Ruth Ballou on thu 31 jan 02
Here's how I approach the problem of kids and adults copying the demo.
Sometime in elementary school, many children start to become inhibited and
learn to copy the teacher and to be fearful of doing things "wrong". To
counter these tendencies, I first talk about the nature of clay... how it's
the orginal "plastic". That it can be shaped and reshaped and can be made
to look like just about anything. If there's time, I show examples, either
actual work that I've collected, or pictures, of both functional and
sculptural pieces. I tell them that, given practice and perserverance, they
too can make wonderful things. Power of positive thinking, positive
expectations, and a little self-fulfilling prophecy turned to good use. I
also tell them (many times) that I am their guide and that the clay is the
real teacher and if they listen to it, it will tell them what to do and
what needs to be done.
Then we talk about how clay artists come up with ideas of what to make.
Some people make functional ware; others, sculptural. How sculptural work
can be representational, conceptual, abstract, expressive, etc. Any of
these could be expanded to cover an entire session or more, of course. How
detailed I get depends on how much time I have and the age of the students.
I ask them to think of examples of functional pottery and sculpture.
Everybody loves to raise a hand and to be called upon. I make sure I call
upon and encourage the boys and girls equally. (Read Failing at Fairness
for a real eye-opener on how well-meaning teachers and parents
unintentionally fail to equally encourage boys and girls and how both are
shortchanged.) I write their answers on a large piece of paper, under the
categories, as we talk about them. My favorite suggestion was from a little
girl who offered "chifferobe" as an idea for a sculpture. So before we even
touch the clay, the students have some idea of what they might want to
make, ideas that they have generated, not me. I keep the list and bring it
back to each class. We add to it periodically. It's there for everyone to
look at when they don't know what to do next. Interestingly, I noticed that
children tend to make scupltural things and the adults go more for
functional pieces.
Then I begin to demonstrate the basic techniques, pinch, coil, slab, only
one technique per class. I don't make anything identifiable, but emphasize
what they need to watch out for and how to correct problems.... how to
begin to listen to the clay. We spend about 2 -3 class sessions per
technique. There's also a class on surface decoration: texture, various
ways of using slip or underglazes, stencil, stamps etc. I continue to bring
in lots of pictures and examples. They're also encouraged to bring in
pictures or objects to for inspiration. Everybody is making something
different and I go around and help and get them to talk about what they're
doing. I have only a few rules.... no two dimensional depictions of what
they're making. They've got to try to make it in 3-D. No clay smushed into
a lump and calling it a baseball. If they really want to make a baseball,
then they've got to bring a real one in and reproduce it in clay. No one's
taken me up on it. Yet. It's about learning to see.... really see all the
details. We have a quick sharing session at the end of each class, mainly
for oohing and aahing... When they're actually working on the pieces is
the time for problem solving... what more can they do to a particular
piece, what would they do differently on the next piece, etc. By the end of
the class they've learned something about how other artists get ideas and
how they work.They've also learned that their own ideas are worthwhile.
It's funny, every now and then I reconsider how I teach... Maybe I SHOULD
have everyone make the same thing, say explore mask making, bring in
examples of masks from around the world, study the history of masks, etc.
etc.... Have them all make an example of some other culture's masks. Have a
show at the end. Equally valid approach to teaching and I've seen some
really great stuff from these types of classes and the kids have a sense of
accomplishment. However, I lean toward process rather than product and
figure that, with encouragement, children's own explorations will lead them
places we cannot predict. And somehow the classes end up with plenty of
product anyway .
Ruth Ballou
Silver Spring, MD
Carole Fox on thu 31 jan 02
I teach several classes at an art studio and at a rec center. Over the =
years I have watched my teaching methods change. Sometimes, I feel so =
unsure about my role in teaching children (age 6- 12).
My classes are designed around teaching technique. The first class is =
always pinch pot, then coil, then slab.... I demonstrate the technique =
and then turn it into a project. Let's say we are making pinch pots. =
I'll make one and then add features of some sort. If I demo a pig in a =
bathtub, half the kids will make pigs in bathtubs. I try to get them to =
suggest different themes before I begin the decorative process. But =
sheesh!- they still copy me.=20
So I tried having a class ( at the end of the session) where they could =
make anything they wanted using the techniques they have learned. Some =
really cool stuff- but lots of kids seemed to have a hard time with this =
freedom. Many copy from each other. Many kids have looked unhappily at =
their lump of clay, waiting for suggestions. Sometimes, they attack the =
clay so vigorously with no creative intent- ending up with something =
that looks like - well, you don't know WHAT it is! Should I address =
these problems? Or are these not problems- just differences in people.=20
I question my role here. Are these kids here to learn- or play? I help =
the kids a lot. I spend the class going round the tables from one kid to =
the next. I look at their project and often suggest some way to make it =
stronger or thinner or smoother... If they dont seem to be "getting it" =
I show them- yes, on their piece!! I actually work on their pieces! Am =
I the worst kind of teacher or what? They all seem real proud of their =
stuff- they really feel like they made the project. I really am just =
trying to make sure these projects live through the firing process.
I love teaching these little guys. I have some kids that have been =
taking classes with me for years and it is fun to watch them grow and =
change. Suddenly I'm having these doubts. I have no formal training in =
child education. Though my own kids are training me on a daily basis.
Interested in your thoughts...
-Carole
Carole Fox
Elkton, MD
cfox@dca.net
Timakia@AOL.COM on thu 31 jan 02
Carole, if you can not guide a child, how will he learn otherwise? You sound
very sensitive to the childrens needs. I am sure that you see some changes as
they go on and start developing their own "personalities" in their work.
I know someone that had wonderful successes with children. She started her
classes with a story(Iguess she made it up) and then let the kids draw some
images from the story on the studio floor. From there they took it to clay. I
bet she also had some of these children copying from each other. I think it
is fine. They do not really realize that they copy and for sure are very
proud of what they done. Think of the wonderful contribution to this child`s
self esteem.
You are helping many unsure children towards wonderful strong adults! The
best way to be able to explore, I believe, is to have a strong secure base to
gain from.
Best wishes.
Antoinette
Antoinette Badenhorst
http://hometown.aol.com/timakia
105 Westwood circle
Saltillo, MS
38866
claybair on thu 31 jan 02
Carol,
I think the comment in your last paragraph answered your dilemma "I love
teaching these little guys. I have some kids that have been taking classes
with me for years and it is fun to watch them grow and change.".
If the kids were not having a great time would they continue year after
year?
I understand your concern over the kids copying your example in the first
class but realize it just may be too much to be original and get the
technique at the same time. If their copy looks like yours then that is a
measure that they have learned the technique. For myself I found trying to
copy work I loved the best initial lessons.
Regarding subject matter I found that discussions around the clay table very
helpful. What are the kids interests..... movies, superheroes, cartoons,
animals, holidays etc etc. It doesn't take too long to get them rolling
creatively. Sometime it is hard to get them to realize they do not have to
be given subject matter. It is a freedom they do not often have in school.
Also plunking fun tools e.g. garlic press, egg slicer, various stamps etc.
on the table often inspire interesting pieces.
You are providing a valuable service..... never doubt yourself! I'd bet when
your students are grown they will have forgotten most of their formal
education teachers but remember you and your classes.
I assisted in one class that had several ADHD kids. The parents didn't tell
us until well into the classes. It was a bit of a circus until we figured
out what was going on. Most of them did fine within the class but 1 or 2
really improved with individual lessons. The parents were very pleased and
the kids loved working in clay. They were better able to focus.... it was
great.
Gayle Bair
Bainbridge Island, WA
http://claybair.com
Carole wrote>>
I teach several classes at an art studio and at a rec center. Over the years
I have watched my teaching methods change. Sometimes, I feel so unsure about
my role in teaching children (age 6- 12).
My classes are designed around teaching technique. The first class is always
pinch pot, then coil, then slab.... I demonstrate the technique and then
turn it into a project. Let's say we are making pinch pots. I'll make one
and then add features of some sort. If I demo a pig in a bathtub, half the
kids will make pigs in bathtubs. I try to get them to suggest different
themes before I begin the decorative process. But sheesh!- they still copy
me.
Snip>>
I love teaching these little guys. I have some kids that have been taking
classes with me for years and it is fun to watch them grow and change.
Suddenly I'm having these doubts. I have no formal training in child
education. Though my own kids are training me on a daily basis.
Interested in your thoughts...
-Carole
Cl Litman on thu 31 jan 02
If I wanted to show a kid a how to do something on his piece, I used to
ask if it was ok for me to change it on their piece. Some said no,
others said yes, but I started seeing that too many would come to me to
fix it for them instead of taking the risk themselves. Since then I've
started quickly pinching something similar and showing the fix/change on
my piece - then I crumple it up. I find this has worked better for me.
At first they always wanted to know how I could destroy that demo piece
and I tell them that it's good practice, it's why it's easy for me to
make something quickly. Lots and lots of practice doing the same thing.
I've seen them more willing to start over and try again when they see
each piece doesn't have to be so precious.
Cheryl Litman - NJ
cheryllitman@juno.com
Working Potter on thu 31 jan 02
A number of yrars ago when I was ''artist-in-the-schools'' I traded slides
with a number of clayartists whose work I admired and did a quick slide show
of a variety of idea generating images to spark their imagination and did a
quick demo on making ''hair/fur'' by extrusion techniques, a quick run thru
on eyeball setting and poking the sockets and pupils and how a hollow form
could be achieved by marrying pinch pot bowl shapes about a crumpled wad of
newsprint or a slab rolled about a toilet paper or towel tube could build
forms.We only had dowels, discarded toothbrushes, newspapers, tongue
depressers, popscicle sticks, scraps of window screen and home made needle
tools and sponges cut up were the only tools.We had to make the $50 work for
2 weeks.I was able to drive 50 miles from home to get earthenware clay
dug locally and bagged for the $50 and went to a local cabinet shop for
donated sawdust that I use in a scrounged 55 gallon drum I punctured to
sawdust smoulder fird their wares to a hardness that would allow them to be
taken home.Sculptures, banks and masks were the children's proud creations.I
never had so much satisfaction teaching as I did in those ''poor'' schools
as I did in classes where I could use the electric kiln and my oun mixed
clay and self developed pallet of cone 5-6 glazes my friend and I tested by
then since 10 years earlier in the 70's.
Misty
kathleene berger on fri 1 feb 02
My sense of teaching children in the age group you are teaching is that they need structure in the process. If you want to give them freedom of the technique or style they create their piece in, that is fine. Instead give them a subject structure or give them three or four ideas on creating their last piece. This will give them the illusion of freedom, which they of course want, but still giving them the structure that most children still need. Remember, very little in life is without structure. Even as seasoned artists we give ourselves structure around which to create. The key here is to give them enough structure to create but not too much as to squash their creative minds.
Kat
Santa Barbara,CA
art teacher and striving artist
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