The document provides information about an arts in education grant at the University of South Alabama. It lists the grant directors and their contact information. It notes that the grant is funded in part by a federal grant under the No Child Left Behind Act, with 53% of funding coming from federal sources and 47% from non-federal sources. The opinions and findings expressed do not necessarily reflect the policies of the funding agencies. It then provides brief biographies of two of the grant directors, Paige Vitulli and Susan Santoli, including their roles and research interests.
Anne Uukkivi: Cultural dimensions in information sciences e-learning #bcs2015KISK FF MU
Talk given at the BOBCATSSS 2015 conference - http://www.bobcatsss2015.com/.
This paper explains the prevalent cultural differences in e-learning on the basis of Hofstede’s (1988) cultural dimensions. It became clear that the most recurrent cultural dimension was individualism-collectivism and the least prominent was masculinity-femininity. Although the cultural dimensions offered support for explaining the results of the study, there were also some differences. The data obtained during the study explain different opportunities for helping the students in e-learning.
Intersections of Literacy: How and Why Some High School English Teachers use ...Kathy Garland
This presentation is for the 2015 National Association of Media Literacy Education Conference. Here, I describe a small qualitative study of 28 high school English teachers of predominantly African American students. I provide these teachers' rationale for using popular culture with their students. Two examples are given, as well as next steps for professional development for teachers who seek 21st century literacy and media literacy education methods.
Incorporating world heritages and cultures into thematic units for TEYLChaouki M'kaddem
TEFL should not be limited to the teaching of linguistic skills and the culture of the target language. It should rather highlight cultural diversity to prepare young people for a multicultural world. Exposure to different cultures at an early age leaves almost no room for stereotypes.
Opening the Doors for Diverse Populations: Learning Through the SensesPaige Vitulli
A university art educator with a degree in instructional design, an art educator/inspirational speaker who is also a blind artist with a degree in rehabilitation counseling, and an art specialist for a school system with degrees in art education and special education share their experiences, "ah-ha" moments, collaborative efforts, and inspirational arts ideas for their mutual passion of opening doors for diverse populations (including autistic, ESL, and visually impaired students). Through the senses and elements of visual art, the diverse group of educators will demonstrate strategies, organizational methods and share lesson ideas. Elements of art and principles of design are used as a framework to share practical methods; finger-painting is icing on the cake.
Anne Uukkivi: Cultural dimensions in information sciences e-learning #bcs2015KISK FF MU
Talk given at the BOBCATSSS 2015 conference - http://www.bobcatsss2015.com/.
This paper explains the prevalent cultural differences in e-learning on the basis of Hofstede’s (1988) cultural dimensions. It became clear that the most recurrent cultural dimension was individualism-collectivism and the least prominent was masculinity-femininity. Although the cultural dimensions offered support for explaining the results of the study, there were also some differences. The data obtained during the study explain different opportunities for helping the students in e-learning.
Intersections of Literacy: How and Why Some High School English Teachers use ...Kathy Garland
This presentation is for the 2015 National Association of Media Literacy Education Conference. Here, I describe a small qualitative study of 28 high school English teachers of predominantly African American students. I provide these teachers' rationale for using popular culture with their students. Two examples are given, as well as next steps for professional development for teachers who seek 21st century literacy and media literacy education methods.
Incorporating world heritages and cultures into thematic units for TEYLChaouki M'kaddem
TEFL should not be limited to the teaching of linguistic skills and the culture of the target language. It should rather highlight cultural diversity to prepare young people for a multicultural world. Exposure to different cultures at an early age leaves almost no room for stereotypes.
Opening the Doors for Diverse Populations: Learning Through the SensesPaige Vitulli
A university art educator with a degree in instructional design, an art educator/inspirational speaker who is also a blind artist with a degree in rehabilitation counseling, and an art specialist for a school system with degrees in art education and special education share their experiences, "ah-ha" moments, collaborative efforts, and inspirational arts ideas for their mutual passion of opening doors for diverse populations (including autistic, ESL, and visually impaired students). Through the senses and elements of visual art, the diverse group of educators will demonstrate strategies, organizational methods and share lesson ideas. Elements of art and principles of design are used as a framework to share practical methods; finger-painting is icing on the cake.
The ultimate visual guide to champagne & sparkling wine by winetracker.coTony Jacobson
The ultimate visual guide to champagne & sparkling wine by winetracker.co. These 22 screens are the quickest way to get up and running quickly with your understanding of champagne.
Humanities and Social Science (PBL, Learning Plan)RHYCAJIANNEAVILA
Through the use of apposite technologies, students will be able to identify and gain deeper understanding of the various aspects of culture, and analyze how it affects other cultures.
You may be using visual representation in your classroom, but are you having students create their own visuals to provide evidence of what they know and understand?
How can visual notetaking and interactive notebooks motivate student engagement and critical thinking in social studies classrooms?
Exploring People Through the Lens of Visible Thinking Routines NCSS2017Paige Vitulli
Too often, students are exposed only to the final, finished products of thought – the finished novel or painting, the established scientific theory, the official historical account. They rarely see the patterns of thinking that lead to these finished products, yet it is precisely these habits of mind that students need to develop.
A key part of Artful Thinking involves making students’ thinking visible by documenting their unfolding thought processes as they use thinking routines.
More than twenty years ago, Robert Croshon, an elderly friend of Frye Gaillard's, told him the story of Croshon's ancestor, Gilbert Fields, an African-born slave in Georgia who led his family on a daring flight to freedom.
Fields and his family ran away intending to travel north, but clouds obscured the stars and when morning came Fields discovered they had been running south instead. They had no choice but to seek sanctuary with the Seminole Indians of Florida and later a community of free blacks in Mobile.
With Croshon's blessing, Gaillard has expanded this oral history into a novel for young readers, weaving the story of Gilbert Fields through the nearly forgotten history of the Seminoles and their alliance with runaway slaves. As Gaillard's narrative makes clear, the Seminole Wars of the 1830s, in which Indians fought side by side with former slaves, represents the largest slave uprising in American history.
Cultural Exchanges through Arts and LanguagePaige Vitulli
Cross-cultural collaboration between University of South Alabama College of Education faculty in the United States and visiting faculty from Shaoxing University in Shaoxing, China has resulted in a collection of conversations about the connection between art and language. Among the topics discussed are how cultural artifacts, including both historical and contemporary art, literature, food, and customs may be used to advance both the understanding of culture and linguistic fluency. Further, exploration of cultural misunderstandings and overgeneralizations are explored, and potential uses of art and language to overcome such barriers are discussed, including extensions of art that have worked in actual cross-cultural classroom contexts. The conversations, which include demonstration and discussion of cultural artifacts and customs as they relate to language and learning, will be used in Art Education and ESOL Education courses.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
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June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
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Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
1. University of South Alabama
June 25, 2013
PaigeVitulli, Ph.D.
pvitulli@southalabama.edu
Susan Pitts Santoli, Ph.D.
ssantoli@southalabama.edu
1
2. Dr. Jeannette Fresne, Program Director
251.460.6697 or jfresne@southalabama.edu
Arts in Education is funded in part by a federal grant under No Child Left Behind
[P.L. 107-110, title II, Part A/Subpart 3] administered by the Alabama
Commission on Higher Education. 53% of the cost of the project is financed
with federal funds and 47% is provided by non-federal sources. Opinions and
findings expressed herein do not necessarily reflect the position or policy of
the U.S. Department of Education or the Alabama Commission on Higher
Education, and no official endorsement by either of these agencies should be
inferred.
3. 3
PaigeVitulli, Ph.D
pvitulli@southalabama.edu
Paige is an associate professor in the
Department of Leadership and
Teacher Education at the University of
South Alabama and director for the
art education graduate program.
She teaches art education courses for
elementary and special education
majors as well as all art education
graduate courses in the college.
She is theVisualArts Coordinator and
Assistant Director for the Arts in
Education Grant at USA.
4. 4
Susan P. Santoli, Ph.D.
ssantoli@southalabama.edu
Susan is an associate professor in the
Department of Leadership andTeacher
Education at the University of South
Alabama.
She teaches undergraduate and graduate
secondary social studies methods,
foundations of education courses, and
graduate research courses.
Her research interests are pre-service
teacher preparation, collaborative teaching
with special education teachers, and the
infusion of technology into social studies
education.
5. Time to share:
Your Name
Your School
Teaching Experience
Personal Anecdote
Quote Choice
5
6. Interactive session on using visual literacy strategies and visual
images to improve comprehension of content.
Benefits include developing deeper student writing and thinking,
addressing diverse learning styles/levels.
Specific Content: During the presentation, participants will be
shown numerous examples of how and when to integrate visual
images into secondary content classes.
Both technology and non-technology based projects will be
demonstrated.
Detailed resources will be posted online.
6
8. 1. Understanding and applying media, techniques, and
processes
2. Using knowledge of structures and functions
3. Choosing and evaluating a range of subject matter,
symbols, and ideas
4. Understanding the visual arts in relation to history and
cultures
5. Reflecting upon and assessing the characteristics and
merits of their work and the work of others
6. Making connections between visual arts and other
disciplines
9. Current Alabama Course of Study Strands
Produce: Production is the domain of the artist,
musician, dramatist, and dancer, and is also a role
of the student of the arts.
Respond & Understand: Responding and
understanding are categories of thinking that are
shared among artists and audiences; the latter
being a role that all persons play as they engage
the arts intelligently, sensitively, and with a
knowledge of history, style, context, values, and
aesthetics.
10. 1. Culture
2. Time, Continuity, and Change
3. People, Places, and Environments
4. Individual Development and Identity
5. Individuals, Groups and Institutions
6. Power, Authority, and Governance
7. Production, Distribution, and Consumption
8. Science,Technology, and Society
9. Global Connections
10. Civic Ideals and Practices
11. Students read a wide range of print and non-print texts to build an understanding of texts, of themselves,
and of the cultures of the United States and the world; to acquire new information; to respond to
the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are
fiction and nonfiction, classic and contemporary works.
Students read a wide range of literature from many periods in many genres to build an understanding of
the many dimensions (e.g., philosophical, ethical, aesthetic) of human experience.
Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts.They
draw on their prior experience, their interactions with other readers and writers, their knowledge of word
meaning and of other texts, their word identification strategies, and their understanding of textual
features (e.g., sound-letter correspondence, sentence structure, context, graphics).
Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary)
to communicate effectively with a variety of audiences and for different purposes.
Students employ a wide range of strategies as they write and use different writing process elements
appropriately to communicate with different audiences for a variety of purposes.
Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation),
media techniques, figurative language, and genre to create, critique, and discuss print and non-print
texts.
12. Students conduct research on issues and interests by generating ideas and questions, and by
posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g.,
print and non-print texts, artifacts, people) to communicate their discoveries in ways that suit
their purpose and audience.
Students use a variety of technological and information resources (e.g., libraries, databases,
computer networks, video) to gather and synthesize information and to create and
communicate knowledge.
Students develop an understanding of and respect for diversity in language use, patterns, and
dialects across cultures, ethnic groups, geographic regions, and social roles.
Students whose first language is not English make use of their first language to develop
competency in the English language arts and to develop understanding of content across the
curriculum.
Students participate as knowledgeable, reflective, creative, and critical members of a variety of
literacy communities.
Students use spoken, written, and visual language to accomplish their own purposes (e.g., for
learning, enjoyment, persuasion, and the exchange of information).
13. Key words from standards:
Analyze
Interpret
Assess
Draw evidence
Use technology
Write arguments
Gather relevant
information
Present
Make use of visual media
Integrate
13
14. Visual literacy is a set of abilities that enables an individual to
effectively find, interpret, evaluate, use, and create images and
visual media. Images and visual media may include
photographs, illustrations, drawings, maps, diagrams,
advertisements, and other visual messages and
representations, both still and moving.Visual literacy skills
equip a learner to understand and analyze the contextual,
cultural, ethical, aesthetic, and technical components involved
in the construction and use of images and visual media. A
visually literate individual is both a critical consumer of visual
media and a competent contributor to a body of shared
knowledge and culture.
~ from the Association of College and Research Libraries (ACRL)
http://acrlvislitstandards.wordpress.com/2010/08/06/working-
definition-of-visual-literacy/
14
15. Seeing and interpreting images is a vital part
of what it means to learn and know…in order
to support teaching multiple literacies,
students must be overtly taught to engage in
and critically reflect.
Crawford, S. Hicks D. and Doherty N., (2009).Worth theWAIT: Engaging
Social Studies students with art in a digital age. Social Education, 73(3),
136-139.
15
16. Studies done by Lynn O’Brien of Specific
Diagnostic Studies – students whose strongest
learning channel is auditory comprise less than
15% of the population. On the other hand,
students who comprise a visual learning style are
about 40% of the population…kinesthetic students
form around 45% of the population.”
Dickinson, D. (2002). Learning through the arts. Seattle,WA: New
Horizons for Learning. Retrieved from Http://www.newhorizons.org
16
22. Materials
Archival Box
Acid and lignin-free letter size document storage
box provides convenient, long-term storage for
letter size documents, photos, sports
cards, newspaper clippings and other collectibles.
With reinforced corners, these boxes are solid and
secure units that resist dust, dirt, and light
infiltration. The board used to make this box is
manufactured to United States National Archives
and RecordsAdministration's specifications.
http://www.webyfl.com/index.asp?PageAction=VIEW
PROD&ProdID=243
22
25. Elements of Art
Line
Shape & Form
Space
Color
Value
Texture
The ABCs of Art
http://www.awesomeartists.com/ART/
mTableOfContentsTheABCsOfArt.htm
The Artist's Toolkit
http://www.artsconnected.org/toolkit/in
dex.html
25
27. As a group, observe and describe
several different sections of an artwork.
One person identifies a specific
section of the artwork and describes
what he or she sees.
Another person elaborates on the
first person’s observations by adding
more detail about the section. A
third person elaborates further by
adding yet more detail, and a fourth
person adds yet more.
Observers: Only describe what you
see. Hold off giving your ideas about
the art until the last step of the
routine.
27
30. What details are present in the painting?What do
you feel is missing?
What would you like to ask the artist about the
painting?
What social class do the figures represent?What
supports your answer?
Explain whether or not you feel this was a formally
composed painting.
Extension: Daumier was in prison several times for
his political and social caricatures. He produced
nearly 4,000 for Parisian journals. Explain the
political events that were occurring in France from
the 1830s through the end of the century that
might have been subjects of Daumier’s political
satire. 30
32. Give an approximate date for the time period you think is
being depicted in this picture. On what details did you base
your decision?
What is the economic status of the family shown in the
picture? On what details did you base your opinion?
What are some things you might smell or hear in this picture?
The title of this painting is Christmas Morning Breakfast. What
is occurring here that might have been a tradition in this
family?What are some traditions that you have in your family
that center around holidays?
What mood was the artist trying to convey when he painted
this picture, which was based on his childhood memories?
32
33. Responding to Images
http://voicethread.com/
#home
https://voicethread.com/?
#u409666
33
34. Picturing America : Resource
from National
http://picturingamerica.neh.g
ov/index.php?sec=home
Ladder Activity
35. Describe
1. How is this ladder different from most ladders?
2. Describe the side rails and rungs of this ladder
3. On what does this ladder rest?
4. What illusion does Puryear create by making the ladder
narrower at the top than bottom?
Interpret
1. Why do think this ladder would be difficult to climb?
2. What can ladders symbolize?
3. Where does this ladder lead?
4. What might the fact that the ladder is raised off the ground
symbolize?
5. How might a person climb this ladder?
Give this sculpture a title:
39. Describe what is observed in selected works of art.
Describe subject matter in works of art.
Describe elements of art and principles of design.
Observe, describe and identify features, similarities, and differences in
artwork.
Express feelings generated by a work of art.
Identify and describe the historical period/event being represented in the
artwork.
Compare art associated with various cultures.
Discriminate between actual and dramatic or romanticized portrayals of
persons or events.
Analyze various works of art for clues depicting time periods and places.
Use technology to investigate visual images.
39
40. Give a title to an artwork.Write why you would call it this.
If the artist were in the room, what questions would you ask him/her?
Write a letter to an artist, asking questions about the artwork.
Describe an abstract work of art in writing.
Look at a photograph or painting and write about the “sounds” you
might hear in the background.
Describe how a work of art reflects and differs from real life.
Tell what you think it would be like to live in this painting/drawing.
Write a conversation between characters seen in a work of art (or two
works of art).
Imagine an artist’s show has just opened; Write a press release or
review for a newspaper describing his/her artwork.
40
41. Look at a painting or poster, and then invent a history.Write something about how the
artist was feeling when it was painted, why the curator purchased this painting, or
something about the subject.
Write about three works of art you would purchase if price were no object.This is the
beginning of a personal art collection. Write about the choices.
Collect a variety of reproductions from various historical periods (post cards, art memo
cards, calendar prints, etc…). Students are provided with a random group of
reproductions and assigned a specific historical period. Students trade with one
another to obtain works representative of their assigned period. When the collections
are complete, students arrange works and as the “curators,” and describe the show for
a potential audience.
Groups find several works of art that are based on a myth, historical event, or person,
and then write about the events or people that inspired the works of art.
41
42. Students will provide “many, varied, and unusual” single words to
describe selected or assigned works of art. No repetition of words!
The words may be dictated and recorded by the teacher on Post-it
Notes or written by the students on Post-it Notes.
Students will stick Post-it Notes to the laminated artwork to for all
to view, respond to, and reflect upon.
More than one piece of artwork may be described at a time.
Students may be divided into teams for cooperative work and may
compete for the quantity and/or quality of responses.
42
43. Technology Integration
Variation:
Copy artwork onto an
Inspiration diagram as
the main idea.
Use the Rapid Fire
feature to facilitate
brainstorming of
descriptive words or
create a worksheet for
group or independent
work.
I and My Village
Marc Chagall
http://www.allposters.com /
gallery.asp?aid=340651&item =290966
43
45. Integrating Social Studies and theVisual Arts
Observation vs. Interpretation
Dividing up the artwork
5W’s and an H:
Who,What,When, Where, Why, How
MatchingText and an Image
http://americanart.si.edu/education/pdf/learning_to_look.
pdf
47. First, the name. We owe the name "Photography" to Sir John Herschel , who first
used the term in 1839, the year the photographic process became public. The word is
derived from the Greek words for light and writing.
There are two distinct scientific processes that combine to make photography
possible. It is somewhat surprising that photography was not invented earlier than the
1830s, because these processes had been known for quite some time. It was not until
the two distinct scientific processes had been put together that photography came into
being.
The first of these processes was optical. The Camera Obscura (dark room) had been
in existence for at least four hundred years. There is a drawing, dated 1519, of a
Camera Obscura by Leonardo da Vinci; about this same period its use as an aid to
drawing was being advocated.
The second process was chemical. For hundreds of years before photography was
invented, people had been aware, for example, that some colors are bleached in the
sun, but they had made little distinction between heat, air and light.
47
48. Additional Resources
History of PhotographyTimeline
http://www.photo.net/history/timeline
The American Museum of Photography
http://www.photography-museum.com/
History of Photography and the Camera
http://inventors.about.com/library/inventors/blphotography.htm
History of Photography
http://www.azuswebworks.com/photography/history.html
Photograph Analysis Sheet
http://www.archives.gov/education/lessons/worksheets/photo.html
48
50. 50
Beginning, Middle,
End?
~If this artwork is
the beginning of a story,
what might happen
next?
~If it this artwork is
the middle of a story,
what might have
happened before?
What might be about to
happen?
~If this artwork is
the end of a story, what
might the story be?
~Use your imagination
http://usaeyesonireland.blogspot.ie/2012/10/the-meeting-on-turret-
stairs.html
http://usaeyesonireland.blogspot.com/2012/10/we-finally-viewed-
original.html
53. This project is an opportunity for you to express your creativity while researching some
aspect of the culture, politics or economy of World War and Its Aftermath. It covers
the years 1914-1929. You may make some references to the war, but do not
make that the primary focus of your book. Instead focus on the home front and
the period of the 1920s. We viewed a primary document titled, ABCs for Baby
Patriots, a story book for British children that glorified the British Empire. Your
assignment is to produce a similar ABC book focusing on this era. Have fun
with this. Let your imagination run wild!
Specifics:
Your book may be a hard copy or in digital format
You must select an aspect of European life or a particular country as a focus
for the book
You must have one page per letter of the alphabet.
There must be at least one visual on the page for each letter.
Your book must have a cover with the title and your name as author.
Your book must be attractive and free of spelling and grammar errors.
Additional points may be earned for rhyming, original art work, special
effects, or especially creative additions to be the basis book format.
Your book is due to theT drive if digital, or in hard copy, at the beginning of
class onThursday, April 1, 2010. 53
55. Terra CottaWarriors
Paige and Peggy’s Excellent
Chinese Adventure
http://paigeandpeggy.blogspot.com/
http://paigeandpeggy.blogspot.ie/search?q=terra+cotta+warriors
http://paigeandpeggy.blogspot.ie/2012/08/forms-and-textures.html
55
56. The Chinese Art of Calligraphy
http://streaming.discoveryeducation.com/teacherCenter/lessonPlans/pdfs/3-
5_ArtAndMusic_TheChineseArtOfCalligraphy.pdf
56
57. Use 10 x 2 process
Look at image quietly for 30 seconds
List 10 words or phrases that come to mind
Repeat
Headlines for any work of art or visual image
If you were to write a headline that captures the
most important aspect that should be remembered,
what would the headline be?
57
58. 58
"The Old Grass Road, Kinsale" 1925 Oil, 18 x 24 ins
Geography and Art
from Project Zero
59. 59
Looking Down Yosemite Valley, California - Albert Bierstadt
Geography and Art
from Project Zero
61. 61
Geography and Art
from Project Zero
What landforms can you
identify?
What would it be like to
walk through this picture?
What would you see and
hear?
What would the weather be
like in this picture?
63. Find an image from each of the panels and
write what you see.
Discuss as a class or in student groups.
Tell students that the painting imaginatively
depicts a real event and ask if they know what
it may be. If they say “Black Death,” ask them
some things they know or believe they know
about the plague.
After studying the Black Death, use the
painting again and ask students how the
painting relates to what they’ve learned
and what questions they still have about the
Black Death or the painting.
63
66. Symbols Introduction
Summer Cartoon
Cartoon Analysis Worksheets can guide student
analysis
National Archives and Records Administration
http://www.archives.gov/education/lessons/worksheets/ca
rtoon_analysis_worksheet.pdf
Editorial CartoonAnalysis
http://politicalcartoonanalysis.wikispaces.com/Analysis+To
ol
66
67. It’s No Laughing Matter (LOC)
http://www.loc.gov/teachers/classroommaterials
/presentationsandactivities/activities/political-
cartoon/
Interpreting Political Cartoons in a History Class
http://teachinghistory.org/teaching-
materials/teaching-guides/21733
Zoom In Inquiry
http://www.youtube.com/watch?v=BDjzeS6jZqY
68. The Political Dr. Seuss
http://tfaoi.com/aa/1aa/1aa291.htm
Harper’sWeekly http://www.harpweek.com
69. American Political History Online
http://tigger.uic.edu/~rjensen/pol-gl.htm
British Cartoon Archive
http://www.cartoons.ac.uk/
Daryl Cagle’s Professional Cartoonists Index
http://cagle.com
72. We look forward to a world founded upon four
essential human freedoms. The first is freedom of
speech and expression--everywhere in the world. The
second is freedom of every person to worship God in
his own way-- everywhere in the world. The third is
freedom from want . . . everywhere in the world. The
fourth is freedom from fear . . . anywhere in the world.
--President Franklin D. Roosevelt, Message to Congress, January 6, 1941
74. Tagxedo
http://www.tagxedo.com/
Tagxedo turns words -- famous speeches, news articles, slogans and even themes, -- into a visually
stunning word cloud, words individually sized appropriately to highlight the frequencies of occurrence
within the body of text.
Wordle:
http://www.wordle.net/
Word Clouds for Kids
http://www.abcya.com/word_clouds.htm
ABCya! word clouds for kids! A word cloud is graphical representation of words allowing for creativity,
expression and imagination beyond that of lists or graphic organizers. This application was designed
specifically for primary grade children. The navigation and controls are simple and easy to learn. Saving
and printing a word cloud is only one click away!
Neoformix
http://www.neoformix.com/index.html
Discovering and illustrating patterns in data
74
79. The Official Blog ofTagxedo - 101Ways to Use
Tagxedo
http://blog.tagxedo.com/101-ways-to-use-tagxedo-
completed
TheWhiteboard Blog
Word Cloud Makers forTeachers
http://www.whiteboardblog.co.uk/2011/09/8-word-
cloud-makers-for-teachers/
79
81. Required Elements:
At least 7 “kernels of knowledge”
The artist’s name prominently displayed ~ this may be your title or you
may have another title as well as the name
Dates of birth & death
The content may include, but is not limited to: biographical
information, works of art, style, interesting facts, and/or artistic
contributions
You may (but are not required to) include student work emulating
the artist’s style
Student made graphic(s): Do not computer–generate all graphics…be
creative!
Three-dimensional component(s)
Interactive component(s)
Sources are cited!
81
83. CATEGORY 5 4-3 2 1-0
*Required
Elements
The bulletin board includes all required
elements as well as additional aspects.
All required elements are included on
the bulletin board.
All but 1 of the required elements
are included on the bulletin board.
Several required elements were
missing.
Content -
Accuracy
At least 7 accurate facts are displayed
on the bulletin board.
5-6 accurate facts are displayed on
the bulletin board.
3-4 accurate facts are displayed
on the bulletin board.
Less than 3 accurate facts are
displayed on the bulletin board.
Graphics -
Originality
Several of the graphics used on the
bulletin board reflect an exceptional
degree of student creativity in their
creation and/or display.
One or two of the graphics used on
the bulletin board reflect student
creativity in their creation and/or
display.
The graphics are made by the
student, but are based on the
designs or ideas of others.
No graphics made by the student
are included.
Graphics -
Relevance
All graphics are related to the topic and
make it easier to understand. All
borrowed graphics have a source
citation.
All graphics are related to the topic
and most make it easier to
understand. All borrowed graphics
have a source citation.
All graphics relate to the topic.
Most borrowed graphics have a
source citation.
Graphics do not relate to the topic
OR several borrowed graphics do
not have a source citation.
Labels All items of importance on the bulletin
board are clearly labeled with labels
that can be read from at least 3 ft.
away.
Almost all items of importance on the
bulletin board are clearly labeled with
labels that can be read from at least 3
ft. away.
Several items of importance on the
bulletin board are clearly labeled
with labels that can be read from
at least 3 ft. away.
Labels are too small to view OR no
important items were labeled.
Color Use The colors on the bulletin board work
well together and form a strong
coherent statement. The color choice is
appropriate for the theme and objects
represented or are purposely
exaggerated in some way to make a
point.
The use of color is coordinated
across the bulletin board and is
appropriate for the items and theme.
The overall use of color is ok, but
is not as strong or coordinated as
it could be. Some attempt at
coordinating colors is evident.
Color choice for various items in
the bulletin board seems
inappropriate.
Balance and
Use of Space
Use of positive and negative space
creates a feeling appropriate to the
theme. Objects are placed for best
effect. Overall, it just feels right.
Use of positive space is good and the
bulletin board is relatively balanced,
but negative space could be utilized
better to create a more cohesive feel.
The bulletin board seems to have
a little too much background or
seems a little too busy. Balance
has not been achieved.
The bulletin board seems
unfinished (too much empty space)
or there is not enough balance
between foreground and
background causing it to seem
much too busy and unfocused.
Title Title can be read from 6 ft. away and is
quite creative.
Title can be read from 6 ft. away and
describes content well.
Title can be read from 4 ft. away
and describes the content well.
The title is too small and/or does
not describe the content of the
bulletin board well.
Attractiveness The bulletin board is exceptionally
attractive in terms of design, layout, and
neatness.
The bulletin board is attractive in
terms of design, layout and neatness.
The bulletin board is acceptably
attractive though it may be a bit
messy.
The bulletin board is distractingly
messy or very poorly designed. It is
not attractive.
Time and Effort Class time was used wisely. Much time
and effort went into the planning and
creation of the bulletin board. It is clear
the students worked at home as well as
at school.
Class time was used wisely, but it did
not appear there was much work
done outside of class.
Class time was not always used
wisely, but additional work was
done at home or other times
during the day.
Class time was not used wisely and
no additional effort was put in at
other times or places.
83
84. CATEGORY Excellent Good Average Poor
Contributions I routinely provided useful ideas when
participating in the group. I was a definite
leader who contributed a lot of effort.
I usually provided useful ideas
when participating in the. A strong
group member who tries hard.
I sometimes provided useful ideas
when participating in the group. A
satisfactory group member who
did what was required.
I rarely provided useful ideas
when participating in the group. I
refused to participate.
Quality of Work I provided work of the highest quality. I provided high quality work. I provided work that occasionally
needs to be checked/redone by
other group members to ensure
quality.
I provided work that usually
needed to be checked/redone by
others to ensure quality.
Problem-solving I actively looked for and suggested
solutions to problems.
I refined solutions suggested by
others.
I did not suggest or refine
solutions, but was willing to try out
solutions suggested by others.
I did not try to solve problems or
help others solve problems. I let
others do the work.
Attitude I was never critical of the project or the
work of others. I always had a positive
attitude about the task(s).
I was rarely critical of the project
or the work of others. I often had
a positive attitude about the
task(s).
I was occasionally critical of the
project or the work of other
members of the group. I usually
had a positive attitude about the
task(s).
I was often critical of the project
or the work of other members of
the group. I did not have a
positive attitude about the task(s).
Time-
management
I routinely used time well throughout the
project to ensured things got done on
time. The group did not have to adjust
deadlines or work responsibilities
because of my procrastination.
I usually used time well
throughout the project, but may
have procrastinated on one thing.
The group did not have to adjust
deadlines or work responsibilities
because my procrastination.
I tended to procrastinate, but
always got things done by the
deadlines. The group did not have
to adjust deadlines or work
responsibilities because my
procrastination.
I rarely got things done by the
deadlines AND the group had to
adjust deadlines or work
responsibilities because of my
inadequate time management.
Focus on the task I consistently stayed focused on the task
and what needed to be done. Very self-
directed.
I focused on the task and what
needed to be done most of the
time. Other group members could
count on me.
I focused on the task and what
needed to be done some of the
time. Other group members had
to sometimes nag, prod, and
remind me to keep on-task.
I rarely focused on the task and
what needed to be done. I let
others do the work.
Preparedness I brought needed materials to class and
was always ready to work.
I almost always brought needed
materials to class and was ready
to work.
I almost always brought needed
materials but sometimes needed
to settle down and get to work
I often forgot needed materials or
was rarely ready to get to work.
Monitors Group
Effectiveness
I routinely monitored the effectiveness of
the group, and made suggestions to
make it more effective.
I routinely monitored the
effectiveness of the group and
worked to make the group more
effective.
I occasionally monitored the
effectiveness of the group and
worked to make the group more
effective.
I rarely monitored the
effectiveness of the group and did
not work to make it more
effective.
Working with
Others
I almost always listened to, shared with,
and supported the efforts of others. I tried
to keep people working well together.
I usually listened to, shared with,
and supported the efforts of
others. I did not cause "waves" in
the group.
I often listened to, shared with,
and supported the efforts of
others, but sometimes I was not a
good team member.
I rarely listened to, shared with,
and supported the efforts of
others. I was not a good team
player. 84
86. Masks
http://ignca.nic.in/mask.htm
Another Face: Masks around theWorld
http://gallery.sjsu.edu/masks/menu.html
Mexican Masks
http://www.mexicanmasks.us/
The Art of the African Mask
http://cti.itc.virginia.edu/~bcr/African_Mask.html
MasksTheme Page
http://www.cln.org/themes/masks.html
Mask Examples at ArtTalk
http://arttalk.wetpaint.com/page/Mask-Making
86
87. ”It is unclear exactly when humans first starting using masks,
but there is evidence of them even in prehistoric cave art.
There are numerous styles of masks around the world, and
they are used for a variety of purposes. Most began with a
religious, ritualistic, and/or social purpose. Some masks are
considered to be alive and possess great power, whereas
others may mark a rite of passage, such as that from childhood
to adulthood. Some funerary masks are used to help the spirit
find the correct body, and others are meant to keep the spirit
from possessing the body. In contemporary western society,
masks are commonly used in role playing for theatrical or
holiday festivities. The purposes of masks are numerous, but
the human need for them is perhaps universal.”
From:University of Missouri-Columbia Museum of Anthropology
87
88. 88
Visual Arts, Social Studies, and
LanguageArts Integration
PaigeVitulli, Ph.D.
pvitulli@southalabama.edu
90. Art at the HeART of
Social StudiesWIKI
http://artandsocialstudi
es.wetpaint.com/
Vitulli & Santoli:
Eyes on Ireland
http://usaeyesonirelan
d.blogspot.com/
90
94. National Archives and Records
Administration
http://archives.gov/education
Library of Congress
http://www.loc.gov/teachers/
Smithsonian
http://www.smithsonianeducation.or
g/educators/index.html
94
101. More Image Resources
Google Image: http://images.google.com/
Images, Clip Art, Pictures, Image Search, News
Photo Galleries:
www.libraryspot.com/images.htm
Life Magazine: http://www.life.com/
Online Image Resources:
http://copyright.columbia.edu/copyright/special-
topics/art-and-other-images/online-image-
resources/
25,000 Images of Art that you can re-use for free:
http://www.freetech4teachers.com/2013/06/25000-
images-of-art-that-you-can-re-use.html
101
103. Teacher resources and professional development
across the curriculum
Annenberg Learner uses media and telecommunications to
advance excellent teaching in American schools.This
mandate is carried out chiefly by the funding and broad
distribution of educational video programs with
coordinatedWeb and print materials for the professional
development of K-12 teachers. It is part ofThe Annenberg
Foundation and advances the Foundation's goal of
encouraging the development of more effective ways to
share ideas and knowledge.
103
104. Vitulli, P., Santoli, S. P., Fresne, J. (2013). Arts in Education: Professional development
integrating the arts and collaborating with schools and community. International Journal
of Pedagogies and Learning, 8(1), 45-52.
Santoli, S. P.,Vitulli, P. (2013). Picture this:The integration of social studies and visual
arts. InT. Lintner (Ed.), Integrative strategies for the k-12 social studies classroom.
Charlotte, NC: Information Age Publishing. www.infoagepub.com/products/Integrative-
Strategies-for-the-K-12-Social-Studies-Classroom
Vitulli, P., Santoli, S. P. (2013).Visual arts and social studies: Powerful partners in
promoting critical thinking skills. Social Studies Research and Practice, 8(1), 18 pages.
www.socstrpr.org
Santoli, S. P.,Vitulli, P. (2012). Examining the 1963 March on Washington for Jobs and
Freedom through primary sources. Black History Bulletin/Association for the Study of
African American Life and History, 75(2), 7-15. www.asalh.org/bhb.html
104