Sue Lily on fri 8 nov 96
If we say we are doing stuff to please
>them they get mad and say we should do stuff for Art because we are
>artists' but we get sick of the frowns, looks, comments...grades.
Everyone seems to have a different idea about how to teach and how to be a
student...
I never ignited my teachers because I thought my job was to observe and
learn from them: ie. practice what they showed us ie. do what they
wanted.
Clearly they responded more energetically to students with their own
projects and I was woefully confused about that - these students never
turned in the assigned projects, yet got plenty of attention. Well, it's
logical to me now
I "believe" in skill though, and when I teach, emphasize skillfullness.
You can't make a living in this form if your're slow or sloppy...It's odd,
therefore, for teachers to demand "Art". My student teacher supervisor
(Mrs. Hassle!) used to direct her junior high kids ' BE CREATIVE". I
thought that was funny - like shouting at someone to CALM DOWN!
Art is cajoled from the soul - craft can be learned.
Sue Lily
lily@mind.net
Ashland OR
Many Mused on tue 30 sep 97
>just to find out that curriculums being sold to
>schools tell the "teacher" when to introduce picture A, what to say while
>showing picture A. and even when to smile! Why did we spend countless hours
>and money studying how, when, where, why, children learn and techniques for
>teaching them if it is all going to be neatly packaged to the point where
any
>moron could read the script and point to a picture! Where is the
imagination
>and creativity?!
and there is a large part of why I have not been teaching in the public
school system for 14 years now.
They want clones, good identical soldiers. Not my forte.
Mary
Grimmer on wed 1 oct 97
This is my husband's list serve but the reference to teachers caught my
eye so I have been reading these conversations. My name is Kristie
Grimmer and I teach kindergarten, have been for the last 5 years. Our
district had to choose a new math curriculum and went with SAXON. Its
main selling point was that it was scripted and it, no lie, is SCRIPTED
(right down questions, anecdotes, and student responses) and we have
been told my admin. to follow it or it will not work. Ha, ha! It is
offensive to me that the marketing sales rep even used the script as a
PLUS, it was like saying, "hey, even monkeys could teach this math."
Anyway, I supplement my math with some of my own style and other
current research, and don't tell anyone this, but sometimes I don't even
look at the script! Teaching is a job that you have to motivate yourself
and constantly return to being a student to keep yourself fresh.
Unfortunately, it is easy to become lazy, stale and scripted, especially
when it seems to be expected.Many Mused wrote:
>
> ----------------------------Original message----------------------------
>
> >just to find out that curriculums being sold to
> >schools tell the "teacher" when to introduce picture A, what to say while
> >showing picture A. and even when to smile! Why did we spend countless hours
> >and money studying how, when, where, why, children learn and techniques for
> >teaching them if it is all going to be neatly packaged to the point where
> any
> >moron could read the script and point to a picture! Where is the
> imagination
> >and creativity?!
>
> and there is a large part of why I have not been teaching in the public
> school system for 14 years now.
> They want clones, good identical soldiers. Not my forte.
>
> Mary
The Wrights on wed 1 oct 97
Many Mused wrote:
>
> ----------------------------Original message----------------------------
>
> >just to find out that curriculums being sold to
> >schools tell the "teacher" when to introduce picture A, what to say while
> >showing picture A. and even when to smile! Why did we spend countless hours
> >and money studying how, when, where, why, children learn and techniques for
> >teaching them if it is all going to be neatly packaged to the point where
> any
> >moron could read the script and point to a picture! Where is the
> imagination
> >and creativity?!
>
> and there is a large part of why I have not been teaching in the public
> school system for 14 years now.
> They want clones, good identical soldiers. Not my forte.
>
> Mary
"When I think back on all the crap I learned in High School, it's a
wonder I can think at all..." - Paul Simon
Thank you everyone for finally explaining to me why I was so incredibly
bored throughout most of my educational experience. I thought it was me
all along. I was in High School in the 70's and it causes me physical
pain to think of all the hours I spent sitting and being so uninspired.
I had two maybe three teachers who were creative and innovative, the
rest ..... well zzzzzzzzzzzzzzzzzz. That is one of the many
reasons why I am a STRONG advocate of Home-schooling ... but that's a
whole other debate :-)
In relationship to Teresa's post, I sure wish some of my teachers had
read the "when to smile" cues.
Thanks again everyone, for clarifying something I could never
understand.
And just in case there are some teachers out there who will be offended
by this, I am sorry. I know not all teachers are bad, so don't be
upset.
Take care, Flo
Sandra Dwiggins on fri 3 oct 97
Kudos to all those teachers that add their creativity to their curriculums.
Any kindergarten teachers or head start teachers out there who have
heard of Distar? Many years ago, in one of my former lives, I was an
editor working for a very big educational publisher. I worked on a project
called Distar that was a new idea at that time, a totally scripted reading
curriculum for head start-type students and was to be used in the head
start program. I couldn't believe what I was editing----just as you
describe your math curriculum, this reading curriculum for kids in
kindergarten and below, had everything scripted, including the side
comments, etc. The theory behind this program was that teachers on
the whole, do not know how to teach and engage the students in
learning. The object of the scripting was to make sure that the students
were all at least exposed to the same material and that for teachers who
were not creative and talented, they had something to rely on and to
follow. We watched videos of the program being taught, we saw on
sight demonstrations of the program as it was taught. They brought in
totally inexperienced non-teachers to see if the method was foolproof.
Guess what happened? If a teacher was enthusiastic, creative, and
really teaching, the program went really well and the kids learned alot. If
a teacher was dull, unenthusiastic, and just going through the paces, the
kids didn't learn as much, but they learned something. Big whoop--as
we used to say---or DUH, as we say now.
We ask alot of teachers. Not all can be enthusiastic and creative. But,
frankly, the majority are not enthusiastic, at least most of the time, nor is
everyone in the field creative. Anybody who has gone through the
school system can count on one hand the teachers who were really
inspiring. Why not give these people at least a chance and give our kids
a chance to learn something from them? At least the kids are exposed to
the same material as others--leaving the unenthusiastic, dull, or burnt-out
teachers to do their own curriculum sends chills down my spine.
Creative and enthusiastic teachers who have to follow a curriculum plan,
always do things that break out of the mold--they can't help it. That's
what we saw with the Distar pilot testing.
Am I advocating revolution and antiauthoritarianism, yes....what else
could you expect from an aging over-the-hill hippie/beatnik? But, as I
have learned over the years--as did Abby Hoffman--sometimes working
within the system does a lot of good, too. And sometimes, it's the only
way to go.....
Sandy in Maryland, waxing philosophical as usual
harold kaplan on wed 4 feb 98
I have been asked to teach a four session introductory clay class.
The class will consist of 4-6 blind teenagers. I am asking for people
with experience teaching blind people or folks with helpful
suggestions to write to me with tips or anectdotes. The studio is
fully equipped for classes so the only limitation is my inexperience.
Thanks for your time.
_________________________________________________________
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Get your free @yahoo.com address at http://mail.yahoo.com
David McBeth on thu 5 feb 98
I have very little experience working with blind students but have found
their tactile sense to be amazing acute. I suggest you spend some time
in the studio working with clay while wearing a bandana over your eyes.
Try throwing, coiling and certainly pinch pots. Please tell us all how
the classes go.
dave
--
David McBeth, MFA
Associate Professor of Art
330 C Gooch Hall
University of Tennessee at Martin
Martin, TN 38238
901-587-7416
http://fmc.utm.edu/~dmcbeth/dmcbeth.htm
Meg Levine on thu 5 feb 98
I taught blind children one ceramics class a few years ago. Some of the kids
sculpted amazingly realistic small figures. If I were to teach blind children
again I might include an assignment that dealt with self-portraits.
Meg Levine
(formerly of Boulder, Colorado)
Now living in New York City
with a great new studio in Williamsburg, Brooklyn!
mlceramics@aol.com
In a message dated 02/04/98 10:19:24 AM, you wrote:
<<----------------------------Original message----------------------------
I have been asked to teach a four session introductory clay class.
The class will consist of 4-6 blind teenagers. I am asking for people
with experience teaching blind people or folks with helpful
suggestions to write to me with tips or anectdotes. The studio is
fully equipped for classes so the only limitation is my inexperience.
Thanks for your time>>
Rachelle Reis Branum on thu 5 feb 98
There was an article in the Jan/Feb 98 issue of Clay Times that dealt
with the same thing (Pottery for People with Special Needs). You may
want to check it out if you haven't. The teacher was Jim Mellinger from
Santa Paula, CA.
: Terraopera on thu 5 feb 98
In reply to your question about teaching blind kids: I've taught blind
profoundly retarded adults with good results. We all had fun and they only ate
a little of the clay and one brush. My advice is to pick a very simple project
that you try first with your eyes closed? Everybody loves working with clay
and I've found that if I take extra vitamin B on days of really stressful
groups nobody gets killed .
the Gallagher's on fri 6 feb 98
Hi,
I just thought of a project that I did in a class that anyone with hands and a
face can do!
Roll out a slab of clay about the size of a dinner plate. Then pick up the
slab and press it to your face, marking the areas around the eyes, nose and
mouth gently with your fingers. Then remove slab carefully by cradling it in
your hands as you lean forward allowing the clay to fall from your face. This
should then be placed on a prepared wad of newspaper, so as to maintain the
shape.
The "mask" can then be worked further, or not, depending on how much time is
to be spent on the project.
There is nothing like having a cool slab of clay on your face!
Michelle
In Oregon
Dana Henson on fri 6 feb 98
Hi,
We have a blind student in ceramics where I attend school. He makes wonderful
large pots using wads of clay and pinching them together to form the pot. He
says that it is easy for him to develop a form in this manner as he isn't
trying to deal with a large slab. He does not throw at all. Most of his pots
are about 24-36" tall and are constructed well enough to withstand raku firing.
I do not know if this method would be good for other sight impaired students
but it might be worth a try.
Dana Henson
Foresthrt on wed 11 mar 98
>suggestions for rising above the noise level
flicking the lights can work well (don't overuse anything!), as can counting
backwards from 10 to get folks' attention and quiet them down. It doesn't
hurt to have a little gimmick- mine was that I could wad up a sheet of paper
and get it into the trash can from anywhere in the room. All I had to do was
hold up a sheet of paper and begin to crush it into a ball, and a hush would
fall on the crowd.
The counting backwards from 10 thing works with adults to this day. Also, kids
like sign language, which I would use on the playground instead of shouting.
Didn't hurt that we have the state school for the deaf in our county.
I also kept hershey kisses handy, and when someone was having a really good
day (behavior wise) or a better than their usual day, I'd quietly slip one
just to that kid to let them know I noticed.
Mary, who taught 6th grade for 11 years, about to go to a sortof 30 year
reunion with other teachers from those days, and SO glad I am out of the
public school system!
foresthrt@aol.com
Jennifer Boyer on wed 11 mar 98
Sorry I missed the beginning of this thread, so I might be off base, but
I saw a teacher get a 4th grade class back under control by shouting
FREEZE. The kids knew this trick and they knew they had to not move a
muscle, freezing in mid movement until the teacher gave the okay. They
loved the game and the teacher could amble around the room giving
whatever lecture struck her fancy.
Jennifer in VT where winter is back....
Foresthrt wrote:
> ----------------------------Original
> message----------------------------
> >suggestions for rising above the noise level
>
> flicking the lights can work well (don't overuse anything!), as can
> counting
> backwards from 10 to get folks' attention and quiet them down. It
> doesn't
> hurt to have a little gimmick- mine was that I could wad up a sheet of
> paper
> and get it into the trash can from anywhere in the room. All I had to
> do was
> hold up a sheet of paper and begin to crush it into a ball, and a hush
> would
> fall on the crowd.
> The counting backwards from 10 thing works with adults to this day.
> Also, kids
> like sign language, which I would use on the playground instead of
> shouting.
> Didn't hurt that we have the state school for the deaf in our county.
>
> I also kept hershey kisses handy, and when someone was having a really
> good
> day (behavior wise) or a better than their usual day, I'd quietly slip
> one
> just to that kid to let them know I noticed.
>
> Mary, who taught 6th grade for 11 years, about to go to a sortof 30
> year
> reunion with other teachers from those days, and SO glad I am out of
> the
> public school system!
>
> foresthrt@aol.com
--
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Jennifer Boyer jboyer@plainfield.bypass.com
Thistle Hill Pottery
Powder Horn Glen Rd
Montpelier, VT 05602
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Tim Stowell on thu 12 mar 98
When my partner and I taught in at local after school program in a
low-income housing project we came up with a great calming technique. At
the beginning of the class (right after they jumped off the buses) we
would get everyone situated in their seats and have a minute of silence.
We would ask them to sit still, they could put their heads down if they
wanted to and they were to be silent, make absolutely no sound at all, no
voice, no knocking, tapping etc. The person who stayed quiet the longest
received a special snack or prize and anyone who lasted over a minute
also received an extra snack. Anyone who couldn't be silent for 30
seconds received no snack at all. The minute of silence worked extremely
well. While they were quiet we would talk softly and tell them quieting
things like school is over, relax, time to be creative...or just be quiet
ourselves. One of us always participated with them. I remember one class
in particular which remained totally silent for almost 10 minutes. It was
a game to them and we made it fun. We found the sound level in the class
lowered significantly throughout the entire class. By the way all snacks
that were sugar ladden were given out at the end of the class. If they
needed a pick me up we would give them a low sugar snack just before the
class.
Tim
Tim Stowell Gerard Stowell Pottery
Stacey Gerard 290 River Street
tstwll@juno.com Troy, NY 12180
(518)272-0983 www.trytroy.org/gerard/
_____________________________________________________________________
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Laura Anschel-Marsh on fri 13 mar 98
I believe in using positive redirection when working with children. Respect
the child as an individual. Be as courteous to the child as you would to an
adult.
I do not believe in giving snacks for good behavior. I think it singles out
those who behave and those who don't just the same as if you were giving a
punishment. I think it frustrates those who didn't behave this time and
makes them less likely to behave the next time rather than more likely, which
is the goal.
When dealing with children it helps to use a quiet voice. Avoid calling from
a distance. Go up to the child to attract his/her attention. Bend, kneel,
or sit and look at him or her when you speak to him/her. Say only a few
simple direct action words to be most effective. When redirecting children,
give positive statements of what they MAY do or say. Use "lead on
statements" to help with smooth transitions.
> For example, a very childlike thing to do is repeatedly kick their leg,
> perhaps kicking the table leg over and over. Instead of saying from across
> the room, "Freddie, don't kick the table leg," walk around the table to
> Freddie, kneel down, look at Freddie and say directly to him (with a kind,
> respectful voice), "Freddie, I need for both your feet to touch the
> floor." It works because Freddie does not feel like he has done anything
> wrong (he hasn't), his feelings have not been hurt.
Some things you might say to get children's attention. Repeat quietly,
"Class . . . class."
then as they quiet down, say, "I need for you to hear my words right now. It
is time for me to talk and you to listen."
If you have one rowdy child, walk around behind him and place your hand on
his/her shoulder while you address the whole class with the statement above.
If two children are bothering each other, ask them to move their bodies to
different seats (not seats next to each other.)
Some "lead on statements:"
-Keep your hands on your own body.
-Clay is for touching gently.
-Clay is not for throwing at your friends.
-Friends are for touching gently.
-You need to use an inside voice.
-I'm sorry Ben hit you. You do not like to be hit. Do you like to be hit,
Ben?
-Save your running for outside.
-You need to hear my words.
For help with clean up, give the child a task and state what task you are
doing.
-You put away the paint brushes. I will put away the extra clay.
I do not believe in letting children run wild. They need some help with
controlling their bodies and voices because they are children. But we can
help them do that and treat them with respect at the same time. At first the
response is slower than if you yell, but you will gain their love and
respect. Then they will behave for you (if you yell they never will behave
without more yelling) because they want to, not because you gave them a treat
(which doesn't ever work with some, anyway.)
I'm sorry this is so long.
Laura
Kentucky
carrie or peter jacobson on sun 19 dec 99
Hello Clayarters: I was going through an old ClayArt list (winter cleaning)
and came across a treatise by Marian Motrris on teaching and learning. Her
delightful and spiritually generous post came on a day when the list had
receives a series of fascistic and nasty posts about teaching, about how
necessary it was to crack the whip, make those grunts toe the line. Send
them through pottery bootcamp.Whoever comes out alive can be a potter.
Then they will appreciate everything, the generalissimos wrote. Then they
will love pottery and be the masters of the clay universe.
Cripes, I'd have walked the first day, had I been given these repetitive
assignments. Where would the fun be? It would have taken me so long to get
through hating clay, and then hating the teachers who made me do this crap
that it is unlikely that I ever would have found a love of pots at all.
I am no expert. I've been throwing for a couple years; it is a hobby though
I am starting to sell my work. I teach beginner classes at the local
community center; I pull no punches with the students. I can't do
everything, I don't know everything, but I can teach someone to center and
more importantly, I can help someone to love clay and use it to find the
creativity and soul in themselves.
My approach is simply to demonstrate, explain the process, then watch and
help as needed. My aim is teach them some basic skills so that they can see
the possibilities and begin to make what they want.
The pieces these people make absolutely astound me. Their creativity and
ideas are so much beyond mine, so different from mine, it blows me away. A
truly amazing thing is that though these people learn at my hands, they do
not make pots that look as though they have come from my hands.
The students are working to develop not mastery of the clay, but a
relationship with the clay, a relationship that allows them to know the
material and guide it, and to know themselves and use the clay to draw out
the parts of themselves that this world would kill. Master the clay?
Really, if we wanted true mastery of the medium, would we be doing this?
Isn't part of the allure the whole vibrant and lively nature of the
material?
In my book, it is.
Carrie
Carrie Jacobson
Pawcatuck, CT
mailto:jacobson@brainiac.com
Marian Morris on wed 22 dec 99
Finding myself on the flake side of teaching, I must comment that both
Carrie and I find ourselves in the privileged position of teaching beginners
while still ourselves mastering the material we have both obviously fallen
in love with. Elizabeth's and Dannon's replies suggest a possible difference
in positions here.
I can't claim to be an artist. I may never be in the position in which
Elizabeth finds herself- that mastery over the material gives her free reign
to realize her deepest expressions. It's not that way for me- even after 23
years of it. My joy is and always has been in the process. My deepest
expressions ARE the sensuous relationship with the clay. I doubt that I will
ever get further with it than that. I do have a "style," that has evolved
(and is enjoyed by others), but I will never be able to call myself an
artist. My products are always suggested by the qualities of the clay I
start with. It starts that way, and then when something good comes, I will
repeat the process that got the clay to the state it was in that inspired
me. Nothing I have ever made started with something in my head to which I
conformed the materials.
I chuckle warmly at Elizabeth's comment that students will come to her after
the likes of me is done with them. This is exactly as it should be! After
students have come to several of my extended education classes, I often
escort them to the college studio and invite them to join the "big dog"
class so they can go further with their skill development. We sit down at
the wheel, and I show them THAT experience, then deliver them to the next
step on the learning curve, with due warnings about the disciplines that lie
ahead.
These various teaching methods are all steps in a progression. The variable
isn't the techniques taught or the disciplines involved, its the attitude of
the teacher, I think. Our art department chair is one of the rudest and most
condescending individuals I have ever met, and it is all about needing to
put these levels of artistic experience in some sort of hierarchy of
validity or instrinsic value. I have no patience for this art snobbery-
rudeness stinks no matter what the ideology behind it.
>From: carrie or peter jacobson
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.UKY.EDU
>Subject: teaching
>Date: Sun, 19 Dec 1999 11:01:19 EST
>
>----------------------------Original message----------------------------
>Hello Clayarters: I was going through an old ClayArt list (winter cleaning)
>and came across a treatise by Marian Motrris on teaching and learning. Her
>delightful and spiritually generous post came on a day when the list had
>receives a series of fascistic and nasty posts about teaching, about how
>necessary it was to crack the whip, make those grunts toe the line. Send
>them through pottery bootcamp.Whoever comes out alive can be a potter.
>
>Then they will appreciate everything, the generalissimos wrote. Then they
>will love pottery and be the masters of the clay universe.
>
>Cripes, I'd have walked the first day, had I been given these repetitive
>assignments. Where would the fun be? It would have taken me so long to get
>through hating clay, and then hating the teachers who made me do this crap
>that it is unlikely that I ever would have found a love of pots at all.
>
>I am no expert. I've been throwing for a couple years; it is a hobby though
>I am starting to sell my work. I teach beginner classes at the local
>community center; I pull no punches with the students. I can't do
>everything, I don't know everything, but I can teach someone to center and
>more importantly, I can help someone to love clay and use it to find the
>creativity and soul in themselves.
>
>My approach is simply to demonstrate, explain the process, then watch and
>help as needed. My aim is teach them some basic skills so that they can see
>the possibilities and begin to make what they want.
>
>The pieces these people make absolutely astound me. Their creativity and
>ideas are so much beyond mine, so different from mine, it blows me away. A
>truly amazing thing is that though these people learn at my hands, they do
>not make pots that look as though they have come from my hands.
>
>The students are working to develop not mastery of the clay, but a
>relationship with the clay, a relationship that allows them to know the
>material and guide it, and to know themselves and use the clay to draw out
>the parts of themselves that this world would kill. Master the clay?
>Really, if we wanted true mastery of the medium, would we be doing this?
>Isn't part of the allure the whole vibrant and lively nature of the
>material?
>
>In my book, it is.
>
>Carrie
>
>
>
>
>
>
>
>
>
>
>
>
>Carrie Jacobson
>Pawcatuck, CT
>mailto:jacobson@brainiac.com
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
elizabeth priddy on thu 23 dec 99
>
These various teaching methods are all steps in a progression. The variable
isn't the techniques taught or the disciplines involved, its th
the teacher, I think. Our art department chair is one of the ru
condescending individuals I have ever met, and it is all about
put these levels of artistic experience in some sort of hierarc
validity or instrinsic value. I have no patience for this art s
rudeness stinks no matter what the ideology behind it.
I completely agree. I think we are all cogs in
a wheel and I have said before and will say it
again now: I wish I were more in touch with my
inner flake! But I am NOT and cannot be
anything other than what I am right now. I am
in touch with the sesuousness of clay, but I am
a prude and would never share that experience
with anyone. That is private, for me and the
clay. "Ghost" makes me blush.
But I am not made of stone, and so I understand.
My sculptures of women are for me only. I would
not sell them or put them on display. And so I
have trouble with the vagueness of exploring
consciousness through teaching. I think that is
the responsibility and private right of the
individual and that I should stay out of it.
I will show them the clay and the clay will
show them the rest. Wow, that was flaky...
When I get someone with that dreamy look in
their eye, I send them on to someone they need,
and know when it is not me. I am glad there are
people like Marian who can do the same from the
other end of the spectrum.
The teaching world needs all of us,
general to flake and all the in betweens.
---
Elizabeth Priddy
email: epriddy@usa.net
http://www.angelfire.com/nc/clayworkshop
Clay: 12,000 yrs and still fresh!
On Wed, 22 Dec 1999 08:48:55 Marian Morris wrote:
>----------------------------Original message----------------------------
>Finding myself on the flake side of teaching, I must comment that both
>Carrie and I find ourselves in the privileged position of teaching beginners
>while still ourselves mastering the material we have both obviously fallen
>in love with. Elizabeth's and Dannon's replies suggest a possible difference
>in positions here.
>
>I can't claim to be an artist. I may never be in the position in which
>Elizabeth finds herself- that mastery over the material gives her free reign
>to realize her deepest expressions. It's not that way for me- even after 23
>years of it. My joy is and always has been in the process. My deepest
>expressions ARE the sensuous relationship with the clay. I doubt that I will
>ever get further with it than that. I do have a "style," that has evolved
>(and is enjoyed by others), but I will never be able to call myself an
>artist. My products are always suggested by the qualities of the clay I
>start with. It starts that way, and then when something good comes, I will
>repeat the process that got the clay to the state it was in that inspired
>me. Nothing I have ever made started with something in my head to which I
>conformed the materials.
>
>I chuckle warmly at Elizabeth's comment that students will come to her after
>the likes of me is done with them. This is exactly as it should be! After
>students have come to several of my extended education classes, I often
>escort them to the college studio and invite them to join the "big dog"
>class so they can go further with their skill development. We sit down at
>the wheel, and I show them THAT experience, then deliver them to the next
>step on the learning curve, with due warnings about the disciplines that lie
>ahead.
>
>These various teaching methods are all steps in a progression. The variable
>isn't the techniques taught or the disciplines involved, its the attitude of
>the teacher, I think. Our art department chair is one of the rudest and most
>condescending individuals I have ever met, and it is all about needing to
>put these levels of artistic experience in some sort of hierarchy of
>validity or instrinsic value. I have no patience for this art snobbery-
>rudeness stinks no matter what the ideology behind it.
>
>
>
>
>>From: carrie or peter jacobson
>>Reply-To: Ceramic Arts Discussion List
>>To: CLAYART@LSV.UKY.EDU
>>Subject: teaching
>>Date: Sun, 19 Dec 1999 11:01:19 EST
>>
>>----------------------------Original message----------------------------
>>Hello Clayarters: I was going through an old ClayArt list (winter cleaning)
>>and came across a treatise by Marian Motrris on teaching and learning. Her
>>delightful and spiritually generous post came on a day when the list had
>>receives a series of fascistic and nasty posts about teaching, about how
>>necessary it was to crack the whip, make those grunts toe the line. Send
>>them through pottery bootcamp.Whoever comes out alive can be a potter.
>>
>>Then they will appreciate everything, the generalissimos wrote. Then they
>>will love pottery and be the masters of the clay universe.
>>
>>Cripes, I'd have walked the first day, had I been given these repetitive
>>assignments. Where would the fun be? It would have taken me so long to get
>>through hating clay, and then hating the teachers who made me do this crap
>>that it is unlikely that I ever would have found a love of pots at all.
>>
>>I am no expert. I've been throwing for a couple years; it is a hobby though
>>I am starting to sell my work. I teach beginner classes at the local
>>community center; I pull no punches with the students. I can't do
>>everything, I don't know everything, but I can teach someone to center and
>>more importantly, I can help someone to love clay and use it to find the
>>creativity and soul in themselves.
>>
>>My approach is simply to demonstrate, explain the process, then watch and
>>help as needed. My aim is teach them some basic skills so that they can see
>>the possibilities and begin to make what they want.
>>
>>The pieces these people make absolutely astound me. Their creativity and
>>ideas are so much beyond mine, so different from mine, it blows me away. A
>>truly amazing thing is that though these people learn at my hands, they do
>>not make pots that look as though they have come from my hands.
>>
>>The students are working to develop not mastery of the clay, but a
>>relationship with the clay, a relationship that allows them to know the
>>material and guide it, and to know themselves and use the clay to draw out
>>the parts of themselves that this world would kill. Master the clay?
>>Really, if we wanted true mastery of the medium, would we be doing this?
>>Isn't part of the allure the whole vibrant and lively nature of the
>>material?
>>
>>In my book, it is.
>>
>>Carrie
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>Carrie Jacobson
>>Pawcatuck, CT
>>mailto:jacobson@brainiac.com
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
>
--== Sent via Deja.com http://www.deja.com/ ==--
Share what you know. Learn what you don't.
martin howard on fri 21 jan 00
With de-airing pug mills now available, why make new students wedge the
clay?
Why leave throwing on the wheel to be the last operation learnt by the
students?
I give mine clay from the pug mill, 400 gm cut sausage. It goes straight on
the wheel. We both work it at the same time and then alternately, so for
much of the time my fingers are in there with theirs. I usually sit at 90
degrees from the student, so they can feel just where the clay is moving and
in what way.
Whether children or adults, they get the feel of just what the clay is
supposed to do.
Compare that with the method so often taught, of teacher showing how it is
done, and then just leaving the student to find out what it all really means
in practice by trial and error. No wonder with that method, teachers leave
throwing to last, because the teaching method itself causes it to be a most
difficult operation.
That is why some pottery students never get on the wheel at all. They stay
on the modelling table, thinking that the wheel is something way past their
abilities.
Martin Howard
Webb's Cottage Pottery
Woolpits Road
Great Saling
BRAINTREE
Essex CM7 5DZ
01371 850 423
martin@webbscottage.co.uk
www.webbscottage.co.uk Should be ready for 2000 :-) or 2001
Antoinette Badenhorst on sat 22 jan 00
Martin, I do not think it does any beginner good to
start out without knowing the most basic things.
Pottery is not only a technique,but it has a lot of
different aspects to it. The serious beginner(also if
one is just there for the fun) will be interested in
what they are busy with. There will always be reasons
to wedge again. The clay can become too wet or one
want to add a piece of clay. If one do not understand
then that you need to have the air bubbles out and
that the clay must be of even moist through out, it
causes trouble. If one do not understand why clay get
tired and so forth you are lacking some serious
knowledge.
I believe that there are good and bad things in any
thing that one do. The quicker a beginner know about
the things they won`t like,the better.
I also believe that skipping the basic handwork is
keeping knowledge away from a beginner. Most of the
times it is wheel work that triggers a person to learn
pottery. That person will never know if he would have
liked handwork if he never tried. Start understanding
the clay that you will work with on the wheel comes
with the very first pinch pot that you make.
Someone (I can not remember who) told us earlier this
week that he start out his students with making small
coils and let them work with a piece till it get dry
and wet it then again and end it up with a slip. I
think that is wonderful. If I think how often I have
to say "not too much water" or "wet your hands a
little on the sponge" then I am definitely going to do
that with mine when I start a studio again.
Antoinette.
--- martin howard wrote:
> ----------------------------Original
> message----------------------------
> With de-airing pug mills now available, why make new
> students wedge the
> clay?
> Why leave throwing on the wheel to be the last
> operation learnt by the
> students?
>
> I give mine clay from the pug mill, 400 gm cut
> sausage. It goes straight on
> the wheel. We both work it at the same time and then
> alternately, so for
> much of the time my fingers are in there with
> theirs. I usually sit at 90
> degrees from the student, so they can feel just
> where the clay is moving and
> in what way.
>
> Whether children or adults, they get the feel of
> just what the clay is
> supposed to do.
>
> Compare that with the method so often taught, of
> teacher showing how it is
> done, and then just leaving the student to find out
> what it all really means
> in practice by trial and error. No wonder with that
> method, teachers leave
> throwing to last, because the teaching method itself
> causes it to be a most
> difficult operation.
>
> That is why some pottery students never get on the
> wheel at all. They stay
> on the modelling table, thinking that the wheel is
> something way past their
> abilities.
>
> Martin Howard
> Webb's Cottage Pottery
> Woolpits Road
> Great Saling
> BRAINTREE
> Essex CM7 5DZ
> 01371 850 423
> martin@webbscottage.co.uk
> www.webbscottage.co.uk Should be ready for 2000 :-)
> or 2001
>
=====
Antoinette Badenhorst
PO Box 552
Saltillo,Mississippi
38866
Telephone (601) 869-1651
timakia@yahoo.com
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
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Vince Pitelka on sat 22 jan 00
>With de-airing pug mills now available, why make new students wedge the
>clay?
This question depends entirely on the kind of program. In some cases it may
be practical to run the clay through the pugmill right before class. In our
case it certainly is not. Besides, new students SHOULD learn to wedge clay.
They should also learn that if they decide to pursue studio pottery, a
de-airing pugmill will save their wrists.
>Why leave throwing on the wheel to be the last operation learnt by the
>students?
In my approach to teaching, it is because the students learn so much from
handbuilding, and are able to achieve significant things almost immediately.
We do a little throwing at the end of the semester in the intro class, and
if they decide to move on to the throwing class, they learn it much quicker
with this strong foundation in handbuilding.
Best wishes -
- Vince
Vince Pitelka
Home - vpitelka@DeKalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
martin howard on mon 24 jan 00
Thank you Antoinette for that reminder that we must cover the basics. Yes I
do.
But first I get the touch faculty working, rather than the mental side of
the student.
There are so many studies which are purely mental in nature. Pottery is not
in that group.
So let's emphasise that it is about touch and awaken that sense within the
student from the very beginning.
Many will go on to modelling, glaze programs, study of form etc etc.
But let us start with a love of clay and the touch of clay and how it moves
within our hands and fingers.
For me the de-airing pugmill and the wheel enable that at the earliest
possible stage.
I do not want my students to have a wonky thumbs early in their potting
life, because I caused them to wedge ad infinitum, while the wheel sat
there, off-limits.
Martin Howard
Webb's Cottage Pottery
Woolpits Road
Great Saling
BRAINTREE
Essex CM7 5DZ
01371 850 423
martin@webbscottage.co.uk
www.webbscottage.co.uk Should be ready for 2000 :-) or 2001
I.Lewis on mon 24 jan 00
------------------
Teaching
A lot of good and important information has been coming through on this =
thread.
Yes, it seems as thought some people do put the cart before the horse but I =
can
vouch from experience that there may be sound educational and logistic =
reasons
for doing so. Experienced teachers will have presented programmes to their
supervisors to ensure that all the things which need to be taught to ensure
success for all students are incorporated into their teaching programme. =
Even if
they have no supervisor, teachers and instructors have a professional duty =
to
prepare and plan their curriculum and lessons which incorporate a balance of
practice and theory to ensure successful accomplishment by their students.
There are learning as well as time advantages to be gained by having clay, =
and
plenty of it, prepared for beginning students. Success in learning any =
forming
process is assured when there is an adequate supple of materials on hand. =
Part
of that success comes from confidence that when something goes wrong time =
will
not be lost reworking that piece of clay. Wedging, kneading and testing clay=
can
be taught towards the end of a lesson session when there is a need for that =
to
be done.
Introducing the wheel in the first lesson for beginners, before they have =
gone
through the ritual of pinch pots, slabs, slump moulds and coiling may seem =
like
heresy. But if you have three wheels and fifteen students and a couple of =
hours
a week for a term and you leave the wheel to the last moment a lot of people
hang around watching others. Integrating wheel work within the teaching of =
the
other methods makes maximum use of expensive facilities.
Potters are masters of compromise and improvisation and those who change the
order of things to suit local conditions or take notice of recent advances =
in
teaching for mastery should be heeded.
Ivor. Who feels some degree of success this week. Ewer, eight pounds heavy,
sixteen inches high with pulled on the rim lip. Feels light as a feather.
elizabeth priddy on tue 25 jan 00
I teach them wheel first because if I don't,
they are distracted by it until I do. I get
it out of the way and them on to other things.
The ones who really love it come back to it.
---
Elizabeth Priddy
email: epriddy@usa.net
http://www.angelfire.com/nc/clayworkshop
Clay: 12,000 yrs and still fresh!
On Mon, 24 Jan 2000 14:39:47 I.Lewis wrote:
>----------------------------Original message----------------------------
>------------------
>Teaching
>
>A lot of good and important information has been coming through on this thread.
>
>Yes, it seems as thought some people do put the cart before the horse but I can
>vouch from experience that there may be sound educational and logistic reasons
>for doing so. Experienced teachers will have presented programmes to their
>supervisors to ensure that all the things which need to be taught to ensure
>success for all students are incorporated into their teaching programme. Even i
>they have no supervisor, teachers and instructors have a professional duty to
>prepare and plan their curriculum and lessons which incorporate a balance of
>practice and theory to ensure successful accomplishment by their students.
>
>There are learning as well as time advantages to be gained by having clay, and
>plenty of it, prepared for beginning students. Success in learning any forming
>process is assured when there is an adequate supple of materials on hand. Part
>of that success comes from confidence that when something goes wrong time will
>not be lost reworking that piece of clay. Wedging, kneading and testing clay ca
>be taught towards the end of a lesson session when there is a need for that to
>be done.
>
>Introducing the wheel in the first lesson for beginners, before they have gone
>through the ritual of pinch pots, slabs, slump moulds and coiling may seem like
>heresy. But if you have three wheels and fifteen students and a couple of hours
>a week for a term and you leave the wheel to the last moment a lot of people
>hang around watching others. Integrating wheel work within the teaching of the
>other methods makes maximum use of expensive facilities.
>
>Potters are masters of compromise and improvisation and those who change the
>order of things to suit local conditions or take notice of recent advances in
>teaching for mastery should be heeded.
>
>Ivor. Who feels some degree of success this week. Ewer, eight pounds heavy,
>sixteen inches high with pulled on the rim lip. Feels light as a feather.
>
--== Sent via Deja.com http://www.deja.com/ ==--
Share what you know. Learn what you don't.
Veena Raghavan on tue 25 jan 00
Message text written by Ceramic Arts Discussion List
>So let's emphasise that it is about touch and awaken that sense within the
student from the very beginning.
<
I have a compulsion to jump into this discussion, even though I do not have
the teaching experience of the others. I have taught, whenever I have had
the opportunity, and have witnessed and felt the distress of some students.
I work in a studio where most of the students come to learn pottery as a
hobby, recreation, or because they are looking for something in which they
can be creative. Many have the idea that the wheel is not too difficult to
learn, because they have seen how easy it looks, when someone else is
throwing. Others are aware that it will take practice to get anywhere. The
majority of students are women. Most of them work or are full-time mothers,
or work and are mothers. Thus, their time is limited.
The studio has wheel or handbuilding classes. There is no combination, so
the suggestion that a student get some knowledge of clay through
handbuilding and then move on to the wheel, would not really work here. It
is far too expensive for them to take handbuilding classes in order to
learn the wheel. Some do go on to do both, but not very many.
I would agree with Martin and Ivor, that it is a good idea to get them
going on the wheel right at the beginning, rather than getting them to
learn to wedge. The class time is limited, in many cases, it is at the end
of a working day, when they are already tired. So, if they expend energy on
learning how to wedge first (which is the way it works at this studio), by
the time they get to the wheel, they are already more than tired.
I believe it was Hanne from New Zealand, who said that she believes
in centering the first piece of clay for the students, so they can get the
feel of what a centered lump feels like, get the feel of opening, pulling
up, etc.. I must say, I think that is a great idea, because many beginners
really cannot tell whether their clay is centered or not, and they are so
frustrated that they tend to open without really centering, or they lose
most of the clay and are left with enough for a mini pot. I believe it is
to their advantage to get the feel of well wedged centered clay for that
first introduction. Then, halfway through that that introduction class, you
can show them wedging and explain the importance of getting all the air
out, etc. Feel is so important, and if they get the "right feel" in the
beginning, hopefully, they will retain some memory of it as they go along.
If not, what is harm in doing it again, for those who are having a really
hard time.
I think some instructors are rather ridged about what is the right
way. What is the right way anyway? There are so many ways to do just about
every move in throwing. Different positions for the hands, different ways
of centering, of opening, and so on. One's own way is not necessarily the
right way.
Hope the more experienced won't mind my having butted into this
discussion. But I do feel that keeping a student eager, encouraged,
optimistic, and with as little frustration as possible, are very important
elements in the teaching process. I love teaching, because I love to impart
what I know, and to see someone learn, improve their skills, and develop an
enthusiasm and love of clay. In other words, I love to see them get hooked
and watch them become confident.
All the best.
Veena
Veena Raghavan
75124.2520@compuserve.com
Antoinette Badenhorst on wed 26 jan 00
Veena, I guess I want to say my say sometimes too
much, but as a potter that really learned the hard
way,I think it is important to let some people
understand what happens in practice to people that do
not get a realistic picture about the pottery process.
I`ve been teaching for the greatest part of my career.
I often had students come to me and ask for
classes.Often they want to start on the wheel. I sit
down with every potential student and explain to them
what is involved. I explain how long it will take to
get a basic knowledge of pottery etc. Too often they
tell you they want to start a business in two months
time. The results of that will be that they put out a
studio and start selling(in most cases junk) They sell
their stuff cheap comparing to the person that learned
over a period of time. That is sending out a message
to the world that that stuff is pottery! Because of
that the public can not understand why a good piece is
so expensive. Art is only seen as paintings and
sculptures,because of every one that can put two
pieces of clay together is called a potter.
I think it became too easy for every one to teach
anyone.Too often someone with two months training
start out a teaching studio! Potters are shot in the
foot by this. If you look back to a century ago
potters had the communities respect,because they where
masters in their field.
In our town is a lady that do not even properly know
of what clay is made,but she teaches.The sad thing is
that gossip goes around that students learn nothing.
It is true that people will have different approaches
to teaching, and that is fine with me,but we do not
know how long a person take lessons and whether he
think of starting out a business under the impression
that he is a potter. Rocking a potential student in a
cradle is potential unfair competition for you. I
prefer a small group of eager students to whom I can
open up a whole world of excitement than have to feed
them with a spoon. I had almost 100 students at a
stage(10 per class) They taught each other,they
exchanged ideas,they cheered if someone achieved
something. They were prepared to learn seriously. Most
of them were women with jobs and or with families.
Some of them wanted to be potters. Others only enjoyed
the classes.
Some could not start when they first contacted
me,because they could not afford it and others that
just did not like my approach,searched further for a
different teacher. What I do know is that I often had
students from other teachers that told me that they
learned more from me in a shorter period of time than
the previous teacher. So here is the answer for me;
find out what a students needs are,put it together
with what you think is right and see then if you can
teach that person.
After all classes are not cheap. It is our
responsibility to give value for money.
Antoinette.
--- Veena Raghavan <75124.2520@compuserve.com> wrote:
> ----------------------------Original
> message----------------------------
> Message text written by Ceramic Arts Discussion List
> >So let's emphasise that it is about touch and
> awaken that sense within the
> student from the very beginning.
> <
>
> I have a compulsion to jump into this discussion,
> even though I do not have
> the teaching experience of the others. I have
> taught, whenever I have had
> the opportunity, and have witnessed and felt the
> distress of some students.
> I work in a studio where most of the students come
> to learn pottery as a
> hobby, recreation, or because they are looking for
> something in which they
> can be creative. Many have the idea that the wheel
> is not too difficult to
> learn, because they have seen how easy it looks,
> when someone else is
> throwing. Others are aware that it will take
> practice to get anywhere. The
> majority of students are women. Most of them work or
> are full-time mothers,
> or work and are mothers. Thus, their time is
> limited.
>
> The studio has wheel or handbuilding classes. There
> is no combination, so
> the suggestion that a student get some knowledge of
> clay through
> handbuilding and then move on to the wheel, would
> not really work here. It
> is far too expensive for them to take handbuilding
> classes in order to
> learn the wheel. Some do go on to do both, but not
> very many.
>
> I would agree with Martin and Ivor, that it is a
> good idea to get them
> going on the wheel right at the beginning, rather
> than getting them to
> learn to wedge. The class time is limited, in many
> cases, it is at the end
> of a working day, when they are already tired. So,
> if they expend energy on
> learning how to wedge first (which is the way it
> works at this studio), by
> the time they get to the wheel, they are already
> more than tired.
> I believe it was Hanne from New Zealand, who
> said that she believes
> in centering the first piece of clay for the
> students, so they can get the
> feel of what a centered lump feels like, get the
> feel of opening, pulling
> up, etc.. I must say, I think that is a great idea,
> because many beginners
> really cannot tell whether their clay is centered or
> not, and they are so
> frustrated that they tend to open without really
> centering, or they lose
> most of the clay and are left with enough for a mini
> pot. I believe it is
> to their advantage to get the feel of well wedged
> centered clay for that
> first introduction. Then, halfway through that that
> introduction class, you
> can show them wedging and explain the importance of
> getting all the air
> out, etc. Feel is so important, and if they get the
> "right feel" in the
> beginning, hopefully, they will retain some memory
> of it as they go along.
> If not, what is harm in doing it again, for those
> who are having a really
> hard time.
>
> I think some instructors are rather ridged
> about what is the right
> way. What is the right way anyway? There are so many
> ways to do just about
> every move in throwing. Different positions for the
> hands, different ways
> of centering, of opening, and so on. One's own way
> is not necessarily the
> right way.
> Hope the more experienced won't mind my
> having butted into this
> discussion. But I do feel that keeping a student
> eager, encouraged,
> optimistic, and with as little frustration as
> possible, are very important
> elements in the teaching process. I love teaching,
> because I love to impart
> what I know, and to see someone learn, improve their
> skills, and develop an
> enthusiasm and love of clay. In other words, I love
> to see them get hooked
> and watch them become confident.
> All the best.
>
> Veena
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
=====
Antoinette Badenhorst
PO Box 552
Saltillo,Mississippi
38866
Telephone (601) 869-1651
timakia@yahoo.com
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com
Chris Schafale on thu 23 mar 00
Hi folks,
I'm finally getting a chance to try teaching this summer, and I'm
looking for some advice. I'm doing a "pottery foundations" class at
a local arts center, and I'm supposed to introduce handbuilding, the
wheel, attachments, and decoration, all in 6 weeks of 2-hour
classes. I'm expecting 10 or 12 students, in a studio with 5 or 6
wheels, so not everyone will be able to do the same thing at the
same time. Does anyone have suggestions about how to structure
a class like this, so that it will be manageable? I'm thinking of
starting with handbuilding, with everyone, so they'll all have
something to be working on when we get to the wheel part and
some of them don't have a wheel to use. Or maybe put people in
pairs for the wheel segment and have them switch back and forth,
watch each other, etc? What do you think?
Chris
Light One Candle Pottery
Fuquay-Varina, NC
candle@intrex.net
http://www.lightonecandle.com
Jeff Campana on fri 24 mar 00
Chris,
In High School our situation was like this:11 wheels, 22 kids. What my
teacher did was started with a little handbuilding, for you maybe 2 weeks.
By the time the students get to the 2nd week, they will be comfortable
enough with the handbuilding that they can go without constant pointers,
freeing you to teach one the other half throwing. I would switch off by
week with the remaining 4 weeks, so that the students who are on the wheel
can have enough uninterupted time to learn at least centering and
cylendars.
Good luck
Jeff
Chris Schafale wrote:
> ----------------------------Original message----------------------------
> Hi folks,
>
> I'm finally getting a chance to try teaching this summer, and I'm
> looking for some advice. I'm doing a "pottery foundations" class at
> a local arts center, and I'm supposed to introduce handbuilding, the
> wheel, attachments, and decoration, all in 6 weeks of 2-hour
> classes. I'm expecting 10 or 12 students, in a studio with 5 or 6
> wheels, so not everyone will be able to do the same thing at the
> same time. Does anyone have suggestions about how to structure
> a class like this, so that it will be manageable? I'm thinking of
> starting with handbuilding, with everyone, so they'll all have
> something to be working on when we get to the wheel part and
> some of them don't have a wheel to use. Or maybe put people in
> pairs for the wheel segment and have them switch back and forth,
> watch each other, etc? What do you think?
>
> Chris
>
> Light One Candle Pottery
> Fuquay-Varina, NC
> candle@intrex.net
> http://www.lightonecandle.com
Kathryn L Farmer on fri 24 mar 00
I'm a bare beginner myself. The local community college class uses the text
"Make it in Clay" by Charlotte F. Speight and John Toki. It cost around
$25-30. It's an excellent book, but the one that has been especially helpful
is "Pottery" by John Potter, an Usborne Guide probably intended for
children. If you only have six weeks to cover the basics, "Pottery" would be
a great choice. It assumes that the reader knows nothing.
Good luck! 'Wish I were taking your class. :)
Kathryn
----- Original Message -----
From: "Chris Schafale"
To:
Sent: Thursday, March 23, 2000 6:16 PM
Subject: teaching
> ----------------------------Original message----------------------------
> Hi folks,
>
> I'm finally getting a chance to try teaching this summer, and I'm
> looking for some advice. I'm doing a "pottery foundations" class at
> a local arts center, and I'm supposed to introduce handbuilding, the
> wheel, attachments, and decoration, all in 6 weeks of 2-hour
> classes. I'm expecting 10 or 12 students, in a studio with 5 or 6
> wheels, so not everyone will be able to do the same thing at the
> same time. Does anyone have suggestions about how to structure
> a class like this, so that it will be manageable? I'm thinking of
> starting with handbuilding, with everyone, so they'll all have
> something to be working on when we get to the wheel part and
> some of them don't have a wheel to use. Or maybe put people in
> pairs for the wheel segment and have them switch back and forth,
> watch each other, etc? What do you think?
>
> Chris
>
> Light One Candle Pottery
> Fuquay-Varina, NC
> candle@intrex.net
> http://www.lightonecandle.com
Carol Seidman on fri 24 mar 00
Hi Chris: I have been teaching adult ed handbuilding for years. Im not
dealing with art students, just people who want to experience clay.
Tried mixing handbuilding and the wheel and got everyone frustrated.
After six weeks of handbuilding, the beginners have a good knowledge of
the lingo, how to shape things, add things, the limits of clay,
maintenance of the studio and some goodies to take home. It wont take
long to get a group for a second session and introduce the wheel. Good
luck,
Carol Seidman New Jersey
Chris Schafale wrote:
>
> ----------------------------Original message----------------------------
> Hi folks,
>
> I'm finally getting a chance to try teaching this summer, and I'm
> looking for some advice. I'm doing a "pottery foundations" class at
> a local arts center, and I'm supposed to introduce handbuilding, the
> wheel, attachments, and decoration, all in 6 weeks of 2-hour
> classes. I'm expecting 10 or 12 students, in a studio with 5 or 6
> wheels, so not everyone will be able to do the same thing at the
> same time. Does anyone have suggestions about how to structure
> a class like this, so that it will be manageable? I'm thinking of
> starting with handbuilding, with everyone, so they'll all have
> something to be working on when we get to the wheel part and
> some of them don't have a wheel to use. Or maybe put people in
> pairs for the wheel segment and have them switch back and forth,
> watch each other, etc? What do you think?
>
> Chris
>
> Light One Candle Pottery
> Fuquay-Varina, NC
> candle@intrex.net
> http://www.lightonecandle.com
__________________________________________
NetZero - Defenders of the Free World
Get your FREE Internet Access and Email at
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Charles G Hughes on fri 24 mar 00
Chris,
I think you have been put into a miserable situation! 6 weeks is barely
enough time to get people making pots if they spend ALL their time on the
wheel. I run my 6 week wheel only classes like this.
WK1 This is clay.This is wedging, centering, opening and pulling the
walls to a bowl.
WK 2 Recap week one, ending with this is pulling the walls to a cylinder
WK 3 Trimming and handles (attachments and carving can go here too)
WK 4 Pitchers or Covered Jars
WK 5 Finish all work
WK 6 Glazing/underglazing, other decorating.
If they are hungry for more, it inspires them to take another class, which
then of course keeps the doors open in the studio.
With only 6 wheels and 12 students, I'd spend day one on handbuilding
techniques then Week 2 introducing them to the wheel. Then for the rest of
the time each person gets one hour on the wheel, unless some people decide
to shy away from it and focus on handbuilding. Students hardly ever want to
follow the plan you lay out for them.
Best of luck,
Charles
http://www.thecreativeoasis.com
----- Original Message -----
From: Chris Schafale
To:
Sent: Thursday, March 23, 2000 6:16 PM
Subject: teaching
> ----------------------------Original message----------------------------
> Hi folks,
>
> I'm finally getting a chance to try teaching this summer, and I'm
> looking for some advice. I'm doing a "pottery foundations" class at
> a local arts center, and I'm supposed to introduce handbuilding, the
> wheel, attachments, and decoration, all in 6 weeks of 2-hour
> classes. I'm expecting 10 or 12 students, in a studio with 5 or 6
> wheels, so not everyone will be able to do the same thing at the
> same time. Does anyone have suggestions about how to structure
> a class like this, so that it will be manageable? I'm thinking of
> starting with handbuilding, with everyone, so they'll all have
> something to be working on when we get to the wheel part and
> some of them don't have a wheel to use. Or maybe put people in
> pairs for the wheel segment and have them switch back and forth,
> watch each other, etc? What do you think?
>
> Chris
>
> Light One Candle Pottery
> Fuquay-Varina, NC
> candle@intrex.net
> http://www.lightonecandle.com
Richard Ramirez on fri 24 mar 00
Chris,
Both ways are good. Much depends on how well your students learn. Know
your students! Students with good learning habits, will learn faster and
retain what they learn longer with plenty of time to practice on what they
just learned
Rich, a teacher.
friedlover on fri 24 mar 00
Just got done teaching a 8 week, 2 1/2 hr class, and did just that. Started
with handbuilding, and as expected, many didn't want to start the wheel,
which gave me less to teach the wheel too, which was good, because the class
of 14 only had 5 wheels!
Rhonda
----- Original Message -----
From: Chris Schafale
To:
Sent: Thursday, March 23, 2000 3:16 PM
Subject: teaching
> ----------------------------Original message----------------------------
> Hi folks,
>
> I'm finally getting a chance to try teaching this summer, and I'm
> looking for some advice. I'm doing a "pottery foundations" class at
> a local arts center, and I'm supposed to introduce handbuilding, the
> wheel, attachments, and decoration, all in 6 weeks of 2-hour
> classes. I'm expecting 10 or 12 students, in a studio with 5 or 6
> wheels, so not everyone will be able to do the same thing at the
> same time. Does anyone have suggestions about how to structure
> a class like this, so that it will be manageable? I'm thinking of
> starting with handbuilding, with everyone, so they'll all have
> something to be working on when we get to the wheel part and
> some of them don't have a wheel to use. Or maybe put people in
> pairs for the wheel segment and have them switch back and forth,
> watch each other, etc? What do you think?
>
> Chris
>
> Light One Candle Pottery
> Fuquay-Varina, NC
> candle@intrex.net
> http://www.lightonecandle.com
Christine ROSE on sat 25 mar 00
------------------
Hi,
As a high school ceramics teacher for 28 years, I hope I have something to
contribute. Defiantly begin with hand building. Once you are sure they
understand about wall thickness, dryness, scoring =26 slipping, joining=3B =
then you
can divide them into groups for throwing. Unless you do that, you will
constantly be running back and forth from the wheels to the tables.
What type of program is it? Hobby, fine arts? When will you introduce the
design elements and principles? How about the cultural aspects? A lot of
assignments can be structured around cultures/history and they don't realize=
it:
for example: China's Ming dynasty was great for flowing line designs based =
on
nature. The Sung dynasty for bowls and variegated glazes.
Hope this helps.
Christine Rose
Glendale High School
Glendale, CA
Paul Taylor on sat 25 mar 00
Dear Chris
You are trying to do the impossible. The best you will do is to allow for
an experience of how difficult throwing is and if you are going to fire the
stuff by the end of your twelve hours over six weeks impossible is an
understatement.
I teach similar classes. First I decide what the learner and school
expect. If every body wants to throw they get an hour each on the wheel. To
get the most done make sure that every one receives the instructions once.
You will be under pressure of late arrivals and the inattentive to repeat
yourself. You can see that explaining wedging to twelve people one at a
time could take up half your course. I like to be generous I help the
students over difficulties like wedging and centering in these short
courses. Other wise it demoralizes me as much as them to have nothing at the
end of the course.
Decide how many pots every body can expect to make. The throwing will
take care of its self but will take up nearly all your time. Since my
students are mainly interested in throwing this I put up with. I have slab
work modeling and humpmoulds to keep those weighting their turn on the
wheel busy
Your problem will come in the biscuit stage. Pots have to be finished
for biscuit on the fourth week if they expect to receive finished pots in
the last lesson. If they are willing to pick up the pot after the course you
get another day making . Did I say impossible.
A set of humpmoulds are a great thing to have. Even the most hopeless
can come away with something. Mine are square cut from a one by four plank
of wood with a saw set at 45 degrees. With cling film in between you can
use any thing for a hump mold from old saucers to footballs to tree bark.
An old hair dryer is good for hurrying the process along.
Have the glazes sorted before the course with examples of how they
look. Paint on glazes are disgusting and totally wrong, but I reckon they
may be what's best for a temporary course and less waist full.
Have safe storage. You will have to arrange the wrapping of the pot to
turn etc it is very difficult to turn dry wobbly pots and no way will you
attach any thing to a dry pot- the plastic bag a godsend. If there is no
storage the students will have to take the stuff home blaming all breakages
on you.
Make sure yore clay has the potentiality of being the right consistency.
If the clay is all hard bring soft or wet the clay down a few days before
hand . If it is wet get some hard to put in it. The first lesson as mixing
hard and soft clay on a wedging bench is a good ice breaker and sends all
those stupidly dressed with out aprons home filthy :)
Decide what tools you can supply and what tools they are to supply. It is
not reasonable to expect much more than a sponge, an old telephone card ,
apron and a brush, of compleat beginners. Tell the students in writing what
to bring before hand . The most important thing for you to bring is a reel
of fishing line 15-25 pounds breaking , some modeling tools, a cup for slip,
clothes and rolling pins ( cut handles ) . Plus the rest.
If you relay feel that the students deserve a hard time you can make
coil pots and thumb pots. They take a greater degree of skill to produce
successfully than any other technic I know but it keeps the blighters in
their place and prevents them getting too confident and gives the instructor
an easy time.
Check on the establishment for towels and sponges for cleaning up and
water with suitable sink.
Envy the other tutors doing painting and drawing. If you last the
course you will need the fee to go on holiday to recover.
But remember that you have increased the demand for handmade ceramics by
a factor of twelve people who now appreciate the magic in pottery.
Regards Paul T
----------
>From: Chris Schafale
>To: CLAYART@LSV.UKY.EDU
>Subject: teaching
>Date: Thu, Mar 23, 2000, 11:16 pm
>
>----------------------------Original message----------------------------
>Hi folks,
>
>I'm finally getting a chance to try teaching this summer, and I'm
>looking for some advice. I'm doing a "pottery foundations" class at
>a local arts center, and I'm supposed to introduce handbuilding, the
>wheel, attachments, and decoration, all in 6 weeks of 2-hour
>classes. I'm expecting 10 or 12 students, in a studio with 5 or 6
>wheels, so not everyone will be able to do the same thing at the
>same time. Does anyone have suggestions about how to structure
>a class like this, so that it will be manageable? I'm thinking of
>starting with handbuilding, with everyone, so they'll all have
>something to be working on when we get to the wheel part and
>some of them don't have a wheel to use. Or maybe put people in
>pairs for the wheel segment and have them switch back and forth,
>watch each other, etc? What do you think?
>
>Chris
>
>Light One Candle Pottery
>Fuquay-Varina, NC
>candle@intrex.net
>http://www.lightonecandle.com
philrogers pottery on sat 3 mar 01
Hi,
I am taking part in a panel at NCECA concerning the teaching of =
throwing. It will
cover many aspects of learning how to throw and knowing the other =
panellists, there should be a healthy opposition of views.
I would be interested to know, in a few sentences what you feel =
important in the approach your teacher took with you or what was wrong =
that you would have liked put or handled in a different way. If you are =
self taught, as I am, then a few comments about the adv. or disadv.
If you have a view or two about throwing in American?British colleges =
that would be fine too. Please keep it short, I have my own views but =
would like to see if they are commonly held or totally of the mark.
Hope you can make it to the panel, its on Friday.
Phil Rogers=20
Phil and Lynne Rogers,
Lower Cefn Faes,
RHAYADER.
Powys. LD6 5LT.
Tel/fax. (44) 01597 810875.
philrogers@ntlworld.com
www.philrogerspottery.com
mel jacobson on sun 4 mar 01
all teaching is repeat, repeat, repeat. that is how teaching works.
what keeps us sane in the long run, is people catching on, and
then wanting more. we vary the repeat just for us.
each monday for me was demo day. all the kids sat round my wheel
and i threw, assembled, created and talked about philosophy of art.
i did that six hours each monday for my entire teaching career. i felt
that it was imperative that kids see the work being done (most art type
kids are visual learners anyway). i would
always finish the pieces that week. leaving them out to be touched
was also critical. each week had a theme, bowls, boxes, hand building,
bottles, glazing etc. advanced students usually worked on projects of their
design. it was not uncommon for me to insert a lesson in `how a
circuit box works, the cooling system of a car. we even did lessons
in the proper way to jack up a car.`
tuesday, wednesday and thursday students were given time to work
alone. i was there to help them as needed. clay spills (the classic 5
quart ice cream pail full of slip hits the floor.)and accidents
were always assisted by the entire class. `clay spill` was yelled.
the kid was moved away and inspected for `garment damage`, other
kids would get the mop, some would get sponges. no work was done
by anyone during a `spill`. (spill drill was so funny and fun that i was
always worried they would spill on purpose.) no child was ever punished or
teased over a `spill`. friday was finish up pots and
clean the room. each student was assigned a four square foot section
of the room. we had a list. if wheel seven was not washed and
lubed we knew that vince had skipped out. 184 kids, each with a space
to clean on friday (with water) made the room look like the first
day of school. we did a double cleaning and waxing on the last
day of school. the janitors did not really have to clean the pottery
over the summer break. each day at 2:30, a couple of big lugs (often
girls) would carry the big trash cans to the dumpster. they got to leave
school
ten minutes early...beat the rush in the school parking lot. (our night
janitor just loved that.)
kids made mugs and gifts for the school cooks and janitors.
i would do a demo often as to how a mop works. the basic scrub,
the figure eight, the long reach and the rinse. kids still tease me
about that.
teaching is repeat, repeat, repeat. then laughing. if dignity for the student
and program happens, if students develop a love for the craft and respect
it, the teaching day is rather nice. it takes telling the truth. that is the
start of it.
mel
From:
Minnetonka, Minnesota, U.S.A.
web site: http://www.pclink.com/melpots
Paul Taylor on sun 4 mar 01
Dear Phil
I do not know if it was the surly student who did not take well to
instruction or the inefficiency of my tutors but I consider myself team
taught. The team consisted of other students, myself, the tutor I had not
offended and most of all stubbornness.
I refused to give in and while the energy was with me I practices and
practiced and practi -----------------------------------------ed.
God knows how people learn with one session a week at evening classes. If
they do they are people of dedication and character; who have done the
equivalent of learning to play the violin whilst not being allowed to take
the instrument home to practice. And if there is one thing my collage did
whilst neglecting all others it allowed me the clay to practice. I would go
so far as to say that even if it did all the other thing right but did not
allow for practice collage may have bee a compleat waste of time.
-----------------------------------------------------
Dear All
If any bodies interested in my throwing tips for beginners.
My experience is firstly : if you have air in the lump you are jiggered
before you start. After thirty years of throwing air in the clay will still
make throwing difficult for me. Yet Ironically as a beginner if you are
expecting to get all the air out of every lump you are expecting too much -
so you carry on regardless with the good lumps and the bad.
Secondly for beginners ( myself included) you must always be moving the
clay on the wheel, conning it up or pushing it down. Hanging on for dear
life while the clay starts to rock you back and forward is sole destroying.
Latter on you do not have to cone etc but for learning its a good thing to
do.
Thirdly DO NOT TAKE YOUR HANDS AWAY TOO QUICKLY avoid sudden movements
think Reggae not Teckno. Whipping the mitts away to see the glory of your
creation is a bad habit to break once you have it ( Even to this day if I am
stressed) , and difficult to pick up on, so get someone to watch you throw.
Fourth do not use hard clay - get it right - hard clay is for throwing
porcelain thin. And I have noticed that even then I prefer to turn thin -
less memory rings. If you use Hard clay for production throwing you will
get repetitive strain injury sooner or later and for some there is NO cure -
I was lucky.
---------------------------------------------------------------
As I have posted before few potters can call themselves full time
professionals but I believe you can reach the standard. Most of my fellow
professionals can tell a professional pot by just one glance.
Here are the methods I repeatedly suggest for getting the " I don't know
quiet what " of the well made pot.
Throw half a ton wet weight of flower pots - or any- at least three
hundred or more small ones of the same size in one go - you can sleep etc in
between. For the rest of the clay make flower pots or any in series of no
less than a hundred - you can spive them up after and sell them as arty
pieces .
And you must understand the rule ( Besides good design ) that if you
invent a new shape you will have to make at least seventy five before the
shape becomes so part of the subconscious that you will be able to throw
them economically and accurately. And a good thirty five next time you come
back to that shape.
I did not believe this myself when I first heard it as a minimum it
sounded impossible. Not until I had done it could I see why - remember bad
pots are like BO no one is going to tell you.
I thought the latter section worthy of public scrutiny so I posted this to
clay art as well.
-- Regards Paul Talyor.
Even dead things change they just change more slowly.
> From: philrogers pottery
> Reply-To: Ceramic Arts Discussion List
> Date: Sat, 3 Mar 2001 17:57:28 -0000
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: teaching
>
> Hi,
>
> I am taking part in a panel at NCECA concerning the teaching of throwing. It
> will
> cover many aspects of learning how to throw and knowing the other panellists,
> there should be a healthy opposition of views.
>
> I would be interested to know, in a few sentences what you feel important in
> the approach your teacher took with you or what was wrong that you would have
> liked put or handled in a different way. If you are self taught, as I am, then
> a few comments about the adv. or disadv.
>
> If you have a view or two about throwing in American?British colleges that
> would be fine too. Please keep it short, I have my own views but would like
> to see if they are commonly held or totally of the mark.
>
> Hope you can make it to the panel, its on Friday.
>
> Phil Rogers
> Phil and Lynne Rogers,
> Lower Cefn Faes,
> RHAYADER.
> Powys. LD6 5LT.
>
> Tel/fax. (44) 01597 810875.
> philrogers@ntlworld.com
> www.philrogerspottery.com
>
Marcia Selsor on mon 5 mar 01
Dear Mel,
I have a friend who says "you can't be a teacher unless you have a
classroom of learners".
She is retired.
Marcia in Montana.
yes it is a two way street
mel jacobson wrote:
>
> if you would like the term blockhead explained, well it is
> the folks that sign up for clayart, do not read the instructions ever,
> and send posts to me day after day saying things like `mel, will
> you take me off clayart for thursday and friday, i am going out
> of town and do not want to be bothered.` and, i am not kidding.
> or, `too many messages, take we off this gd list you #$%^.`
> i got one today.
> `mel, will you explain in detail how you throw a pot on the wheel?`
> sure, it would take me about four hours of writing, would love to do
> that. zap.
>
> we have a few of our clayarters that do not have
> a clue what is going on, and will never know. so trying to educate
> them will certainly take a bit of work on their part.
>
> education is a two way street, it takes a teacher, then a pupil that
> will take responsibility. we have a percentage of `just takers` on
> this list. just like the real world. we tolerate that....but we are
> not going to spend our valuable time spoon feeding them.
> mel
> paint your delete key bright red, then in tiny letters write. `ASS`
>
> From:
> Minnetonka, Minnesota, U.S.A.
> web site: http://www.pclink.com/melpots
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
--
Marcia Selsor
selsor@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/Tuscany2001.html
http://www.imt.net/~mjbmls/Gallery.html
mel jacobson on wed 6 aug 03
i not only demand silence, i demand eye contact.
when i do workshops i tell people to put their note
books away. look at me, listen.
when you write, you do not listen.
you miss half.
i will tell them what to write down.
eye contact is critical in teaching.
always. eye contact.
keep sweeping the room.
mel
From:
Minnetonka, Minnesota, U.S.A.
web site: my.pclink.com/~melpots
or try: http://www.pclink.com/melpots
new/ http://www.TICK-ATTACK.COM
Ron Roy on thu 7 aug 03
When they start nodding off - cause they were up all night having fun at a
workshop - or because I am talking about calculation again - I tell a joke
- they wake up cause everybody laughs - I only tell good jokes. They missed
it - now they have to stay up - to get the next one - pretty soon some of
them pretend to be nodding off and I have to tell another one.
Everyone has a good time - nodding off is at a minimum - and I get to talk
about the important stuff.
RR
>i not only demand silence, i demand eye contact.
>
>when i do workshops i tell people to put their note
>books away. look at me, listen.
>when you write, you do not listen.
>you miss half.
>i will tell them what to write down.
>
>eye contact is critical in teaching.
>always. eye contact.
>keep sweeping the room.
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
John Sankey on fri 8 jun 07
marci@PPIO.COM: "an interesting thing happens when information is
freely shared ... lots of other people come out of the woodwork
with their little tidbits of secreted information which results
in more knowledge to tuck away into my little database ... and
everybody benefits. What you share comes back to you a hundred
fold ... thank God for the people out there who are willing to
share information and mentor. They give us wings".
Spoken like a true teacher. Those who only pretend to be teachers
should have it float before their eyes in perpetuity.
On my site I quote Thomas Jefferson: "he who receives an idea
from me, receives instruction himself without lessening mine; as
he who lights his taper at mine, receives light without darkening
me."
John
Bill Merrill on thu 3 jul 08
Students enroll in ceramics classes for many different reasons. At the
college students may take a ceramics class for distribution credit ,
while others take the class=20
to fore fill personal needs. The have to do something with their hands
and mind. Some students take ceramics because they think it will be an
easy credit and that the only time they need to be in the studio id
during a scheduled class. As we know, the nature of ceramics won't
allow that. We have to be on top of timing as when to trim or construct
hand built parts. Planning is essential. I encourage students to follow
a process and become part of the entire process from the mixing of clay
until the final firing. Students who follow through are most happy with
their work. =20
=20
The stoneware kiln was loaded, the kiln was started. Students were
supposed to be at the kiln at 6:30 AM for a lecture and demonstration on
reduction firing. This was the first firing of the quarter. There were
all new students in this class. 6:30 rolled around and there wasn't a
student in sight....at 7:00 Pm, I shut off the kiln, and went home.
Some students rolled in at 8 and 8:30 to find the kiln shut off. They
were in a panic and tried to find me. I was at home in my studio doing
some off my work.=20
When I arrived in class that afternoon, the students came to a
insightful thought, when they were asked to do something that was asked
of them , that they follow through. Students load the kilns, fire the
kilns, clean up the studio etc. I ask no more of them than I ask of
myself. It is my job as an instructor to no longer have the student
need me in the long run. I want students to be explorers and try new
things. Sometimes things work out and sometimes they don't. It is so
rewarding to me to see the first time a student centers a piece of clay,
fires a kiln or holds a pot that has just came from that kiln. They
learn so much about themselves .....
=20
Bill=20
=20
Jamie Yocono on fri 4 jul 08
I couldn't agree more with Bill Merrill's comments about teaching.
Obviously, students enroll in these classes for a variety of reasons. =20
In my case, I taught continuing ed woodworking classes for nearly ten =20
years, and found the same variety of students that he did - some were =20
serious, some were just there to get out of the house, and some simply =20
wanted "to test the waters", before buying $5000 worth of tools.
I don't blame them, it's an expensive hobby.
I had a long-time student that became a good friend. He'd taken just =20
about every class I taught, mostly because he just liked the =20
atmosphere in the woodshop, and enjoyed the camaraderie. (Oh - and he =20
was newly separated and thought it would be a good way to meet women!) =20
He'd help out with demonstrations, or fix something that was broken, =20
in a pinch. (Engineers are great for that!) Anyway, he had a name for =20
those students that weren't that serious about learning - you know, =20
the ones that would bristle if you made a suggestion about their =20
design, or were satisfied with their work, even though there was =20
obvious room for improvement. They were called the "good enough" =20
students.
Me: Maybe you should consider sanding off those pencil lines on the =20
bottom of your table top? And scrape off that glue drop.
The "good enough" student: Oh, they're on the underside, no one will =20
see that. It's good enough!"
Oy. It's universal.
Jamie in Vegas
Kathy Ransom on wed 7 oct 09
I taught my first clay class last night, adult handbuilding and =3D
thouroughly enjoyed the experience. I was nervous but went with the =3D
attitude that I would have fun, share what I know, and learn and I think =
=3D
the people taking the Art Center class really enjoyed it as well. I'm =3D
teaching a kid's class called Santa's workshop and have a lot of ideas. =
=3D
The kids are 8 - 12 yrs old and I wondered if anyone has any advice for =3D
me with kids in that age range. I'm a lurker but really enjoy this =3D
list.
Kathryn
Dinah Snipes Steveni on wed 7 oct 09
Best tip I can pass on is to do a v e r y =3DC2=3DA0slow bisque of kids' wo=
rk. =3D
I call it the 100% Success Model. You know that there will be trapped air, =
=3D
faulty luting.=3D20
Dinah=3D20
http://www.dinahsnipessteveni.com=3D20
http://www.dianthusceramics.blogspot.com=3D20
http://www.skagitartiststogether.com=3D20
mel jacobson on fri 30 jul 10
yes, we will lay off the posts about rich teachers.
anyone want to try it?
do you think it would be fun?
would you like to buy the clay for the kids with
your own money?...a friend of mine does.
six classes a day, 34 in a class.
my buddy was here today. (former student)
he now teaches seven preps a day...he is not looking forward
to fall.
walking into a high school 2010 is like walking into
a pit of jackals*...and that is just the teachers lounge.
i talked to a former teacher at hopkins high...retired last year.
my old school. one of the finest high schools in america.
she said:
39 languages are now spoken at that school.
there was a group that screamed for diversity...boy, they
sure have it now. she was hit in the face by a student during
a donnybrook in the mall a couple of years back. knocked out.
he was a very diverse kid.
they call them hoodlums.
i am sure some teacher put ice on his hand, poor baby.
mel
oh, and she said the art department does not have meetings at all.
they hate each other.
* hey teacher, would you not talk so loud, i have to take
this call.
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
new book: http://www.21stcenturykilns.com
alternate: melpots7575@gmail.com
John Post on fri 30 jul 10
> six classes a day, 34 in a class.
> he now teaches seven preps a day...he is not looking forward
> to fall.
Schools, prisons, airplanes and sports stadiums all work on a similar
premise. They jam everyone in like sardines to keep costs low or
profits high. All of my 3rd grade art classes had 34 kids in them and
my 5th grade classes had 35. Is it any wonder kids get on each
other's nerves when they have to work in such close proximity to each
other all day? I can't think of any other offices where the workers
get so little space. It cracks me up when teachers complain that kids
have messy desks, I have sketch pads that have a bigger surface area
than an elementary kid's desktop.
John Post
Sterling Heights, Michigan
:: cone 6 glaze website :: http://www.johnpost.us
:: elementary art website :: http://www.wemakeart.org
:: youtube channel :: http://www.youtube.com/user/MrPostArtTeacher
> six classes a day, 34 in a class.
> he now teaches seven preps a day...he is not looking forward
> to fall.
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