SchoolArts Magazine

NOV 2018

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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Page 34 of 54

E A R L Y C H I L D H O O D O n a recent Pennsylvania Art Education Association trip to Cuba, our small group of art teachers visited the Santander family's "Casa Chichi" pottery house. Collaborative Sue Liedke NOISE MOBILES The Santanders are a family of pot- ters who have been making pottery in Trinidad since the mid-nineteenth century, passing their skills from gen- eration to generation. After an amazing wheel demo that left our heads spinning, we were given a chance to explore and examine the pottery in the studio. The Santanders' open-air studio houses shelves and shelves of vases and vessels, but I was particularly smitten by their elegant and earthy wind chimes. I knew my pre-K stu - dents back in Philadelphia would love them, too. Exploring Sound Once school was back in session, we began this lesson with an explora- tion of sound. I encouraged students to sit quietly so we could listen to the different kinds of sounds created by the ceramic mobile I brought back from Cuba. We guessed what it might be made of (clay) and what tools the artist might have used. After an initial visual observa - tion, we discussed the mobile's movement, sounds, and structure. Throughout the two weeks we spent on this project, we continued to listen to a variety of wind chimes (both human- and machine-made) to compare sounds and tones. Working Collaboratively I wanted our noise mobiles to be a collaborative and shared process, with each class working together to make one finished piece. Through - out a week of daily art classes, students experimented with air- dry clay, using fine motor skills to create a shape they thought would make a nice sound. Some students used the pinch pot method to cre- ate bell shapes, while others chose to use rollers to make long or flat shapes. A few students used stamps to add details such as letters or textures to their pieces. A hole was carefully poked through each form for hanging and the pieces were left to dry over the weekend. Painting Parts The following week, some students painted their dried clay pieces with acrylic paint (creating shared own- ership of their work), while others 30 NOVEMBER 2018 SchoolArts

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