v ie w e e s were q u e s tio n e d fu r th e r f o r c l a r i t y on any
p o in t ,
10.
In most in s t a n c e s th e r e s u l t s o f th e su rv ey t a b le c o r r e la t e w ith th e
p e r so n a l in t e r v ie w s .
The in te r v ie w e e s d id p o in t out t h a t "te a c h e r s
have u sed a v a r ie t y o f m o tiv a tio n a l f a c t o r s and th a t th e y d id
experim ent w ith new w ays.
11.
Art te a c h e r s u sed many forms o f m o tiv a tio n .
They d id not r e ly on
any one c e r t a in method b u t in c o r p o r a te d s e v e r a l in t o an a r t le s s o n .
12.
The m ost s u c c e s s f u l m o tiv a tio n a l f a c t o r s t h a t were u sed by a rt
te a c h e r s a t a l l l e v e l s , K— 1 2 , were d em o n stra tio n , te a c h e r enthu­
sia sm , d is p la y , and r e la t e d e x p e r ie n c e s ; a l l o f which in clu d ed
d is c u s s io n .
III.
RECOMMENDATIONS
From th e f in d in g s and c o n c lu s io n s i t i s recommended t h a t :
1.
Art te a c h e r s a t a l l grade l e v e l s sh o u ld attem pt new ways to
m o tiv a te .
The te a c h e r sh o u ld a ls o t r y th e s e new ways and in c o r ­
p o ra te them a lo n g w ith t h e ir s u c c e s s f u l , p r a c tic e d te c h n iq u e s .
te a c h e r sh ould be aware o f h is r e s u l t s and c o n s t a n t ly ev a lu a te
them f o r th e f i n e s t m o tiv a tio n .
2.
A u d io -v is u a l m a te r ia ls f o r a r t te a c h e r s sh ould be o b ta in ed or
u p d ated .
These m a te r ia ls sh ould be experim ented w ith as a means
o f im proving m o tiv a tio n .
3.
E x c e s s iv e ■u se o f d is p la y s and exam ples i n th e a r t room sh ou ld be
A
-5 7 -
avoided t o h e lp p rev en t cop yin g by th e s t u d e n t s .
The te a c h e r sh o u ld
ob serve th e work o f th e stu d e n ts t o s e e how d is p la y s and examples
a f f e c t t h e ir work»
Ue
More em phasis sh o u ld be p la ce d on th e tech n iq u e o f m o tiv a tio n in
th e a r t classroom through th e c o l l e g e methods c l a s s e s fo r p rosp ec­
t i v e te a c h e r s and through i n - s e r v i c e programs f o r p r a c t ic in g
tea ch er s.
5.
I t i s recommended t h a t d is c u s s io n , w hich i s u s u a lly a s u c c e s s f u l
m o tiv a tio n a l f a c t o r th a t in v o lv e s th e s tu d e n ts , sh ou ld be w e ll
p lan n ed , o rg a n ized and u t i l i z e d by a r t t e a c h e r s .
6.
T eachers sh o u ld read r e c e n t p u b lic a t io n s about a r t ed u ca tio n and
i t s p h ilo so p h y in ord er t o broaden t h e ir knowledge and t o help
improve t h e ir te a c h in g te c h n iq u e s .
7.
Methods as i d e n t i f i e d by t h i s stu d y sh o u ld be t r i e d by th e v a rio u s
grade l e v e l a r t te a c h e r s ; how ever, th e s e methods may n o t be
fa v o r a b le , f o r a l l .
As t h i s paper p o in ts o u t, th e r e i s no one
c e r t a in tech n iq u e t h a t i s s u c c e s s f u l; and each te a c h e r should
e v a lu a te h is own.
The te a c h e r sh ou ld not assume t h a t o n ly c e r t a in
te c h n iq u e s w i l l be s u c c e s s f u l; b u t he sh o u ld be a b le t o adapt some
v a r ia n c e in p ro ced u re, accord in g t o th e c l a s s s i z e , th e ty p e o f
s tu d e n t s , th e p h y s ic a l f a c i l i t i e s , th e s u b je c t m a tte r , and th e
m a t e r ia ls .
APPENDIX
APPENDIX A
L i s t o f in te r v ie w e e s in c lu d in g nam e, com m unity, g ra d e t a u g h t , and
y e a r s ta u g h t*
Address
Grades
Years ta u gh t
Marian Zink
D illo n
Rural
10
M argaret Woodrow
B u tte
K indergarten
7
Lyda S a t t e r ly
B u tte
Kind. & I
5
H asel Olson
K a l is p e ll
I
5
P a t r i c ia C arter
West G la c ie r
I & 2
6
A lic e M ille r
R ich lan d
I , 2, & 3
18
K atherine Foreman
Great F a lls
2
17
I l a D eigh ton
Three Forks
2
23
Jane Jumper
D illo n
2
8
I v y C r is w e ll
Clyde Park
2 & 3
9
Avalon B i l l q u i s t
Anaconda
3
13
Donna McDowell ■
S e e ly Lake
3
3
I n g r id W illoughby
C ir c le
3 & U
D e lila h Bauer
L aurel
U
6
B i l l y Jean R iese
B u tte
U
5
E liz a b e th Robinson
S id n ey
U & 5
U
J a n ic e Anderson
Darby
5
$
S h ir le y Schwark
Thompson F a lls
5-
8
E liz a b e th Hahn
Troy
Jim C arpenter
Ennis
Name
I
10
6
'5
S & 6
.'
7
-6 0 APPENDIX A
Name
Address
Grades-
W alter W a ters■
R jn g lin g
8
H elen D avis
B u tte
6
U
F lo ren ce P e t t a p ie c e
Great F a lls
6
18
Bob Parsons
Browning
6
2
Frank Curnow
B u tte
6
?
Glenn Young
K a lis p e ll
7 &8
E lis a b e th Schwegman
D illo n
6 --8
James Cprr
D illo n
High Sch ool
Years ta u g h t
2
.
U
h
. 1
2
LITERATURE CONSULTED
A.
BOOKS
Barkens Manuel6 A F oundation fo r Art E d u cation 6
P r e ss Company, l555o
New York: Ronald
B u g e ls k i, B. R6 The P sy ch o lo g y o f L earning A pplied t o T each ing,
I n d ia n a p o lis , New York: B o b b s-M errill Company, I n c 6, 19640
B urkhart, R obert C6 Spontaneous and D e lib e r a te Ways o f L ea m in g 6
S cra n to n , P en n sy lv a n ia : I n te r n a t io n a l Textbook Company, 19&2*
C o le , N a t a lie R obinson6
Day Company, 19UO6
The A rts i n th e C lassroom ,
Conant, Howard, and Arne R a n d a ll6
C harles A6 B e n n e tt, 1963®
Art i n Educa t Io n 6
New York: John
P e o r ia , I l l i n o i s :
H erb erh olz, Donald and Barbara6 A C h ild 's P u r su it o f A rt6
Iowa: Wra6 C6 Brown Company P u b lis h e r s , 1^67®
H urlock, E6 B6 C hild Growth and D evelopm ent.
Book Corapany7 1956.
Dubuque,
New York: McGraw-Hill
J e f f e r s o n , B la n ch e. T each ing Art t o C h ild ren , Second E d itio n ,
B oston: A lly n and'^acon,” I n c », ”T9^FI
"
K e ile r , Manfred L6 The Art o f T eaching A rt6
Nebraska P r e s s , 1961 .
L a n ie r , V in cen t. T eaching Secondary A rt6
I n te r n a t io n a l tex tb o o k Company, 19SU.
U n iv e r s ity o f
S cra n to n , P en n sy lv a n ia :
L ark -H orovitz , B e t t y , H ild a P resen t L ew is, and Marc Luca. U nderstanding
C h ild r e n 1s Aid, f o r B e tte r T eaching. Columbus, Ohio: C harles E6
M e r r ill "Books, I n c 6'j" 196*7®
L inderaan, E a rl W6, and Doriald W6 H erb erh o lz6 D evelop in g A r t is t ic
and P e r c e p tu a l Awareness6 Dubuque, Iowa: Wm6 C6 Brown Company
P u b lis h e r s , 196U.
Lowenfe l d , V ik to r 6 C r e a tiv e and M ental Growth, Third Edition® ;
New York: The M acm illan Ccmpany, 19577"
Lowenfe l d , V ik to r 6
Company, 19 5 5 .
Your C h ild and H is A rt6
—
"
— —
New York: The M acm illan
McFee, June K ing. P re p a r a tio n , f o r A rt6 B elm ont, C a lifo r n ia : Wads­
w orth P u b lish in g Company, I n c . , 196U.
,
.■
0
-6 2 -
M e r r it, H elen 6 G uiding Free E x p ressio n in C h ild r e n 's A rt6
H o lt, R inehart and Wxns'ton/ I n c 6, 1951;»
Mie l , A lic e * C r e a t iv it y in T each in g*
P u b lish in g "Company, Inc *, T^'6 2 6
New York:
B elm ont, C a lifo r n ia : Wadsworth
Munro, Thomas6 Art E d u ca tio n , I t s P h ilo so p h y and P sy ch o lo g y *
I n d ia n a p o lis , ^evTYork,- "Kansas UrtyT- The B obbs-M erri.ll Company,
I n c 6, 1956»
P a in e , I r a a L i t t l e r * Art Aids*
P u b lish in g Company, 1905T~
M in n ea p o lis, M innesota: B urgess
Shumsky, Abraham, In S earch o f T eaching S t y l e 6
C en tu ry -C ro fts , 195FI ~
New York: A ppleton-
S m ith -K rau se-Anderson* The E d u ca to r's E n cy clo p ed ia *
C l i f f s , New J e r se y : P r e n tic e H a ll, 19ol7.
B6
Englewood
PUBLICATIONS OF THE GOVERNMENT, LEARNED SOCIETIES,
AND OTHER ORGANIZATIONS.
H a s tie , R eid , and: D avid Templeton* Art E d u cation in th e Secondary
S c h o o ls: A Study to A sc e r ta in th e E f f e c t s , I n f lu e n c e s , and
M o d ific a tio n s on Art E d u c a t io n 's .P r a c t ic e s and Programs S in ce
1957»■ M in n ea p o lis, M innesota: Department o f Art E d u ca tio n ,
U n iv e r s ity o f M inn esota, R esearch Report 1 -6 3 , 1963»
The E s s e n t ia ls o f a Q u a lity S ch o o l Art. Program6
E d u cation A s s o c ia t io n .
N a tio n a l Art
H ow ell, Youldon C6 Art and th e A d o le sc e n t, E igh th Yearbook o f
th e N a tio n a l Art"Educa t io n A s s o c ia t io n , Kutztown, P en n sylvan ia:
N a tio n a l Art E d u cation A s s o c ia t io n , .1957»
On th e R o le o f th e T each er6 E d u ca tio n a l P o l i c i e s Commission, N a tio n a l
E d u cation A s s o c ia t io n , 1967» /
.
'
D6 'PERIODICAIS
H enkes, R o b ert6 "Nature: A Way o f S eein g T h in g s," S ch ool A r t s ,
Volume 6 7 , Number 5 (Jan u ary, 1 9 6 8 ), 33«
-U
J-63'
R e i f f j Roberto " C o n fessio n s o f a D esig n T e a c h e r ," S ch o o l A r ts ,
Volume 6 7 ,Humber $ (January,' 1968)', lL .
:
^
■'
-
•;
'
W illiam s^- Hiram0 "Qh' -Teach ih g A f t Art E d u cation , Volume 2 1 ,
. Number 9' (May, # 6 8 ) , 7o\ 'y:; ' '
,
-
.
-
-r
.
^
V
'
;
'
.
: E. ' UNPUBLISHED MATERIAL
M cV itty, L a w e n c e b "An E xp erim en tal Study on V ariou s Methods in Art
a t th e F i f t h Grade L e v e l ," D o c t o r a l- d is s e r t a t io n , P en n sy lv a n ia
S ta te U n iv e r s it y , 195Uo
M O N TA N A S TA TE
3 1762 10020951 7
#
//171
cop.2
JAN 2
$
#
Walters, Donald Lee
A study of certain
methods of motivating
students in pre-college
#IamE ANd adores*
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