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.

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

7.  Visual Arts
 Social Studies
 Language Arts
 CORE

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

17. MappingTools
 http://www.visual-
literacy.org/pages/maps/mapping_tools_radar/radar.html
Visual Literacy slides
 http://www.slideshare.net/cadelarge/visual-literacy-week-6-of-6-slides
Mind Mapping
 http://librariesandtransliteracy.wordpress.com/2010/07/23/visual-
learning-and-mind-mapping-2/

17

18. 18

19. Resources
Observing &
Describing
Making
Connections
Creating/
Producing
Questioning &
Investigating
Exploring
Perspective/
Point of
View

20.  Primary Sources
 Visual Arts
 Lesson Ideas
 Resources
20

21.  ResearcherCard
21

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

23.  Materials
 Cotton Gloves
 DiscountArt Supplies
http://www.misterart.com/g6483/KALT-White-Cotton-
Gloves.htm
 Magnifying Lens
 OrientalTrading
23

24.  Primary Documents & Art
24

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

26. 2626
Observing &
Describing

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

28. •Daumier-
•Orchestral Stalls
•Horace Pippin-
•Christmas Morning
Breakfast
28

29. 29

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

31. 31

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:

36. http://www.pbs.org
/art21/artists/pury
ear/clip2.html#

37.  Center for the Living Arts
 Space 301
 http://www.centreforthelivingarts.com/
37

38. LanguageArts
Understanding and
Responding toVisual Images
Post-it NotesActivity
38

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

44. 4444
Questioning &
Investigating

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

46. 46
http://americanart.si.edu/education/pdf/seeing_art_in_a_historical_context.pdf
An Activity to Promote
Visual Literacy
Miss Liberty Celebration
1987
Malcah Zeldis
oil on corrugated cardboard
54 1/2 x 36 1/2 in. (138.4 x 92.7 cm)
George Washington
ca. 1845
Henry Brintnell Bounetheau
Copy after Gilbert Stuart
watercolor on ivory
6 1/8 x 5 in. (15.6 x 12.7 cm)
rectangle

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

49.  “Fandex” of Painters
 Activities
 Responding &
Understanding
49

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

51. 5151
Making
Connections

52. http://www.uflib.ufl.edu/ufdc/?m=hd1J&i=108500

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

54. Student Created ABC Book
54

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

60. 60
Georgia O'Keeffe, My Front Yard, Summer, 1941, Oil on canvas, 20 x
30 inches, Gift of the Georgia O'Keeffe Foundation, ©Georgia
O'Keeffe Museum
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?

62. 62
Set Induction Activity

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

64. 6464
Exploring
Perspective/
Point of
View

65. 65

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

70. Westward Expansion
 Activities and Options
 Resources

71. Excerpt of Speech
http://www.archives.gov/exhibits/powers_of_persuasi
on/audio/pres_roosevelts_address.wav
Four FreedomsWebsite
http://www.archives.gov/exhibits/powers_of_persua
sion/four_freedoms/four_freedoms.html

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

73. 73
Creating/
Producing

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

75. 75

76. 76

77. 77

78. 78

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

80. 80

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

82. 82

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

85. 85

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

89.  An Artist’s Ireland
 An Artist’s Alabama
89

90.  Art at the HeART of
Social StudiesWIKI
 http://artandsocialstudi
es.wetpaint.com/
 Vitulli & Santoli:
Eyes on Ireland
 http://usaeyesonirelan
d.blogspot.com/
90

91. 91
http://edu.glogster.com/

92. 92
Resources

93. http://artandsocialstudies.wetpaint.com/page/Differentiated+Instruction
93

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

95.  Education
Resources
 http://americanart.s
i.edu/education/clas
sroom/results/

96.  http://americanart.si.edu/education/pdf/Posters_
to_Go.pdf

97.  A Journey through Art withW.H. Johnson
 http://americanart.si.edu/education/johnson/

98. http://www.smithsonianjazz.org/class/armstrong/kit/kit.asp

99.  http://americanart.si.edu/education/rs/index.cfm
 http://artandsocialstudies.wetpaint.com/page/Electronic+Su
perhighway%3A+State+History

100. 100

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

102.  Calendars
 Posters
 Overheads
 Podcasts
 Websites
 TeacherTube
102

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

105. I have a
GREAT Idea!
105

106. 106