Classroom activities
I.Prehistoric Native cordage making.
Students will learn how to use prehistoric technology. They will create a length of cordage (string) with plant fiber and use the piece to create a necklace or bracelet. The act of creating the hand-made piece will help students to experience the kinds of methods ancient people developed to survive in the southwest. Fibers from local plants were used to create cordage for everyday usage. Bundles could be tied with cordage, objects and food could be hung up, looms could be constructed. Cordage could also be used for bows, baskets and sandals. There have been rabbit nets made out of human hair. One was over one hundred feet long and two feet tall. Rabbits were driven into the nets and captured by the hunters. The rabbits were used for their meat, hides and bones for clothing and tools. What other things might early people use cordage for? Agave, yucca, milkweed, cedar bark, human hair, rabbit fur, cotton, and sagebrush were all used to create cordage.
Objectives:
Students will learn about a prehistoric craft technique, use different materials to create crafts, and recognize the techniques used in archeology to recreate ancient craft forms. Students will be able to draw parallels between prehistoric cultures and the technology of today.
Procedure:
If local plants or fibers cannot be identified and used, local crafts stores usually carry fibers of various types. Raffia works well for this kind of cordage. Give each student about 18 inches of raffia fiber. Longer pieces can be given if more length is desired for the end product. Thickness will vary; starting with thinner strands is best. Touch the two ends together, thus folding the fiber in half. Tie an overhand knot on the end with the fold, making a loop about 1 inch long.. Hold the knotted fiber in front of you with the thumb and forefinger of the left hand, pinching the knot. Holding the strands out horizontally, form a "v" shape that opens to the right. Working closely to the knot, take the top strand between the thumb and forefinger of the right hand. Apply steady, firm pressure as you twist the fiber, the thumb slides up, the forefinger down. Now carefully pull the twisted fiber tightly over the lower strand, towards yourself in an over and under motion. The tricky part is capturing the twist you just made with your left thumb and forefingers. Now the new top strand is twisted in the same direction with the right fingers. Twist and bring the top strand down over the bottom strand, over and under, keeping the twisting going in the same direction. The tighter the twists, the finer the cordage. Beads or trinkets can be made or purchased to hang on the cordage. Allow 45 minutes for the activity.
Materials:
Raffia
Pictures of prehistoric woven fabric and sandals found on websites and in resource books
Scissors
Beads or medallions, made in class or purchased
New Mexico Educational Standards:
Visual Arts Standard 6: Show increased awareness of diverse peoples and cultures through visual and performing arts. Grade 5-8 students will:
A. Compare and describe artwork of various eras and cultures; and
- Compare and contrast artworks and artifacts from two dissimilar world cultures.
Students can look at the culture of Pueblo people in the area, making comparisons with their own lives, contrasting the art of Anglo and Hispanic artists with that of Native peoples
B. Recognize historical and cultural themes, trends, and styles in various works of art.
- Sort and classify a variety of art objects within an identified historical and cultural context.
- Create art that reflects a particular period within a specific culture.
Pueblo pottery and weaving span many years and many generations. Students can look at the changes that have taken place over time. Attention can be given to the types of imagery used in various locations at various times.
Visual Arts Standard 7: Demonstrate knowledge about how technology and invention have historically influenced artists and offered new possibilities for expression.
Grade 5-8 students will:
A. Use, review, and evaluate computers and other electronic media as tools for design and communication of ideas.
- Identify the appropriate type of technology use to achieve a desired outcome. Demonstrate how all student participation can be enhanced through technology.
- Incorporate the use of at least one means of technology in creating an original work of art.
Computers can be used in a variety of ways to meet these standards. Power Point presentations can be made by students and presented to the class. Internet sites can be accessed, research carried out, and reports made with the use of computers. Design projects can be carried out in various programs while studying Navajo and Pueblo art. Digital imagery can be used widely: still shots can be used for displays, film can be used for a number of craft demonstrations. Creating a short film on the need for preservation would meet the requirements of this standard.
II. Pueblo Style Pottery
Students will create a ceramic pot in the style of Pueblo potters, what some call America's first art form. Natural clay resources vary greatly and some sites have been used by generations of potters. Some older potters have been known to give up making pottery once the traditional source was used up. The clay gathering process takes a long time. Natural clays have to be gathered, cleaned, dried, ground, re-hydrated, and wedged before they are ready to be used in the creation of a piece.
Objectives:
Students will identify and use the techniques of Pueblo potters and create ceramic pieces of their own. Students will also be able to recognize Pueblo designs in ceramic ware, and understand the value in preserving ancient pottery sherds.
Procedure:
Prior to working with clay, students will work in sketchbooks. They will begin to search for symbolism that pertains to their own sense of place. What do images in Pueblo culture stand for? Are there images in the culture of the student that have the same kind of importance? Once the image has been found and drawn out the clay work can begin. Students will work with two different clay bodies, one white, another terra cotta. Students will be introduced to the coil and scrape pot-building technique. Using this technique, students will start with a lump of clay just a little bigger than their fist. The moist clay is carefully rolled between both hands and slowly coiled in a circular fashion. The coiling starts in the center of what will eventually become the bottom of the bowl. Coiling continues to spiral upward, forming the curved walls of the bowl. Once the coiling process has been completed, the lines between the coils are gently blended over on one another. Using their hands and fingers dipped in water, the students shape the vessel into its final shape. Care has to be taken at this point to only use enough water to smooth over the pressed coils. Too much water tends to make the clay sticky, and ultimately weaker. If this happens, the work can be suspended and allowed to dry out for a period of time before continuing. If the rough form of the desired shape has been achieved, the young potter can take a scraper and begin to refine the smoothing process. Scrapers can be purchased or made from a recycled plastic container, by cutting a piece in the shape of an oval or a kidney bean. Traditionally, dried gourd pieces were used.
After pieces have dried, fine sandpaper can be used to complete the smoothing process. Slip can be made from terra cotta red clay and used as "paint" for final decoration. Some experimentation with other glazes can take place, but commercial glazes can also work well for more predictable results. Black, red, ocher, and browns will best represent the traditional pallet. A glossier finish can be obtained by burnishing with a highly polished stone. This is the traditional technique; however, it does require a good deal of patience and a fair amount of work to achieve the desired sheen. A more traditional technical may be attempted with chewed and trimmed yucca fronds. Fine commercial brushes can also employed for this task. Design inspiration can be drawn from the numerous pictures viewed during the course of study. Traditionally, the pieces are pit fired using dried dung or wood to about 650 to 950 degrees C. An electric kiln will probably achieve a similar low fire effect. A little experimentation with test pieces might be the best approach when dealing with a variety of clays and glazing techniques.
Materials:
White clay
Pictures of Pueblo pottery on websites and in resource books
Sketchbooks
Red clay slip
Brushes
Glazes
New Mexico Educational Standards:
Visual Arts Standard 1: Learn and develop the essential skills and technical demands unique to dance, music, theatre/drama, and visual arts. Grade 5-8 students will:
A. Explore art materials, techniques, qualities, characteristics, and processes; understand what makes them effective in solving specific art problems and how they are used to enhance life experiences and ideas.
1. Engage in problem-solving activities that apply the principles of art to the elements of art.
Creating projects in a variety of craft styles suggested in this curriculum will engage students in problem solving. They will use a variety of techniques as they explore the materials use to carry out the projects.
B. Explore and understand the use of art materials and techniques by culturally diverse artists locally and globally.
1. Research and discuss the relationship between art and artifact and their historical, geographical, cultural and political contexts.
The discussion of artifacts in the preservation of Navajo and Pueblo cultures will lead students into a discussion of art within the culture. What qualifies as art? Is utilitarian craft work art? A whole host of questions will be presented as students become engaged in the activities presented in this unit.
III. Sand symbols
Students will gain some inspiration for their own sand pictures by studying Navajo sandpainting. Sandpainting is traditionally done in a sacred way, usually in the hogan, a traditional Navajo home. The ceremony involved with the sandpainting is performed to cure people who are sick. Elders are present, as well as a medicine man. This is the person who would carry out the sandpainting on the floor of the hogan. The whole process can take days. Red, black, white, blue, and yellow all have particular symbolism in the traditional use of sandpaintings.
Objectives:
Students will identify and use traditional Navajo techniques to create sand pictures. Students will also become familiar with symbols used in Navajo sandpainting. They will learn to appreciate the role of the sandpainting in Navajo culture.
Procedure:
These student sand pictures will be carried out on foam core board that is 5"x 8." Traditionally the paintings are done on the ground, but we are not trying to replicate the actual form; we are merely gaining inspiration for a project using colored sands. The first step is to work on imagery with the students. One approach is to have them select one of the many animals associated with Navajo country, such as coyote, frog, bear, and snake. There are also many monsters that will have appeal for some students. These might include Dune Monster, Monster Slayer, and Water Monster. Folktales will be a good source for imagery. Having students work with colored pencils to create the image in another medium will give them a good starting point for the final project. Once a design has been decided on, it should be drawn in pencil onto the board. Start by painting a thin solution of watered down white glue over the surface of the board. Allow the board to dry. Colored sand can be purchased at a crafts store and is probably the easiest way to go. Traditional colors can be used, but any colors will do. Individual sections should now be carefully painted onto the board's design. Sand is now poured carefully from a small paper cup, making sure that the entire area receives some sand. Excess sand is tapped onto a piece of 8"x11". This excess can be poured back into the cup for use in other areas. The trick is to avoid mixing colors in the individual cups as this will lead to a dull effect when the painting is completed. Glue each area and apply sand. Finished products can be coated with a spray fixative. Stress the importance of creating a picture with high contrast.
Materials:
Foam core poster boards 5"x8"
Colored sand, various colors
Sketchbook
White glue
Colored pencils
Small paintbrushes
Spray fixative
Paper cups
New Mexico Educational Standards:
Visual Arts Standard 4: Demonstrate an understanding of the dynamics of the creative process. Grade 5-8 students will:
A. Explore the influence of personal experiences, imagination and the dynamics of culture to works of art.
1. Create art in which design elements and principles in conjunction with subject, themes and content are based on personal experiences to create meanings.
B. Understand how the qualities and characteristics of various art, media, techniques, and processes influence the creative process to communicate experiences and ideas.
- Discuss specific instances in which culture influences art.
- Identify and describe the emotional connotations of the use and placement of design principles and elements in a particular piece of art.
- Describe orally or in written form a personal reaction to at least three pieces of art in different media.
- Demonstrate how the use of traditional and different media can convey meanings, (softness of pastels and watercolors, texture of collage, sparseness of wire, etc).
Sandpainting lends itself beautifully to the presentation of personal experiences and the use of design elements created by the student. In this project they will be asked to use their own imagery to create a piece that uses material which is specific to the Navajo culture, material from the earth itself: sand. Traditional imagery can be studied, students learn about the significance each figure plays in the greater image of a sandpainting. Short written critiques can be done in class to demonstrate personal reactions to the works created in class.
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