Mesoamerican Cultures and their Histories:
Spotlight on Oaxaca Mask Making, NEH 2011
Patricia Rhoden Bartels, 7th Grade, 9 Day Unit
Tusked Tigre Mask from Oaxaca, Mexico
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GUIDING QUESTIONS
VOCABULARY
HISTORY OF THE REGION
OBJECTIVES and the EXPECTED FOCUS
DISCUSS HAND OUT of SYMBOLS FROM OAXACA
LEGENDS FROM OAXACA
MATERIALS
RESOURCES
WRITING ACROSS THE CURRICULUM (WAC) HANDOUT
LESSON PLANS FOR 9 DAYS
EVALUATION RUBRIC FOR GRADING MASK
EVALUATION RUBRIC FOR GRADING WRITING ACROSS THE
CURRICULUM ANALYSIS AND INTERPRTATION
OAXACA MEXICAN MASK MAKING OAXACA NEH 2011
PATRICIA BARTELS
GOAL: to create a holistic, interdisciplinary exploration which investigates the
cultural composition of Oaxaca, Mexico, expressed through mask-making among
the Mixtecs and Zapotecs. Students will analyze, interpret, compare and contrast
arts and crafts with an emphasis on masks. Cultural experiences will be evidenced
in my students’ art activities which promote worldwide cultural appreciation.
OVERVIEW: Students will glean knowledge of the pre-Columbian archaeological
sites and ceremonial centers dating back thousands of years. Olmec, Zapotec and
Mixtec are three of the major civilizations of Mesoamerica. The ancient city of Monte
Albán originated as a Zapotec city before the Mixtec gained control. The Mixtecs
later lived in the hilltop settlements of northwestern Oaxaca. They were known as
the "People of the Rain,” and moved during the Post-Classic period to the valley of
Oaxaca. Mixtec history extends longer in time than any other Mesoamerican, except
the Mayan culture, lasting for hundreds of years (with exception the Maya period).
Many of the largest and most excavated ruins are close to Oaxaca and photo images
I took will be shared. Zapotec art frequently showed sacrificed conquered captives,
royalty, their spiritual beliefs and their way of life. The Mixtecs conquered the
Zapotec and were great artisans. Later these peoples were influenced by the Spanish
who produced work in stone, wood, and metal, the art then evolved into a blending
of both cultures. Today, the Central Valley offers numerous small villages
specializing in regional arts and crafts such as: hand-woven rugs, black pottery,
colorful carved wooden masks and figures, narrative codex paintings, manuscripts
and textiles, all influencing the art from Central Mexico to Yucatan.
Guiding Questions for classroom discussion and student research
include:
1) What was the role of the artists in early Mixtec and Zapotec cultures?
2) How did ancient Mixtec and Zapotec art forms differ?
3) What similarities do they share?
4) What important events worldwide have impacted the art of Oaxaca, Mexico?
5) What social or cultural events have impacted art of this region over the past 500
years?
6) How did art forms created in other areas of the world influence the art of Oaxaca,
Mexico?
7) How did the visual elements common to Mixtec and Zapotec art impact art around
the world and relate to art in North America?
8) Who were the important patrons of the arts during the Mixtec and Zapotec periods
and how did they control the arts and crafts that were produced?
9) How have these art forms changed to give us contemporary Oaxacan art?
10) How during times of oppression and invasion were the local arts affected?
11) How did local artists use art as a way to express religious, political or
social ideas influencing change in Oaxaca Mexico?
12) What media is used by Mixtec and Zapotec artists
13) How has the media available influenced the product?
14) How did ancient Mixtec and Zapotec art forms differ from Western Art?
15) How did ancient Mixtec and Zapotec art forms influence Western Art?
Objectives with an emphasis on mask making
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Students will explore how masks are depicted in Mixtec and Zapotec paintings
and sculptures.
Students will investigate how artists from the Mixtec and Zapotec cultures used
various clay techniques and differing media.
Students will examine elements of design, patterning and decoration common
to Mixtec and Zapotec art.
Students will determine how art can be used for political and social change or
commentary.
Students will gain an awareness of the purposes of masks in Mesoamerican
culture relating to drama and festivals.
Students will identify the materials used to make and decorate masks from the
past and today discussing form and function.
Students will explore how the people of Oaxaca used available materials to
construct the masks.
Students will compare and contrast masks from various Oaxacan cultures comparing medium used - form and function.
Students will view contemporary masks and contrast them to artifacts from the
past concentrating of the elements of the visual arts.
Students will view contemporary masks and contrast them to artifacts from the
past comparing symbols, meaning, and purpose of the masks.
Students will draw (design) a mask using examples for inspiration based on
computer lab research of Oaxacan masks and later construct their own masks
out of clay
Students will change the meaning - conveying their own personal message with
their mask.
Students will integrate 3 clay hand-built construction techniques: use draped
slab form of construction along with other coil and pinch hand building
techniques.
Students will exhibit craftsmanship in forming and finishing their work of art.
Students will write a WAC (Writing Across the Curriculum) assignment where
they find an image of an Oaxacan mask and analyze and interpret it using the
elements of art.
Students will critique their own work using a Rubric to determine how
successful the mask is in portraying the message the student has intended to
portray.
Students will study the cultures of Oaxaca, from Pre-Classical through
contemporary times, and discover how the art of mask making has been
transmitted for thousands of years.
Students will discover how a culture's belief system can be reflected in masks.
Students will produce/explore works of art using symbolism to portray "self."
Students will draw (design) and produce a clay head/mask using slumped slab
clay for the base and all 3 hand build techniques for decoration and build an
armature out of crushed paper.
Students will paint and decorate their interpretive masks once they have been
fired in the kiln.
VOCABULARY FOR ANALYSIS and INTERPRETATION
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Balance
Asymmetry
Symmetry
Line
Shape
Form
Color
Pattern
Repetition
Positive space
Negative Space
Texture
Media/ Medium
Hand build: Slab coil, pinch and coil techniques
Function vs. Non-functional Art
Narrative
Realism
Abstract
Anthropomorphic
Theomorphic
Supernatural
Pre-Columbian
Mesoamerica
Pre-Hispanic
Indigenous
Humanities
Vocabulary relating to culture
 Mesoamerica is a cultural area in the Americas
extending from central Mexico into Belize, Guatemala, El
Salvador, Honduras, Nicaragua, and Costa Rica. Here, a
number of pre-Columbian societies flourished before the
Spanish colonization in the 16th and 17th centuries.
Prehistoric groups including the Olmec, Zapotecs and Mixtecs
of this area are characterized by agricultural villages and later
with large ceremonial and politico-religious capitals. This
cultural area included some of the most complex and advanced
cultures of the Americas, also including the Teotihuacan, Maya,
Totonac and Aztec culture.
 The Olmecs were forerunners to all Mesoamerican
civilizations. They flourished during the Pre Classical,
Formative period, as early as 1500 BCE to about 400 BCE. A
Pre-Columbian civilization, they lived in the lowlands of southcentral Mexico.
 Zapotec civilization was an indigenous pre-Columbian
civilization that flourished in the Valley of Oaxaca evidenced
back 2,500 years including the ancient city of Monte Albán.
 Mixtec are indigenous peoples from Oaxaca in southern
Mexico. The region is mostly mountainous, with valleys, an
agricultural area growing corn (maize), beans, squash, and
chilies. Cultivation was done with digging stick and hoe.
Houses are rectangular, with thatched roofs. Crafts such as
weaving and pottery developed during this period.
 Negrito A Face mask painted black. The color black was
associated with powerful deities (gods) in pre-Hispanic
Mexico. When the Spanish conquerors imported African slaves
to work in their mines and plantations, they were regarded by
many of the local Indians as superhuman figures possessing
magical powers.
 Monte Albán ancient city dates back to originated as a
Zapotec city before the Mixtec gained control
 Carnaval a festival or fiesta which includes dancing
 Tigre (Mexican word for jaguar )
,Chuen (the dog),
 Ahau (the eagle) Tejonero a hunter
 Tejone refers to a wild animal
 Los Jardineros is a popular dance drama performed in
the central Oaxaca valley.
HISTORY OF OAXACA
Oaxaca is a site of great importance, it is one of the 5 world “Cradles of
Civilization” with remains dating back over 10,000 years. Archaeologists
divide Mesoamerican civilization into three major time periods: the Pre
Classic or Formative period extending from 1500 B.C. - A.D. 300, the Classic
period extending from A.D. 300-950, and the Post Classic period extending
from A.D. 950-1521.
THE PRE CLASSIC PERIOD
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Development of agricultural techniques
chiefs evolved from positions held by spiritual leaders
population increases
competition among people for local resources
groups farming together
mobilizing military forces
centralize authority
forms of writing begin to appear as early as 500 B.C. in Oaxaca
Between 500 and 200 B.C. ceremonial centers emerged
Olmec practiced ritual bloodletting
the Mesoamerican ballgame develops (sports)
artwork develops
THE CLASSIC PERIOD
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Urban state develop throughout Mesoamerica
Between A.D. 200-700. The Zapotec center of Monte Albán dominates
much of the present state of Oaxaca
By 300 A.D., monuments with hieroglyphic texts describe divine origin
Transform social strata from chiefdoms to kingship
900 A.D., most great centers had been abandoned
Theories explain societal collapse, but no single factor tells the entire
story perhaps plagues,
the instability of the elite
environmental degradation
changes and the depletion of resources due to overpopulation.
Outstanding artistic developments include: mosaics, stone facades and
fresco painting.
THE POSTCLASSIC PERIOD
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Regional governments became highly segmented and commercial
Development of “great houses,” with enclosed rooms and courts
Proliferation of an of art and crafts
Competition for access into exchange networks with traders and
craftspeople
Technology for smelting gold, silver, and copper, was introduced from
Central and South America
Economy exposed to rare materials from faraway places
Fall of Tula, a Toltec center that dominated Central México from the
ninth to the thirteenth centuries, Aztec peoples moved south to Lake
Texcoco
Royal marriages with Toltec families.
1450, Méxica, the most powerful of seven original Aztec groups, mix
with their rivals and they conquered an empire. ( gave their name to
the nation of México, their city of Tenochtitlán became what we know
as México City )
Classroom Hands on Activity:
MATERIALS FOR CLAY HANDBUILD: Mask handouts and computer
research photos, 9 x12 Newsprint paper, Pencils, Clay, Recycled Paper,
Plastic bags, Rolling Pins, Slipbowls, clay Modeling Tools, textural surfaces,
wood/Masonite boards (to maintain an equal thickness of the slab), bowl of
water
MATERIALS FOR FINISHING THE CLAY: Acrylic Paint (assorted colors),
permanent Sharpie Markers, Brushes, Water dishes, Wire for hanging
(Telephone Wire works), Yarn, leather strips and assorted pieces, Bead
Assortment, Animal/horse hair or fur, Fake Feathers, Materials from nature,
Glue, hot Glue Gun, Glue Sticks and assorted Paint Brushes.
PROCESS: The students read about the Pre-Colombian legend of Tona,
sharing the myth that explains how all people share a common destiny with
an animal, the Tona. Students later try to matched their personality traits
with an animal as they design their masks. The Tona legend describes the
animal had a family, fought battles, would eventually get sick or die and the
person it represented would experience the same. In essence, the Tona led
the person, they shared a similar fate. Students select an animal which they
identify with for their Tona Maks. They then show honor to this animal by
creating a mask depicting it. Discuss/show examples of Mexican masks.
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Demonstrate a crushed paper armature with a slab is draped over.
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Demonstrate proper slab, coil and pinch techniques and how to insure a
smooth surface for later painting/ decorating.
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Teacher presents various ways to finish: acrylic paint, various “found”
or recycled materials to decorate (feathers, yarns for hair, animal fur,
and beads).
Students create the clay mask using all 3 Hand Build Techniques. When
the class ends they wrap the project tightly in a plastic bag to preserve
the moisture for working on the project the following day.
Once project is finished and approved by the teacher, it is allowed to
dry unwrapped.
Clay projects are fired in the kiln at approx. 15,000 degrees to harden
them, they are known as bisque ware.
After firing, projects are painted and decorated with materials the
student brings in.
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WEB RESOURCES:
La Guelaguetza :: Traditions, Oaxaca City, Oaxaca La Guelaguetza festivity of Oaxaca.
... This folkloric dance is performed by men with colorful and huge, and also heavy, plumes.
...
www.explringoaxaca.com/traditions,oaxaca-city,la-guelaguetza-party/
Mexican Masks - Negrito mask from Oaxaca, Mexico
Masks of Mexico and Guatemala. Negrito mask. Santa Maria Huasolotitlan, Oaxaca. 8
inches long, painted wood. Though this one is associated with the ...
www.masksoftheworld.com/Mexico/Mexican%20Negrito%20mask%205.htm
Guelaguetza Folk Dancing Pictures from Oaxaca, Mexico
The Guelaguetza is a folk dancing festival which occurs yearly in Oaxaca, ... La
Tortuga from San Mateo del Mar, Region del Istmo Tehuantepec, Oaxaca ...
www.travelsinparadise.com/mexico/oaxaca/.../index.html
Mexico-LA GUELAGUETZA - Oaxaca's famous regional festival ...Mexico-LA
GUELAGUETZA – Oaxaca's famous regional festival ... In addition to folkloric dance
and song, the cultural exchange extends to ...
www.mexican-wholesale.com/mexico-la-guelaguetza-oaxacas-famous-regionalfestival
Painted Tejorones male dance mask, Oaxaca, MexicoMale Tejorone Mask.
Pinotepa de Don Luis, Oaxaca. 4 ½ inches, painted wood ...
www.masksoftheworld.com/.../Mexican%20Oaxaca%20mask%205.htm
Mexican Masks Collection of authentic danced masks from Mexico
www.mexicanmasks.us/
Male Tejorone Mask. Pinotepa de Don Luis, Oaxaca ... the name Tejorones is most
pointedly used to refer to a group of male dancers ...
www.masksoftheworld.com/.../Mexican%20Oaxaca%20mask%205.htm
Popularte - Dances - Dances 5 The dance of the Tejorones, , dancers wear masks
www.uv.mx/popularte/ingles/scriptphplen.php?sid=375&len=In
Tejoron Mask Dance of the Tejorones Mixtec area, Oaxaca. Ca. 1940 ...
www.deserttraders.com/Masks/Mexican-Masks/Mexican.
FAMSI - John Pohl's Mesoamerica - Chronology of Mesoamerica
Mesoamerican Timeline. www.famsi.org/research/pohl/chronology.html
Masks Around the World The Incredible Art Department is for art teachers, art
students, parents, homeschoolers and artists.
www.princetonol.com/groups/iad/lessons/middle/masks.htm
Mask Makers WEB:
lmaskmakersweb.org.s102465.gridserver.com/Masklinks/.../151 OTHER
RESOURCES;
Mexican Mask links on Paper Mache Head lesson plan. Dance Masks from Mexico;
Another Face- Masks Around the World
Masks by George Ulrich - Milwaukee Public Museum
Mask Articles by Himalayan Arts
Mask images from 22 countries
Mask Resources on Mask Makers Web http://www.maskmakersweb.org4 2 eXplore
Masks Around the World- From the Antropology Museum in Missouri.
Masks From Around the World
Behind the Masks: Exploring Culture and Self Through Art and Poetry
http://www.reyesgomez.com/flashgallery.html great resource
http://www.famsi.org/research/pohl/jpcodices/pohlmixtec3.html
http://oaxacaculture.com/ (ask Norma about masks)
http://www.oaxacainfo.com/guelaguetza.htm
http://www.oaxaca-restaurants.com/
http://www.mexicanmasks.us/#pastorela1
***http://www.lasmanosmagicas.com/forsalepage2.htm (ask about contemporary
masks by Angel her son)
***http://www.oaxacaoaxaca.com/galleries.htm galleries in Oaxaca to contact
BOOK REFERENCES:
Traditions Around the World: Masks. Traditions Around the World,
Amanda Earl and Danielle Sensier. NY: Thomson Learning, 1994
Masks of Mexico: Tigers, Devils, and the Dance of Life (Jan. 1999)
by Barbara Mauldin and Ruth D. Lechuga Masks of Mexico is a state-bystate guide for collectors and general folk art enthusiasts to learn about
the types of masked dances still carried out in Mexico's Indian and
mestizo communities today. Close to one-hundred color photos of
authenticated masks from the collection of the Museum of International
Folk\ Art are presented.
Masks of the Spirit: Image and Metaphor in Mesoamerica Roberta
H. Markman (Author), Peter T. Markman Peter T. Markman (Author)
This illustrated study guides the reader through the long history of
Mesoamerican mask-making. It explores many themes associated with
one of the least understood yet fascinating religious and mythological
traditions.
Cut and Make Mexican Masks A. G. Smith (Author), Josie Hazen
(Author)
Masks from Around the World by Garth Dahl A Personal Collection,
INTERDISCIPLINARY/ CROSS CURRICULAR LESSON In this
interdisciplinary unit I will collaborate with 7th grade social studies teachers to
introduce junior high students to mask making from Mexico with special emphasis on
Oaxaca. Students with research various Oaxacan cultures and the culmination of the
unit is when students make masks which serve as cultural and personal statements.
Students then compose a written WAC (Writing Across the Curriculum) assessment to
reveal the symbolism and meaning behind their masks.
Instructional Motivation based on Computer Lab Research:
1. Show some examples of ancient through contemporary masks. How were
artists inspired by masks of their cultures or earlier cultures? What kind of
media did they use? How have the meanings evolved or changed? Are the
purposes different if so why? How are meanings or symbols depicted?
2. Students select a mask from their computer lab research to inspire their mask
creation and make sketches.
3. Teacher demonstrates and reviews steps for slab, coil and pinch clay
construction.
4. When fired, teacher presents a number of different decorating techniques.
5. Teacher instructs students on requirements for written Rubric self-critique.
Teacher Rubric evaluation of the mask is also be very helpful.
PROCEDURES:
1) COMPUTER LAB RESEARCH Following the PowerPoint, students do research in
the computer lab. Students choose a mask to use for inspiration and print it.
Students decide what social issue or legends they want to represent through the
mask asking what message does the mask tell?
2) DRAW IMAGE OF MASK USING COLORED PENCILS The mask is planned on
paper and cut out to use as a template when they cut their clay slabs.
3) BUILD ARMATURE: Make a loose armature with wadded newspaper and
masking tape. Start with a newspaper ball that's larger than a person's head. Make
the ball into the desired head shape by attaching wads of newspaper for jaw, nose,
and other forms. A mask may require a mouth hole that can be removed in the
leather hard stage of the finished mask. Finally wrap loosely with a thin plastic bag.
4) BUILD CLAY FORMS The masks are ceramic slab construction made using a
slump mold technique that students make using a plastic shopping bag and
newspaper armature. Most of the facial features are pinched and pressed pieces
joined together. All of the masks are made to fit the face and are hollowed out on the
reverse side.
1) Wedge clay to remove air bubbles.
2) Roll out slab of clay between guide sticks (approximately 1/2 inch thick) on
newsprint paper (prevent clay from sticking to the table).
3) Lay drawing on clay, trace around it, student may also trace details of drawing
leaving an impression in the clay.
4) Drape clay over armature and cut clay slab to fit over newspaper armature.
Finally, cut edges and smooth edges with damp sponge.
5) Add details of facial features - build up using coils, pinch and slab techniques,
always and score and slip surfaces for attachment.
6) Create textures; carve in lines, patterns and shapes. Press in textures with tools
and stamps (bring in found objects with interesting textures).
7) Use a pencil to poke holes in sides for hanging in line with the eyes.
Reminded students to keep clay moist over night, use a plastic bag wrapping project
between work sessions. If there will be several days between working, drape clay
with a damp paper towels. When clay work is finished, during the leather hard stage,
make sure mask and appendages are hollowed out. Handle with care during the
green ware stage as the clay is brittle and very fragile.
5) REMOVE ARMATURE and allow clay to dry before firing.
6) BISQUE THE CLAY MASKS IN THE KILN When dry (green ware stage) bisque
fire in the kiln at approx 1,500 degrees to harden it.
7. FINISHING: 1) Acrylic paint choices: washes, laying layers of transparent colors
on the clay. Opaque acrylics, colored may also be applied. Seal with Acrylic gloss
medium. Add finishing touches – for textures: raffia, horse hair, raw wool, beads and
feathers. Use wire for hanging.
Evaluation:
1. Based on student discussion, compare and contrast various masks from the
classroom. Were students able to express their personal message through materials/
media used in mask making masks? How did clay and added embellishments enable
or inhibit the student?
2. Using Self -Analysis Rubric on clay project students determine if mask shows
characteristics from Oaxacan culture? How did students use exaggeration, distortion,
simplification of forms, patterns such as those found in ancient Oaxacan reliefs or
other visual elements to develop meaning and symbolism in their masks?
3. Use Rubric on WAC (Writing Across the Curriculum) to determine if students
integrated computer research and planning into the creation of a ceramic mask.
4. Teacher evaluation and analysis of student work, a critique meeting individually
with students: using draped slab method with added coil, slab and pinch relief did
students show an understanding of forming techniques?
5. Use Mask Rubric to determine if students explored a variety of media in the
completion of their ceramic mask? Exhibit craftsmanship? Does the decoration help
convey meaning? Does mask express a social issue?
WAC HAND OUT for Students Below:
Patricia Bartels 7th. Grade Art WAC
WRITING ACROSS THE CURRICULUM OAXACA MASKS
STUDENT’S NAME____________________________________________
Masks have been used around the world in religious and social celebrations
for thousands of years. They often depict deities (gods), human, animal,
and natural spirits. It is believed that the performer wearing the mask
embodies the spirit of the mask. Research different Mexican Masks and
choose one for inspiration in designing your own Mexican Mask. Make sure
to PRINT AN IMAGE OF YOUR MASK. Also research the specific culture that
your mask comes from and its purpose. WAC Suggested questions:
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WHERE and WHEN in Mexico was your mask used?
WHO wore the mask and how is/ was the mask used?
WHAT purpose does the mask serve for that culture?
HOW is/ was the mask used?
WHY did you choose this particular mask?
HOW does the mask you made identify and represent you?
DESCRIBE the visual characteristics of your mask, include: media, line,
shape, texture, color, balance, repetition, pattern, (use art vocabulary)
How have you used symbolism in the mask you created?
Writing Requirements:
Typed – 1 page, double spaced, 12 pt. font, do not adjust the margins
Hand Written – 1 1/2 page front & back, single spaced, do not skip lines, normal
margins
Writer’s Checklist
[ ] Did I stay on the topic?
[ ] Did I write in complete sentences?
[ ] Did I use correct spelling?
[ ] Did I use details?
[ ] Did I meet the paper length and abide by the writing requirement?
Oaxaca’s Legends and Folktales
Oaxaca is steeped in myths and legends more commonly known as folktales.
The mask makers of Oaxaca borrow themes from the region's diverse
indigenous people. Folktales have blended with Spanish beliefs as the
populations mixed. Animal deity, such as Chuen (the dog), and Ahau (the
eagle), can be matched with similarities in animal and supernatural
characters shared by Olmec, Mixtec, Zapotec, Mixe, Chantino, and Trique
cultures In many cases the folk tail which included animals were once gods
or deity to the locals. The artistry produced in the different villages reveals
the knowledge never forgotten from their distant past. Oaxaca’s myths are
often historical, based on a real event, but at other times just fanciful. These
stories frequently relay a moral or lesson based on life. Oaxaca has a vast
collection of myths and legends. Perhaps the best known is the Zapotec tale
of the birth of fire; the mystical lighting of the Apoala trees from which the
first Mixtecan man and woman emerged.
In each of these legends there are traditions revealed that range from epic
to simply giving us some good advice. Whatever the purpose, these
narratives are passed down from one generation to the next.
SYMBOLS and LEGENDS OF OAXACA MEXICO
Set of Symbols to share:
“Barrowed” from:
Folklore Oaxaca, Mazatec, Zapotec, Mixtec, Trique, Amuzgo, Chatino,
Tequistlatec, Chinantec, Chatino at: www.oaxacanwoodcarving.com/mythnatr.html
SYMBOLS and LEGENDS OF OAXACA MEXICO
Great Legend to share:
LEGENDS OF OAXACA MEXICO from http://oaxaca-travel.com
THE LEGEND OF LaTona, tona is short for tonal,
which is short for tonalli. (The Guardian Angel)
OAXACA MEXICAN MASKS LESSON PLANS PATRICIA BARTELS
DAY 1 of 9 DAYS
7TH Grade Art Lesson Plan
Lesson Title: Clay – Mexican Masks (quiz)
Rationale: Students will be introduced clay vocabulary terms, and the history
of Oaxacan masks. Students will write about the mask they use for
inspiration (WAC Assignment).
Objectives: Students will be introduced to three different clay hand-building
techniques (slab, coil, and pinch). Students will also be introduced to clay
vocabulary. Students will be introduced Mexican mask making.
Materials/Resources: poster board with clay vocabulary terms, examples of
Mexican Masks, WAC handout, PowerPoint created by Mrs. Bartels on
Oaxacan masks will be presented and discussed.
Lesson Activities: Review clay vocabulary terms using poster board
Administer the quiz on clay terms. Have the students self- grade their
quizzes. Introduce Mexican masks and the different uses for them.
Introduce the WAC, Writing Across the Curriculum, assignment that will be
accompanying the in class project. Make sure there are no questions about
the WAC assignment. Inform the students that they will need to be prepared
to go to the Computer Lab first thing the next day.
Evaluation/Assessment:
Quiz over clay vocabulary terms.
Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards
DAY 2 of 9 DAYS
7TH Grade Art Lesson Plan
Lesson Title: Clay – Mexican Masks
Research in the Computer Lab
Rationale: Students will be introduced to the medium of clay, accompanying
vocabulary and Mexican masks. Students will write about the mask they use
for inspiration (WAC Assignment/ computer Lab research).
Objectives: Students will be introduced to three different clay hand-building
techniques (slab, coil, and pinch). Students will also be introduced to clay
vocabulary. Students will be introduced to Mexican mask making.
Lesson Activities: Through computer lab research, students will be reintroduced Mexican masks and the different uses for them. Review the WAC
assignment that will be accompanying the in class project. Review
procedures for Computer Lab before leaving class. Begin research in the
Computer Lab.
Evaluation/Assessment: Rubric for grading the WAC.
Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards
DAY 3 of 9 DAYS
7TH Grade Art Lesson Plan
Lesson Title: Clay – Mexican Masks (sketch of mask for hand build)
Rationale: Students prepare a 2D drawing which they will later make into a
3D sculptural mask. Students will plan the mask reflecting back on early
Oaxacan designs, patters and images.
Objectives: Students will design Mexican masks 2D using resources in
preparation for the 3D clay mask making.
Materials/Resources; Drawing Paper and colored pencils, photo from
Computer Lab
Lesson Activities: Review Oaxacan masks and the different uses for them.
Review the WAC assignment that will be accompanying the hands on class
project. Make sure there are no questions about the WAC assignment. Have
the students use the image of their mask to start a line drawing of their
mask – ask them to label the parts with the specific technique they will be
using (slab, coil, pinch). Remind them that they will have to have this
drawing finished prior to receiving clay.
Evaluation/Assessment: Grade sketches for Mexican Masks.
Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards
DAYS 4 through 7 of 9 DAYS
7TH Grade Art Lesson Plan
Lesson Title: Clay –Mexican Masks (hand build)
This step may include several more working days to complete!
Rationale: Students will be introduced to the medium of clay, accompanying
vocabulary and Mexican masks. Students will write about the mask they use
for inspiration (WAC Assignment).
Objectives: Students will be introduced to three different clay hand-building
techniques (slab, coil, and pinch). Students will also be introduced to clay
vocabulary. Students will be introduced to Mexican mask making.
Materials/Resources: WAC handout MATERIALS FOR CLAY HANDBUILD:
Mask handouts and computer research photos, 9 x12 Newsprint paper,
Pencils, Scissors, Clay, Recycled Paper, Plastic bags, Canvas cloth, guide
sticks, Rolling Pins, Slip dishes, clay Modeling Tools, found object with
interesting textures, moist paper towels, and drawing of their mask from
the day before.
Lesson Activities: Review clay terms and instructions for beginning with clay
–demonstrate if necessary for review. Have the students use the drawing of
their mask to start building their specific mask – if the student does not have
their mask drawing done they will not receive clay to begin. Build basic
armature for slumping clay slab.
Give a brief introduction to Mexican Masks and discuss this assignment with
the class.
Give specific instructions on how to properly use clay including clean-up
directions. Walk around and make sure all the students understand what
they are doing. Students should then be working on their mask.
Evaluation/Assessment: Observance of students while they use clay,
Progress grade on green ware clay, Final Rubric evaluation of clay project
when completed.
Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards
ALLOW CLAY TO DRY AND FIRE GREENWARE
DAYS 8 and 9 of 9 Lesson Title: Painting Clay –Mexican Masks
Rationale: Students will be introduced to the medium of acrylic paint to
complete Mexican masks.
This step may include several more working days to complete!
Students will write about the mask they use for inspiration (WAC
Assignment).
Objectives: Students will be introduced to acrylic paint and the varied
techniques including washes and opaque layering. Students will add
decorative patterns and designs which relate to studies of ancient Oaxacan
art. Students will be glue features and materials to the mask to add to the
interest such as fake or natural fur, beads, and other found objects that add
to the mask making. Finally students will wire the masks for hanging.
MATERIALS FOR FINISHING THE CLAY: Acrylic Paint (assorted colors), Paint
Markers, Permanent Sharpie Markers, Brushes, Water dishes, Wire for
hanging (old Telephone Wire works great), jute, Yarn, leather strips and
assorted pieces, Bead Assortment, Animal/horse hair or fake fur fabric,
Feathers, Materials from nature Glue, hot Glue Gun, Glue Sticks, and
assorted Brushes.
Lesson Activities: Discuss options for decorating the mask. Instruction on
use of acrylic paints as a permanent water base media. Discuss safe use of
the hot glue gun. Walk around and make sure all the students understand
what they are doing. Students should then be working on their mask.
Evaluation/Assessment: Observance of students while they use clay,
Progress grade on green ware clay, Final Rubric evaluations of clay project
when completed. Student will complete a Rubric Self- Evaluation of mask
making project as well as teacher rubric evaluation attached.
Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards
Created using Rubistar
Evaluation
Making A Mask : Mexican Mask Making, Oaxaca
To be used by student for self-evaluation and teacher for evaluation
Teacher Name: Mrs. Bartels
Student Name:
_______________________________________________
CATEGORY
4
3
2
1
Totally
original
design, no
element is an
exact copy of
designs seen
in source
material.
Most of the
mask elements
are unique,
but 1 element
may be copied
from source
material.
Some
aspects of
the mask
are
unique,
but several
elements
are copied
from
source
materials
or other
students.
The mask is a
copy of a mask
seen in source
material or one
made by another
student (80% or
more of
elements are
copied).
Attractiveness/Craftmanship The mask
shows that
the creator
was took
great pride in
his/her work.
The design
and
construction
look carefully
planned. The
item is neat
(free of
unwanted
bumps, drips,
marks, and
tears).
The mask
shows that the
creator took
pride in
his/her work.
The design
and
construction
look planned.
The item has a
few flaws
(unwanted
bumps, drips,
marks, tears),
but these do
not detract
from the
overall look.
The design
and
construction
were
planned. The
item has
several flaws
(unwanted
bumps,
drips,
marks,
tears), that
detract from
the overall
look.
Creativity
Score
The mask
looks thrown
together at the
last minute. It
appears that
little design or
planning was
done.
Craftsmanship
is poor.
Details
Mask details
are all easily
viewed and
identifiable
from across
the
classroom.
Most mask
details are
easily viewed
and
identifiable
from across
the classroom.
Most mask
details are
easily
identified
when the
mask is
seen
close-up.
Many mask
details are too
small or are not
clear.
Durability
The mask was
built to last
through
multiple
performances.
Most of the
mask is
sturdy, but
there are a
couple of
pieces that
might need
extra care
when wearing
it.
The basic
structure of
the mask is
sturdy, but
many of the
details are
fragile.
Sources
The student
has 5 or more
sources of
inspiration
correctly
cited.
The student
has 3-4
sources of
inspiration
correctly cited.
The
student
has 2
sources of
inspiration
correctly
cited.
The student has
fewer than 2
sources of
inspiration
correctly cited.
Knowledge about
Culture/Story
The student
can answer 3
questions
correctly
about how the
mask relates
to the culture
or story being
studied.
The student
can answer 2
questions
correctly about
how the mask
relates to the
culture or
story being
studied.
The
student
can
answer 1
question
correctly
about how
the mask
relates to
the culture
or story
being
studied.
The student
does not
understand how
the mask relates
to the culture or
story being
studied.
Knowledge of Mask
Construction
The student
can clearly
describe the
steps used to
make his/her
mask. The
student can
accurately
point out how
this process
was similar or
different from
mask-making
in the culture
The student
can clearly
describe the
steps used to
make his/her
mask.
The
student
can
describe
most of
the steps
used to
make
his/her
mask.
The student has
great difficulty
describing how
his/her mask
was constructed.
The mask is
flimsy and
falls apart
easily. It
may not last
for one
wearing.
being studied.
Time and Effort
Class time
was used
wisely. Much
time and
effort went
into the
planning.
Class time was
used wisely.
Student could
have put in
more time and
effort at home.
Class time
was not
always
used
wisely.
Class time was
not used wisely
and the student
put in no
additional effort.
Created using Rubistar:
WAC / Writing Across the Curriculum
Analysis of A Work of Art : Mexican Mask Making, Mrs. Patricia Bartels
Student Name:
CATEGORY
________________________________________
4
3
2
1
Description
Makes a complete
and detailed
description of the
subject matter
and/or elements
seen in a work.
Makes a detailed
description of most
of the subject
matter and/or
elements seen in a
work.
Makes a detailed
Descriptions are
description of some
not detailed or
of the subject matter complete.
and/or elements seen
in a work.
Analysis
Accurately describes
several dominant
elements or
principles used by
the artist and
accurately relates
how they are used
by the artist to
reinforce the theme,
meaning, mood, or
feeling of the
artwork.
Accurately
describes a couple
of dominant
elements and
principles used by
the artist and
accurately relates
how these are
used by the artist
to reinforce the
theme, meaning,
mood, or feeling of
the artwork.
Describes some
dominant elements
and principles used
by the artist, but has
difficulty describing
how these relate to
the meaning or
feeling of the
artwork.
Interpretation
Forms a somewhat Student identifies
reasonable
the literal meaning
hypothesis about the of the work.
symbolic or
metaphorical
meaning and is able
to support this with
Student can relate
how the work makes
him/her feel
personally.
Has trouble
picking out the
dominant
elements.
Student finds it
difficult to
interpret the
meaning of the
work.
evidence from the
work.
Evaluation
Uses multiple criteria Uses 1-2 criteria to
to judge the
judge the artwork.
artwork, such as
composition,
expression,
creativity, design,
communication of
ideas.
Tries to use aesthetic Evaluates work as
criteria to judge
good or bad based
artwork, but does not on personal taste.
apply the criteria
accurately.