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"Myths And Their Transformations," |
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Story Quilts Guide - Penelope E. Venola, Spurgeon Intermediate |
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Contents of Curriculum Unit
Narrative As a Visual Arts Teacher at the middle school level, I have always believed that the lessons with the greatest impact on student learning for all ability levels are those which involve the students in a personal way. It is always a challenge to find the link that makes the study of the past relevant to students of today. It is also important to make connections to other disciplines. The Visual Arts are a wonderful vehicle for linking History, Literature, and Art. It also provides experiences based on reading and writing to enhance the visual arts. Ancient Myths Mythology is defined as a set of stories, traditions, or beliefs associated with a particular group, or the history of an event, arising naturally or deliberately fostered. Mythology is an example of why the word story is part of the word history. HIS/MAN'S + STORY = HISTORY In simpler terms for young people, mythology was a way for ancient man to explain the unknown. A major difference between myths, folk tales, and legends is that myths were considered sacred and completely true, whereas the emphasis in folk tales or legends was amusement. Myths from all cultures played an important part in a society's religious life (Littleton 813-831). Greek myths are a literary form with links to both history and literature. They began in the oral tradition, passed from generation to generation. Embellished and enriched by each storyteller, they finally came to be written down by the great ancient writers of Greece. They form the basis of some of the oldest literature still read today. Myths from any culture can be divided into two groups&emdash;creation myths and explanatory myths (Littleton 813-831). The myths of Eos and Helios are examples of creation myths. Both Eos and Helios are gods. The myths explain the creation of each new day, the coming of each day's dawn, and the path of the sun across the sky. Hercules is an example of an explanatory myth as is Odysseus. These stories are concerned with mortals and explain how they dealt with problems, why certain customs take place, and explain people's actions and reactions to various human foibles. The myths of any culture could be used for this study, as they are becoming easier to find in translation, especially in children's versions. For the purposes of this unit, though, I have begun with Greek mythology because it is read to students beginning in elementary school, and it is remembered by most students as they grow older. Linking myths to the creation of an artwork based on the myth is a logical extension. However, this kind of project relies on students interpreting the past&emdash; hardly relevant to their own lives. How much richer and more meaningful for students if they are introduced to ancient myth as a springboard to a modern myth which leads them to the writing of their own personal myths. This personal myth becomes the subject for a visual work of art, rich in personal meaning and rooted in the students' own lives and family histories. Why begin with ancient myths? Kids and the kid in all of us love heroes. We love mystery, action, and suspense. Myths have all of these elements. For instance, the hero of all heroes, Hercules, is strong. He overcomes evil. He is humble&emdash;he isn't above getting his hands dirty. His stories reek of mystery&emdash;the gods play with him. He is in constant action, fighting monsters and gods. There is suspense&emdash;will he win? Will he complete his labors? What will happen next? While Hercules is a grand hero, his trials are not as easily identified with as the people in some of the shorter myths. I have used the story of King Midas as a starting point. This is an explanatory myth because it concerns a mortal King who, while rich, doesn't get much satisfaction from all his riches. He keeps getting richer and more unhappy. Students identify with wanting to be rich, having everything turn to gold. They are enthusiastic about the idea. They can understand King Midas. In the end, he is just like them. There are many versions of the King Midas myth. Some are charmingly illustrated. The D'Aulaire's version does not conclude with King Midas begging Dionysus to undo the wish and returning everything to the way it had been before. This version continues with King Midas growing ass' ears as a symbol of his poor judgment and finishes with the people of the land all wearing tall peaked caps in imitation of the king who only wanted to hide his ears. This story, while short, has the element of surprise. It has the mystery of the gods. It has the suspense of wondering what's going to happen next. It shows the folly of getting what one wishes, without wisdom and judgment. It is easy to explain to students in terms they understand by using simile and metaphor. The daughter turning to gold could be a metaphor for having a heart of stone. Things turning to gold could be a metaphor for King Midas being unable to get any enjoyment from them. His inability to eat food that has turned to gold could be a metaphor for having stomach problems. One wonderful aspect of mythology is the broad scope left for interpretation. Modern Myths Moving from ancient myth, there are myriad modern myths one could use for this study. A few are indicated in the Student Bibliography. By modern, I mean children's and young people's fiction and even biography and autobiography which is based in some part on the author's experiences growing up, enhanced by imagination, fantasy, and the interpretation of memory. These are more explanatory myths than creation myths because they concern mortals and explain how and why certain things happen. Students today are more sophisticated. They understand various theories of creation and scientific fact. However, they also understand how facts can be altered by imagination, fantasy, and interpretation. A powerful example of modern myth is the story Tar Beach by Faith Ringgold. Ms. Ringgold is a contemporary black woman artist who has elevated quilt making from women's craft to a high art form. Her large, wall-sized quilts are based on personal memories enhanced with the imaginings, wishes, and beliefs of her child-hood. The written story is incorporated into the quilts. Tar Beach is a children's book that followed the creation of the quilt by the same name. It is illustrated with details from the quilt. I chose this book because of the two-fold nature of Faith Ringgold's art&emdash;literature welded to visual image. This story perfectly illustrates what Joy Horowitz meant in Tessie and Pearlie when she stated: The fabric of memory is a twisted, if delicate, weave of truth and fiction. How we remember, how we come to believe certain memories&emdash;based on family myth or the slap dash way a photograph is framed&emdash;is certainly as much a reality as the event itself. In Tar Beach, we have the story of Cassie Louise Lightfoot, based on Faith Ringgold's childhood as a girl in New York City. To escape the heat of summer in the un-airconditioned tenements, she, her family, and the neighbors go up to the roof, the tar beach, at night. The grown-ups play cards. The kids lie on a mattress watching the Brooklyn Bridge, and Cassie imagines. She explains. She dreams. She wishes. The evocative images and transition from real life to the stuff of myths is magically written and illustrated. Personal Myths Because of the simplicity of the language in Tar Beach, students of all abilities can understand and interpret it. Through interpretation, discussion, and dialogue, students can be led to write their own personal mythologies. Almost every sentence in the book can become a story prompt. Starting with actual memories, students can be encouraged to interpret their experiences through the same devices used in myth&emdash;magic, action, suspense, dreams, and wishes. Each student becomes the hero in his or her own story. A wonderful side effect of this process is that memory begets memory. In searching for examples, the first is usually the hardest. But that one leads to another and another, and soon students will have more memories than room to write them. Students delighted in trying to picture me, in examples, as a scrawny little kid getting my knee stuck through a picket fence and riding my bamboo-pole horse. By telling, explaining, and interpreting, many language-building skills are reinforced and learned. The sheer simplicity of language found in children's stories belies their richness and evocative nature. It also releases the nervousness often created when asking students to write a story. This state usually stems from their not "having any ideas." Imagination seems to be at a low point now. I believe this to be a negative result of too much TV. Basing the student stories on personal experiences relieves that problem and allows the imagination full reign in the richness of the language used. Simile and metaphor&emdash;staples in mythology&emdash;can be worked with to create richer visual images. Because Tar Beach is a story and a visual art form, the basis for the next step in this process is in the teacher's hands. The illustrations are simple, uncomplicated, and easy to interpret. One of the joys of Faith Ringgold's work is the childlike simplicity of her vision. Middle school students, being very judgmental of their own artwork, tend to compare it to the masters of old, at least those they remember. They desire a false reality. This is detrimental to the creative process. Paraphrasing Picasso, "It takes a very long time to learn to be young." Faith Ringgold's work exemplifies that youthful approach and lessens the divisions between student art and that of the masters. Quilts The word quilt comes from the Latin culticita and is defined as a bedcover made of two layers of cloth, of which the top is decorative, separated by a layer of stuffing, and held in place by stitches sewn through all thickness. The stitches create designs on the top and bottom surfaces (Christine and Mack) Before venturing from the written word to the artwork, it is good to include a brief history of the quilt. The story of quilts goes back centuries to the spinning and weaving of the first fabrics in the early civilizations along the Ganges, the Euphrates, and the Nile. This skill led to the allied crafts of sewing, embroidery, and quilting. With the need for warmth, padded coverlets and padded clothing were essential. The earliest form of quilting used just a few stitches to hold three layers of material together at important points. These firm anchor stitches came to be known as counterpoints or quilt points. (From these come our words counterpane and quilting.) It is unknown whether the art began in India, Persia, or Egypt. We do know that the crusaders discovered it in the Middle East and brought it to Europe and the British Isles. Quilted material worn underneath armor provided warmth and padding and introduced quilting to the Western World. During the fourteenth century, the Great Freeze struck Europe and created a critical need for added layers of warmth. Quilting came into its own, both in quilted clothing and as bedding. The quilting frame, a staple piece of equipment in any household, was invented. European quilting usually consisted of simple straight and diagonal lines worked across the fabric layers. It soon developed into a more elaborate and decorative pattern. Embroidery and applique became standard decorative devices. The use of finer fabrics was sought. Quilts of beauty and artistic design became a source of pride in any home. Different regions developed different characteristics. Silk and damask were popular in France and Italy. Fine cotton was also sought after. Spanish quilters favored heavier brocades and velvets. In the Low Countries and Britain, both farm-folk and gentry created masterpiece quilts. Decorative stitches and thematic design developed in different locations, reflecting everyday life. While there are few historic quilts left because of their perishable nature, records of the quilts remain in household accounts and diaries. With the coming of immigration to the New World, quilts were also transformed. The art became revitalized by the sea voyage and the harsh necessities of life in the New World. The greatest change occurred because of the difficulty in getting fabric from Europe and creating a large enough crop of fibers to make fabric in America. Patchwork became essential. Every scrap of fabric was used; every worn-out garment cut up for usable fabric. The other great change was created by the influence of different cultures working together. Black slaves, after being taught western quilting skills, began designing quilts that relied on the oral story telling traditions from their homeland. Quilts began to record stories of life past, present, and in a hoped for future. Color combinations, African design motifs, and new ways of cutting and applying the fabrics were used. With the Civil War and Emancipation, quilting traditions moved farther and farther west. Quilting became a social pastime bringing together women from all over. Quilt patterns were named to record different events in people's lives, memories of their homelands, and cultural styles. With the advent of mechanical looms in the late 1800's, which produce blankets at a far faster rate, the art of quilting went into decline. Today, busy women with little leisure time are turning to quilting as an artistic expression, which can be fitted into small time blocks using both old and new methods and materials. It is a relaxing and rewarding pastime. The necessity for warmth has been replaced by the need for creative expressions to be worn, used as bedding, or as decoration. Modern quilters are also being influenced by the story quilts of the Hmoung, the bold patterns of African Kinte Cloth, and Seminole Patchwork, among others. Many quilt designs have names based on human experiences, natural surroundings, or memories: What do you think these were based on (Cooper and Allen)?
Quilting Construction The quilt face (decorative top layer of fabric) may be a single piece or made up of blocks (squares), or irregular shapes. The repeated blocks of color, shape, and stitching create visual rhythm. Stuffing (filling) was often feathers, cornhusks, straw, raw cotton, raw wool, newspaper, and now polyester. The quilt lining is usually a very simple overall pattern with the reverse side of the stitching design its only embellishment. Quilt Design The major difference between patchwork quilts as we know them in the United States and the story quilts of Faith Ringgold is one of scale and technique. As a young artist, Faith Ringgold began painting on traditional canvas stretched on wood. These paintings were costly to pack, ship, and insure. While on a trip to Amsterdam, she saw Tibetan tankas, which are paintings framed with cloth. This method would allow her to roll the paintings up and ship them more inexpensively. Combining quilt making techniques learned from her mother, in methods reminiscent of African fabric, and quilting her paintings with their stories to a backing, her art evolved to the large scale story quilts for which she is known (Ringgold, Freeman, and Roucher). By studying reproductions of her story quilts and the illustrations from Tar Beach, students are guided in a variety of ways to create their own story quilt squares. Thus we move from ANCIENT MYTH - MODERN MYTH - PERSONAL MYTH - ART WORK The object of these lessons is to make history and literature come alive to students in a personal way, resulting in works of art incorporating personal written mythologies. Lessons Lesson 1: Reading Myths (1 day) Each lesson is based, approximately, on a forty-five minute work period. Each may be expanded according to individual class needs. Read "King Midas" or any other myth with which you may identify. Depending on the reading level of the students, you may wish to have them take turns reading aloud. Or, you may wish to read aloud while they read along silently with you. Students take notes of images they get while reading. Do use a world map or globe when referring to places from history, literature, and art. It makes the past more accessible to see and know that historic locations still exist. Discuss the story to make sure everyone understands it. Reiterate the definition of a myth as a story that explained things that were mysterious or unknown to ancient people. Discuss how the mystery of the unknown exists in children's minds and if it is often interpreted in ways that are mythic. Possible discussion questions:
Lesson 2: Reading Modern Myths (1-2 days) Read Tar Beach by Faith Ringgold. Again, depending on reading level, either teacher or students may do reading. Show each illustrated page to students and discuss how illustrations relate to story. Or, refer to a large reproduction, which should be on display (see Resources). Point out on the map or globe where New York is and what kind of weather they have in the summer. Discuss the story. Point out the use of simile and metaphor. Possible discussion questions:
(NEXT PAGE: Faith Ringgold's Tar Beach Story Quilt) Lesson 3: Writing Personal Mythologies (5 or more days) The stories may be as short or as long as you wish. If the story is short, the whole story may be used for the story quilt. If the story is long, illustrate just one part of it for the story quilt. Write just the pertinent parts on the story strips. This writing activity is a perfect way to involve parents in a family activity. You may wish to invite parents or other staff to share personal memories along the lines you wish the stories to take. Be prepared if some students confide something unpleasant that they feel precludes them from writing. Be sympathetic and understanding of why they don't wish to share it. There is an element of confession and confidentiality that may come out. Redirect the writing in a way in which the student is more comfortable. Occasionally, a parent may feel that you are prying. A personal phone call usually eliminates any negative responses. Be sensitive and willing to redirect the writing if obstacles cannot be overcome. This project is so rich in possibilities, and the writing can go in so many directions that the potential is limitless. Following are possible story prompts. You may use just one or combine them to create longer stories. Relate some of your personal memories as a model for the students. Ask other personnel to come in and do the same. Work with students to remember things not dependent on TV, electronic games, battery operated or purchased toys. Stretch their memories. How did they use their imaginations? Use the prompts to create situations for students to respond to in writing.
Students write the first draft of their stories. Correct all stories for spelling, grammar, and punctuation. For those who feel that this stifles the creativity of the writing process, point out the process followed by professional writers:
Students write final draft. This may be put in their exit portfolios or class journals or collected into a class book. For the artwork, the stories could be done on the computer using a line length to fit the finished project. Cut it into strips of the determined size. However, handwriting is an art form. It shows something about the personality of the artist. I prefer to have students use their best lettering, either writing or printing, and a fine line felt-tip pen to write on pre-cut, colored construction paper strips. Do have students sign the story and put the year under their signatures. (Student Signature) 1999 Lesson 4: Story Quilts (5 to10 days) Keep in mind that anything is possible. You may change the dimensions. You may change the number of story strips or put them in blocks. You may change the number of story blocks. You may change the configuration. You may paint it, color it, use crayons, or markers. There is no limit on creativity. If you have students who can sew or students who want to learn or a sewing teacher to team with, you can do actual quilt blocks with fabric. Beg, borrow, or buy real quilts. The real thing is always better. However, if this is not possible, there are many excellent books available at arts and craft stores, bookstores, and libraries. Illustrations are often large and colorful. Dover Books has a collection of quilt patterned wrapping paper. A brief overview of quilting may be presented as a lecture, demonstration, or discussion, which is quite dramatic if you have actual quilts to share with the students. Use your map or globe to point out the locations you discuss. Using the book illustration or the large reproduction (see Resources), discuss Faith Ringgold's quilt: how it is organized and the fact that she paints the central picture/design and then quilts it together with the other elements. You may also use the other reproductions listed in the resources. These are similar but based on other stories. A major benefit to using the collage technique is that it removes the fear of drawing that many students have. Pictures and designs for quilts are more symbolic than realistic. There is not the need to make it "look real." This project makes a fabulous open house display and may also be linked to school wide themes. To display the work of the whole class, fasten it to the wall in a configuration that resembles a quilt. If there is an odd number of projects, fill the blanks with blocks explaining the project, give thanks to people who helped or shared memories, a bibliography to help them at the library, even your sample. Grades: K-12 Purposes: As defined by the California Visual & Performing Arts Framework
Vocabulary Autobiography, a story or memory of ones own life written or dictated by oneself. Border, a decorative edge around the quilt. For longer stories the border could also incorporate writing strips. Collage, cut and torn papers combined to form an original composition. Quilt, a blanket made of 3 layers: a decorative top called the face, a stuffing for warmth, and a lining. The three layers are held together by decorative stitching. Materials
Motivation Read literature selection aloud. Discuss how the author used real situations from her personal past history and changed them with fantasy, dreams, imagination, and wishes. Show and discuss examples of story quilts either from the story or using art reproductions. (NEXT PAGE: Construction Diagram) Procedure
Evaluation Conduct a class critique (only positive statements). Students will share their designs and stories in an art show and critique what they like in the artwork: colors, shapes, lines, the feeling or mood, how the illustration goes with the story, etc. Students may write a reflection about the process. Variations Quilt designs may be any size. The central design may be made in any technique:
Cross-Curricular Extensions
(NEXT PAGE: Student Sample) Teacher Bibliography d'Aulaire. "King Midas". Book of Greek Myths. NY: Doubleday & Company, Inc., 1962. Bank, Mirra. Anonymous Was A Woman. NY: St. Martins Press, 1979. Campbell, Joseph. Historical Atlas of World Mythology: Vol. I. Part 1 & 2; "The Way of the Animal Powers" Vol. II. Part 1 & 2; "The Way of the Seeded Earth" Vol. II. Part 3; "The Way of the Animal Powers" Pennsylvania: Harper & Row, 1989. Campbell, Joseph with Bill Moyers. The Power of Myth. NY: Doubleday, 1988. Encyclopedia of World Mythology. NY: Galahad Books, 1975 Ferrero, Pat, Elaine Hedges, and Julie Silver. Hearts & Hands: The Influence of Women & Quilts on American Society. San Francisco: The Quilt Digest Press, 1987. Galeano, Eduardo. Memory of Fire. NY: Pantheon Books, 1985. Hamilton, Virginia. In the Beginning: Creation Stories from Around the World. San Diego: Harcourt Brace Jovanovich, Publ., 1988. ---. The People Could Fly: American Black Folktales. NY: Alfred A. Knopf, 1985. Horowitz, Joy. Tessie & Pearlie. NY: Simon & Schuster, 1997. James, Michael. The Quiltmaker's Handbook. NY: Dover Books. (Dover has many, get the catalog) Kingston, Maxine Hong. The Woman Warrior. NY: Vintage International: A Division of Random House, Inc., 1989. Ovid. Metamorphoses. Trans. Rolfe Humphries. Bloomington: Indiana University Press, 1983. Ringgold, Faith, Linda Freeman & Nancy Roucher. Talking To Faith Ringgold. NY: Crown Publ., 1996. Safford, Carleton L., & Robert Bishop. America's Quilts & Coverlets. NY: Bonanza Books, 1980. Tedlock, Dennis, Trans. Popol Vuh. NY: Simon & Schuster, 1996. Woodard, Thomas K., & Blanche Greenstein. Classic American Quilts. NY: PortlandHouse, 1984. Yearout, Floyd, ed. Myths. England: McGraw-Gill Book Co. (UK) Limited: Maidenhead, 1976. Student Bibliography Historical Myths Browne & Whitethorpe. Monster Slayer: A Navajo Folk Tale. Northland Publ., 1989. Corrin. The Pied Piper of Hamelin. San Diego: Harcourt, Brace, Jovanovich, 1989. de Paolo, Tomie. Helga's Dowry; A Troll Love Story. San Diego: Harcourt, Brace Jovanovich, 1985. ---. The Legend of the Blue Bonnet. NY: G. P. Putnam's Sons, 1983. Johnston, Tony. The Tale of Rabbit and Coyote. NY: G. P. Putnam's Sons, 1994. Lattimore, Deborah Nourse. The Dragon's Robe. NY: Harper & Row, 1990. Lobel, Arnold. Ming Lo Moves the Mountain. NY: Scholastic, Inc., 1982. Lopez, Barry. Crow and Weasel. North Point Press: San Francisco, 1990. Low, Alice. Greek Gods and Heroes. Macmillan Publ. Co: NY, 1985. Osborne. The Golden Touch: Favorite Greek Myths. NY: Scholastic, Inc., 1989. Volland. "The Bramen Town Musicians". Great Children's Stories. NY: Rand McNally, 1972.
Contemporary Personal Myths Ackerman, Karen. Song & Dance Man. Alfred A. Knopf: NY, 1988. Blos and Gammell. Old Henry. NY: William Morrow & Co., Inc., 1987. Buffet, Jimmy. The Jolly Mon. San Diego: Harcourt, Brace, Jovanovich, 1988. Clément, Claude. The Voice of the Wood. NY: Dial Books, 1987. Cooney, Barbara. Miss Rumphius. NY: Puffin Books, 1985. Hippely & Stammen. The Crimson Ribbon. NY: G. P. Putnam's Sons, 1994. Johnston, Tony. The Quilt Story. NY: G. P. Putnam's Sons, 1985. Levinson, Riki. Watch the Stars Come Out. NY: E P Dutton, 1985. McLuran & Cooney. Roxaboxin. NY: Lothrop, Lee, & Shepard Books, 1991. Mills, Lauren. The Rag Coat. NY: Little, Brown, and Co., 1991. Palacco, Patricia. Babushka's Doll. NY: Simon and Schuster Books. ---. The Keeping Quilt. NY: Simon and Schuster, 1989. ---. Meteor!. NY: G. P. Putnam's Sons, 1987. ---. Thank You, Mr. Falker. NY: Philomel Books, 1998. ---. Thundercake. NY: Philomel Books, 1990. Purdy, Carol. Iva Dunnit and the Big Wind. NY: Dial Books for Young Readers, 1985. Ringgold, Faith. Tar Beach. NY: Crown Publishers, Inc., 1991. Rylant, Cynthia. The Relatives Came. NY: Bradbury Press, 1985. Yolan, Jane. Owl Moon. NY: Philomel Books, 1987. Resources Tar Beach reproduction available through: Faith Ringgold ($15.00 + $5.00 S & H) 127 Jones Road Englewood, NJ 07631 Telephone/fax Grace (619) 534-4597 e-mail: Any1canfly@aol.com <<http://www.artincontext/artist/ringgold>>
or
New York Graphic Society 1-800-677-6947
Resources available at:
Crystal Productions Box 2159 Glenview, IL 60025-6159 Email: custserv@crystalproductions.come <<http://www.crystalproductions.com>> Telephone: 1-800-255-8629
Art Prints:
Videos: #VC-5293 VHS Faith Ringgold Paints Crown Heights 28 minutes $39.95
#VC-5211 VHS Faith Ringgold: The Last Story Quilt 28 minutes $39.95
Quilts and quilt samples as available. Art reproductions by Marc Chagall and Rene Magritte are especially good examples of stories in a visual interpretation. World map or globe.
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