Native America: Understanding the Past through Things

Classroom Activities

Lesson plans for activities described in the unit follow. They are intended as open models of techniques and daily operations in an art studio and can be adapted to suit another class situation or school environment. I have classes that meet on block scheduling, every other day for 90 minutes at a time. Typical lessons can last weeks long, with the longest period resulting in using class time as studio time for projects. All lessons are finished by offering group critiques of student works. I explain that the critique, as closure to the lesson, is as important as the introduction. Students receive credit towards their grades by participating. In addition to Visual Arts standards, these lessons on Indian culture and personal identity touch on a number of Virginia state-mandated standards of learning concepts, and are designed to compliment and reinforce core subjects by providing alternative experiences: i.e. learning outside of the academic classroom. I use standards in English through writing prompts, including the oral presentations of artworks and by giving research opportunities as required and extra credit assignments. I anticipate using a large wall map to include geographical references and exercises in map reading skills, which naturally come up during class.

Lesson: MASK

Opening Activity

Place on Board: Describe a situation you know of or have experienced yourself, where racial profiling took place. How does this situation present it self, (social precursors), and what are the outcomes (physical and emotional)? Students can respond on paper or in journals. Answers can be used in a discussion as an introduction to displaying images of American Indians. Teacher can moderate discussions to keep students on task and within time constraints, (10-15 minutes, first day).

Focus (Ongoing Objectives)

• Students understand that identity is developed through an ongoing process of self-exploration.
• Students interpret perspectives on American Indians and qualify the statements for accuracy.
• Students identify themes and commonalties that exist across cultural boundaries.
• Students recognize connections between to the histories of the American Indians and African Americans.

Virginia Standards of Learning (VaSOL's)

Art: Visual Communication and Production AI.1-AIV.1, AIII.7, Cultural Context & Art history—AI.14, AII.13, Judgment & Criticism— AI.19, AII.20

English: Oral Language— 9th-12th standards

Virginia and United States History: VUS.1, VUS.2-3

Practice & Application

Day One: Conduct introductory activity with discussion. Allow time for student response and discussion of topic. Student response should be varied and may need moderating. Teacher will use discussion to open questions for students to consider during the viewing of the American Indian in various forms. Teacher will introduce images in the largest format available, allowing for easier viewing and adding appeal for the students. Teacher should allow for display of images in groups to add cross exemplar discussion. Begin the examination of images with the general details and end up with suggested meanings and technical judgments for the representations. Teacher asks students: Why is the image of the American Indian represented so differently across the examples? Whose perspective is being represented? How does the treatment of the subject matter in the various examples reinforce or shape stereotypes? Trace connections between the stereotyping of African American males to those of the Indians. Are the connections viable or unsupportable? Allow students to respond to questions and to record notes and responses of their own and others in their journals.

Day Two: Review Assignment and Assessment sheet with students and outline procedure for the next classes. Show examples of student made masks, if available and also examples of Indian masks. Examples of Haida masks from the Northwestern coasts of Canada and Alaska will require some discussion of animal symbols and how each clan claimed an animal reference to celebrate ancestors and to inform future family members of family traditions. Native Americans also claimed a representation to individual and group identity through materials used in the creation of their objects. Locally gathered, raw materials were transformed by Indian hands into motifs and base elements of the final products. Teacher informs the students that their masks will be created to represent themselves in multiple perspectives. The outside of the mask will be required to show outward appearances: those mitigated by self and interpreted by others, while the inside of the mask will be used to display the "somewhat private or inner side" of the student: those which are representative of the actual or emerging sides of the students' self image.

Students will be reminded to add details, which add meaning and open interpretation of their work, by others, (colors, shapes, symbols, expression, exaggeration of features, etc.). Teacher hands out sketch paper and allows students to use remaining time to begin sketching ideas for final projects. Students will be encouraged to add writing to identify details, color choices and to add supporting information, which is helpful when presenting ideas to teacher.

Day Three: Students work on sketches of proposed masks. Review sketches with students individually while remaining students work on sketches. Teacher provides guidance, suggestions and problem solving to keep students within intended project goals. Teacher should make sure that the intended materials choices of the student can be made realistically available, and that they will add to the project's meaning. Meaning can be conveyed with a little subterfuge if authentic materials cannot be used. Gold is not an option, surely, but a mask made of heavy gauge aluminum foil, finished with a gold stain will be seen as golden, at least symbolically. Teacher needs to secure a volunteer for the next class. Remind students to wear suitable clothing for working with plaster or have them bring in smocks to protect clothing.

Day Four: Prepare materials in advance. Cut plaster gauze into 4-5 inch strips (at least thirty or so), and a few in smaller, narrow ¼ inch strips as described in the main unit. Use warm water in a bowl to activate the plaster and have students coat their faces liberally with Vaseline or thick Vitamin E oil. Have the student volunteer lie prone on their back on a flat surface or table that has been covered with newspaper. Teacher outlines the process of applying the mask to the student volunteer's face. The students face has been coated with the lubricant, slightly overlapping the hairline and with generous application on areas with facial hair. Show materials to students and narrate while demonstrating the process in order:

1. Dipping the strip into the warm water and wiping away excess water with the pointer finger and middle finger of one hand, (plaster strip is between the fingers), while holding the top of the strip with the other hand,
2. Applying the plaster strip to the face in alternating layers of horizontal and vertical strips, slightly overlapping the previous strips as you go.
3. Smoothing each piece as it is placed on the face to improve final surface texture,
4. Applying the gauze strips (smaller sizes) to the nose and nostril areas as described—horizontal layers for the bridge and a couple of vertical strips to separate the nostrils,
5. The clean up procedure—the provision of a pre-washing bucket of warm sudsy water allows students to remove most of the plaster on their hands before heading to the classroom sink. All utensils used must go through the same pre-wash. Plaster washed down the sink will usually lead to blocked plumbing. Have adequate paper toweling for students to wipe excess moisturizer and bits of plaster off their faces before washing up as well.
6. The importance of talking to and providing comfort/reassurance for the student who is having their mask being made.

In all, the teacher will monitor progress of student pairs and ensure that safety is being maintained. Inform students that the mask making will take about 30 minutes or so to complete. Students can wait as long as is comfortable, up to 10 minutes or more, after the mask has been completed in at least three to four layers, for the mask to set up. Students will feel the plaster mask warming as it begins to harden, caused by the chemical reaction to the water and the bonding of the plaster molecules. Masks can be removed by helping the student turn on their sides or stomachs and while supporting the mask on the sides of the face, gently turning their face from side to side. A gentle pulling may be needed. Allow gravity to help while the student's face is pointed downward. Freshly formed masks can be stored for the next time right side up and supported by balled up newspaper from underneath.

Day Five-Six: Students work on casting facial masks with the help of another student.

Students who have formed their masks work on refining the surfaces, preparing the surfaces for mixed media and adding features. Teacher reviews work individually and monitors progress of mask making, repeating demonstrations and techniques as necessary.

Day Seven-Nine: Studio time for students. Students use time to complete 2-sided masks representing themselves through featured elements, structures and materials. Teacher checks on progress and assists and problem solves as necessary.

Day Ten: Students complete Assignment and Assessment sheet and turn in with their masks after participation and display of their work in a group critique.

Assessment

Students complete Assignment and Assessment sheet and turn in with their work (See Teacher resource section).

Students participate in a group critique of student works.

Lesson: VESSEL

Opening Activity

Ask Students: What are the characteristics of your environment, neighborhood, section of town? How would you describe its good and not so good points to an outsider? Expand the discussion to include larger geographical areas: What contributions to the good of its residents has a particular area made? What are some identifying landmarks, natural and man made that exist within the area? Expanding further, ask students about the resources of the region, focusing on our city as a whole sum of its parts and in cultural and geographic contexts. Encourage student response into a group discussion and allow time for students to record their answers and those of some of their peers in their journals. Provide a blank Virginia map for students, available from the Virginia Department of Education website. Students can use the map throughout the section to orient themselves to the James River and the Chesapeake Bay and to identify regions of Virginia where there have been Indian settlements. Students may keep the maps in their journals.

Focus (Ongoing Objectives)

• Students understand that identity is developed through an ongoing process of self-exploration and can be connected to geographic region through associations to resources or traditions.
• Students identify themes and commonalties that exist across cultural boundaries.
• Students understand how materials, form and decorative elements can provide clues for determining identity.
• Students practice traditional forms of pottery decoration to add meaning to their works of art.

VaSOL's

Art: Visual Communication and Production AI.1-AIV.1, AIII.7, Cultural Context & Art history—AI.14, AII, AIII.13, Judgment & Criticism— AI.19, AII.20

English: Oral Language 10-12th grades, Research: 10-11th grades

Va. Studies: VS.1-3, 9a (including mapping)

Practice & Application

Day One: Students complete introductory activity and compare answers with their peers and teacher. Allow time for discussion and for recording answers in journals. In the natural course of discussion direct student response to include the river in their scheme of favorable attributes of our city. Define the roles that the James River has had in terms of commerce, wildlife habitat, and resources and in defining communities. Ask students to consider the success of our city as its connection to the river. Allow students to present examples of other river cities and river cultures that they are aware of. Let students collaborate and support their statements of assertion about the quality of life in a river town by making and presenting lists in groups to other classmates. Review the Assignment and Assessment sheet with students. Begin showing students examples of Water vessels that come from the Southwest region of Indian tribes, notably the Pueblo and Hopi potters. Explore each example with basic components of color and shape use and inclusion of animal and symbol motifs first, before considering the purpose of the pottery. Have permission forms for field trip ready for review with students. Go over forms for information and requirements and repeat deadlines for return of forms, lunch procedures and behavioral expectations. Be firm and fair. Students who follow all procedures and bring back their forms completed should be the only ones allowed to participate in the field trip.

Day Two: Field Trip, (Optional). A field trip coordinated with river park personnel will allow my students to work with clay they dig from the river's banks and permit the students to experiment with clay in its natural forms and environment. Students can use methods outlined by the teacher, park staff and clay supply staff when attempting to use the locally gathered clay and to mold it into experimental and functional objects. Use of traditional methods of early ceramic developments, such as using clay to line baskets and later firing those baskets could be explored in equally experimental firing in outdoor pits or in raku style containers. How the raw clay responds to additions made to the clay body and the firing process will be intriguing variables. Students may find results exciting.

Commercial clays, available from ceramic supply houses or hobby stores can be substituted when the novelty of working with the local clay wears off. Documenting the field trip to review later with the class as you discuss the methods used when working with and gathering the clay would be fun to watch. In absence of a Day Two field trip, students can work on developing sketches of their ideas for a final water jug with a decorative surface treatment; explaining their connection to culture identified and shaped by living in proximity to the James River.

Day Three: Students finish work on sketches and review ideas with teacher. Teacher will review clay contract with students will collect contracts before continuing and demonstrating the method for building a water vessel with coil building style:

1. Clay must be wedged, (kneaded to work out air bubbles) and prepared as a ½ -3/4 inch slab, or flat tile, which can be slumped inside of a saucer or shallow bowl, lined in newspaper to prevent the clay from sticking. Trim excess clay to fit the rounded edges of the form you're using.
2. Walls of the jug are formed by first grabbing a piece of clay and squeezing it into a long log shape between the hands, working from the top to the bottom of the log shape. This compresses the clay to reduce the chance of air bubbles.
3. The clay is then worked into a smooth cylinder shape by placing the clay on a flat surface and applying gentle pressure from the palms and inside of fingers while rolling the clay back and forth. Hands should be kept together while rolling the clay and can move together along the length of the coil as it is being made. Be careful to allow the coil to rotate fully to avoid flat spots. If these occur, rotate the flat portion so that the narrow portion is located up and apply pressure gently to flatten the raised area and continue to roll. Coils should be uniform in size, keeping the walls at a consistent thickness throughout the project.
4. Coils can be laid out to the proper size, in a circle with ends overlapping slightly. Cut coils to size using a 45% angle, miter style, for strength and good contact. Coil ends should be attached to each other using the method outlined next.
5. Each coil must be attached to the one below it as you go along. Both the surface you are attaching to, and the surface you wish to attach to must be crosshatched with a scoring tool (a fork will do nicely). Lines should be in multiple directions, but not destroy the surface of the coil or its ends. After scoring, a dab of slip (clay mixed with water) is applied to each surface with a finger and the sections are then pressed together firmly. Individual coils can be smoothed on the outside, (welding the seam,) together in groups, of two to four levels. Be careful to support the inside of the pot with your other hand while joining the outside of the coils. This will protect the shape. A banding wheel, which turns freely, can help minimize handling of the pot while it is wet. Consider working on newspaper or a cloth covering the table for clean up purposes, but also turning the piece using the corner of the cloth or the newspaper will be made easier. For our purposes, the inside of the pot can remain as unsmoothed coils, with the exception of the first coil to the slab base, which should be welded completely, inside and out.
6. The overall shape of the vessel is determined by placement of the coils. Coils placed directly above the previous ones will build the form straight up, while coils placed on the inside or outside edges of previous coils will direct the shape inward or outward as placed. Care should be taken to transition the shape of the clay walls slowly for greater success and control in the final form.
7. Clay work needs to be stored wrapped in plastic, between working sessions. Include a wet sponge or wet paper towels wrapped around a piece for long intervals between sessions. Pieces should be handled gently and moved carefully.
8. Students will use trimming tools and clay ribs to refine the shape of the vessel when they have reached the required height requirements and to smooth the outside in preparation for decorative surface treatments.
9. A combination of two ceramic decorative techniques will be explored for the surface treatment of the water vessels: Intaglio —where original scribing marks into the surface of the clay are made and the vessel fired before being decorated by rubbing glaze onto the surface. The surface is then wiped clean with a wet sponge, revealing glaze remaining inside the scribed lines. The result picks up the image like a line drawing and accentuates the various irregularities of the surface in interesting ways, and Sgraffito—where a contrasting coat of colored clay slip is applied to the outside surface before the firing and drawn through, also before the firing, revealing the color of the clay body underneath. Strategic and inventive use of the color contrasts and negative space concepts with this technique add to the interest and beauty of the finished piece. Students may want to press found objects, representative to their themes into the surface for added meaning, which can also be highlighted through the glaze application.

Day Four-Six: Studio time for students. Students continue working on their water vessels and adhere to the policies outlined for handling clay and completing clean up at the end of sessions. Students can use rulers to measure for height requirements and when they have built their vessels tall enough can begin the surface treatments as outlined. Final work must be stored and dried in a protected space until the kiln can be fired.

Day Seven-Nine: Each piece will have to undergo two firings. One firing solidifies the form and binds the slip to the surface of the jug, (bisque firing), and a second glaze firing affixes the glaze for the intaglio method and seals the inside of the water vessel to allow the wares to be functional. Be sure to use lead free clear glazes to ensure that the jugs are food safe. During this time, students should be finishing up the last bits of surface embellishments and queuing their pieces for final firing.

Day Ten: Final day and Group Critique. Students complete Assignment and Assessment sheet and turn in with their work for grading.

Assessment

Students complete Assignment and Assessment Sheets and turn in with their artworks.

Students participate in a group critique of artworks.

Lesson: CLOTH

Opening Activity

Students are easily grouped by neighborhoods in my school. Some will claim a personal style or clothing choice, which is intended to further align them with their neighborhoods. Colored garments and accessories worn in specific styles claim to identify and differentiate students as well. Clothing becomes a code in this sense, and my students are able to translate. This readability is what I hope to explore in the opening activity.

Student volunteers are called up to line up in front of the classroom. They are introduced game show style with the volunteers filling in the information for where they come from and some other personal tidbits (Tell us about yourself, John). After their introduction, the class can debate the identifying signals that each student may be wearing. The discussion can lead to whole new inferences of how we wear what we wear as more than clothing. Students can keep their answers in journals and include notes on the new information they have gathered based on the volunteers' participation.

Teachers' Note: It's possible that a discussion may include specific manner of dress that is attributed to select, so called gang population represented in our school. Students may explore as far as they feel comfortable and as much the teacher feels the situation remains constructive. Students in my class understand from the very beginning of the year that the only censorship that exists in the classroom is connected to gang-style graffiti. Other unique topics may engage our discussion, certainly. I try to keep things clinical, to the best of my knowledge. But on representation of the various groups, the students know I am firm. It would also be necessary to explain that the sort of project they will complete only begins with being young and urban, going deeper than neighborhood cliques, connecting to past generations and larger geographic concepts, starting with Richmond, Virginia. In the examination of student dress, I anticipate students will claim that what is worn is only done so in the sense of fashion. The students like how they look. Personal choice on color supersedes colors relegated by gang members. A discussion on following trends and fashion would be appropriate. I like to ask questions that compare the ubiquitous size and placement of the brands of clothing lines to the branding associated with cattle and human bondage. Who really defines our personal style? Is it Mr. Hilfiger, or his customer, seated in my class? A discussion of labels and preconceptions based on appearance would come naturally and recall conversations from earlier in the unit. Students should connect to what it means to "dress to impress," by association to classroom dialogue and images from modern and Inca sources, translating the concept to their own designs for wearable art that represents themselves personally. Intended designs can be checked throughout the process to see that they adhere to guidelines and remain appropriate. Ultimately, it may be that in Richmond, the gang clothing identifiers are really a farce, and that a fresh white tee just provides an easy and affordable presentation of the personal image.

Focus (Ongoing Objectives)

• Students understand that identity is developed through an ongoing process of self-exploration.
• Students identify themes and commonalties that exist across cultural boundaries.
• Students understand how materials, form and decorative elements can provide clues for determining identity.
• Students use traditional and nontraditional methods and a variety of materials to create a wearable art project intended to represent the student personally.

VaSOL's

Art: Visual Communication and Production AI.1-AIV.1, AIII.7, Cultural Context & Art history—AI.14, AII, AIII.13, Judgment & Criticism— AI.19, AII.20 Visual Communication—AIV.6-7

World History: WHII. 1-4

Practice & Application

Day One: Have students participate with the described activity in the Opening section. Students will have a chance to qualify volunteer responses and to observe the visual clues that the volunteers are wearing and interpret them for representational content. Allow time for students to journal answers in column style according to neighborhood and items worn. Teacher can review Assignment & Assessment form with students and begin introduction to the module by showing an example of the Inca's tunic in a projected image taken from Guaman Poma's 800-page book from 1615-1616 CE, which contains the history of the Inca in hand-drawn accounts of clothing and customs. Students will be asked to comment on the garment of the Inca, to analyze its symbols, form and likely materials used. Teacher will explain how the garment represented the Inca rulers, down to the fibers. This is a good time to begin the introduction of the Inca way of statehood described in the unit's narrative section.

Day Two: A follow up to what was learned previously, concerning the identifying qualities of Inca cloth and garments, can take place before students begin working on sketches for their ideas for final, wearable art projects. Students will be required to include a form of weaving into their projects, to be a main feature of interest. Students should show their sketches to the teacher for suggestions, problem solving and adherence to the project guidelines. Once the design, materials and features have been discussed and approved by the teacher, a paper pattern should be worked up first to begin the construction phase of the project. A similar material can be used in the mock up of the final project, helping to eliminate snags later. Materials choices and styles of fastening the garment should be experimental and cover a range of available supplies. Locally found objects can lend physical reminders to the environment of the student artists, as can the ways in which they were used. Bottle caps for button closures will spin a tale of the bottles and the lots they came from, as well as become freshly translated to the students' visions once they are included.

Day Three-until Final Day: Student need for studio time in class may vary. A system of checking on student progress daily, linking more productive students with others that may be experiencing difficulty, and in-process critiques, (those offered before the final presentation,) will help move things along. Students should attend to the craftsmanship component of the project and make their constructions sturdy and wearable. The final session of this module should function as a fashion show of sorts, where students can ham it up a little on the runway while another student emcees the event by reading student-made descriptions that accompany the wearable artworks as they are shown.

Assessment

Students complete Assignment and Assessment sheet and participate in a final, "Fashion show of their projects where the student him or herself is the model. Fashioned student work should be accompanied by a written description.