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Curriculum Guide
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Produced with generous support from the Hodge Foundation.
Lesson plans designed by SCAD Master of Arts in Teaching students: Kate Barnett, Toni-Lyn Keller, Jessica
Lord, Nicole Devens, Kyle Schuler, Sydney Walters, Julie Kessler Sukman, Kaitlin Stone, Yvette Crow, under
the guidance of Dr. Christen Clougherty.
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WALTER O. EVANS CENTER FOR AFRICAN AMERICAN STUDIES
CURRICULUM AND RESOURCE GUIDE
Table of Contents
1. Welcome Letter..................................................................................................... ................... 1
2. SCAD Museum of Art............................................................................................................. 3
3. Dr. Walter O. Evans............................................................................................... ................... 4
4. Preparing for Your Visit......................................................................................................... 6
a. Checklist for Teachers ...................................................................................................... 6
b. Location and Hours ........................................................................................................... 6
c. Talking About Art .............................................................................................................. 8
5. Historical Context of the Evans Collection.................................................................... 10
6. Lesson Plans
a. Identity Box: Fred Wilson................................................................................................ 12
b. Artist Cards: Harlem Renaissance ............................................................................... 18
c. Collage: Jacob Lawrence ............................................................................................... 23
d. Group Portrait: Charles White ...................................................................................... 29
e. Printmaking: Edward Mitchell Bannister .................................................................. 34
f. Drama: Walter Dean Myers ............................................................................................ 38
g. Monologue: Langston Hughes....................................................................................... 48
7. Visual Aids............................................................................................. ..................................... 56
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Dear Teachers,
We are pleased to offer this curriculum guide as a resource for your visit to the SCAD Museum of Art. Through the
generous gift of Dr. Walter Evans and his wife Linda, the SCAD Museum is home to more than 60 important works
of art by renowned African American artists such as Romare Bearden, Elizabeth Catlett, Robert Scott Duncanson,
Richard Hunt and Jacob Lawrence. The collection is exhibited in the Walter O. Evans Center for African American
Studies, offering a multidisciplinary approach to understanding and appreciating African American art and culture.
The lesson plans and activities in the following pages are designed to prepare you and your students to fully
experience the Evans Center. Each lesson lists the specific curriculum standards1fulfilled by that lesson as well as
assessment criteria to assist with evaluating your students work. The curriculum is designed for middle school
students, but can be modified to reach a range of age groups. We encourage you to review this material prior to
your museum visit.
We look forward to welcoming you to the SCAD Museum of Art!
Warm regards,
Kimberly Shreve
Outreach and Visitation
SCAD Museum of Art
912.525.7191
scadmoa.org
1National standards cited are those developed by the Consortium of National Arts Education Associations, under the guidance of the National Committee for Standards
in the Arts (1994), available at http://artsedge.kennedy-center.org. Georgia performance standards are those developed by the Georgia Department of Education (2009),
available at https://www.georgiastandards.org.
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The SCAD Museum of Art is a contemporary art and design
museum conceived to enrich the educational experience
of SCAD students and faculty, and to attract and delight
visitors from around the world. Housed in what was
originally an 1853 freight warehouse for the Central of
Georgia Railway, the museum is a prime example of the
universitys award-winning legacy of adaptive reuse and
urban revitalization. This National Historic Landmark is the
only surviving antebellum railroad complex in the country.
The museums entrance is marked by an 86-foot tall steel
and glass lantern, while the facade unites original 19th-
century Savannah gray brick with modern materials.
SCAD maintains a permanent collection of more than
4,500 artworks, including:
The Walter O. Evans Collection of African American Art,
one of the most significant collections of African American
art, spanning more than 150 years and featuring prized
works by Bannister, Duncanson, Bearden, Hunt and many
more; The Earle W. Newton Collection, consisting of rare
books, antique maps, paintings and work by Hogarth, Van
Dyck, Gainsborough, Reynolds and Romney; haute couture
from Yves Saint Laurent, Chanel, Oscar de la Renta and
Givenchy, among others; modern and contemporary works
by Salvador Dal, Nicholas Hlobo, Willem de Kooning, Annie
Leibovitz, Robert Mapplethorpe, Wangechi Mutu, Pablo
Picasso, Robert Rauschenberg, Andy Warhol and Carrie
Mae Weems, and more.
The museum offers distinctive, dynamic art experiences
to advance the educational mission of the university and
champion art in the public discourse. The museum hosts
renowned artists and speakers throughout the year and
engages primary and secondary schools with outreach
programs that educate young students about art and
cultural history.
The Savannah College of Art and Design is a private
nonprofit, accredited institution conferring bachelors and
masters degrees in distinctive locations and online to
prepare talented students for professional careers. SCAD
offers degrees in more than 40 majors.
SCAD Museum of Art
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Born in Savannah, Georgia in 1943, Walter O. Evans developed an interest in
art during his medical training when he noted a distinct absence of African
American art in the worlds major museums. In 1979, he made his first
significant purchase: a portfolio of serigraphs by Jacob Lawrence, titled,
The John Brown Series. This purchase was the beginning of a collection
that became one of the largest private collections of African American art,
rare books and documents in the world.
Although Evans is now considered one of the most accomplished collectors
of fine art in America, he learned very little about art as a child. There
were no artworks in his childhood home of Savannah, Georgia or Beaufort,
South Carolina. Evans collection is an expression of his commitment to the
importance of cultural heritage and family tradition. He feels a personal
responsibility to share the African American cultural legacy. To that end, he
and his wife, Linda, donated more than 60 pieces from his collection to form
the Walter O. Evans Center for African American Studies at the Savannah
College of Art and Design.
In addition to collecting, Evans also served as a surgeon in Detroit for 20
years. A graduate of Howard University and the University of Michigan
Medical School, Evans was chief of general surgery at Hutzel Hospital in
Detroit and also a staff physician at Harper and Grace hospitals. Dr. Evans
serves on the Board of Visitors for the Savannah College of Art and Design.
Dr. Walter O. Evans
What moved me was that in al
my visits to the museums of the
world, I almost never saw any art
by African Americans. If there
were any, they didnt have any
black figures in the paintings.
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Checklist for Teachers
Administrative approval from your school
Bus acquisition
List of supplies (pencils, worksheets, etc.)
Schedule for the museum visit
Review museum hours and any special events
scheduled
Plan lunch (Tad Caf/ bag lunch to eat outside in the
courtyard)
Determine chaperones
Locate restrooms and meeting places
Identify goals for the day
Make a money plan: trip payment, gift shop
Write and send out parent permission letter
Make a list of chaperones, students and their emergency contacts
Museum Etiquette
We are pleased to welcome you to the SCAD Museum of Art. Please
share the following guidelines with your students to help us protect the
priceless artwork in the galleries.
Do not touch the artwork. The oil from your hands can
cause damage.
Stay an arms length away from objects. When pointing to
an artwork use your elbows.
Only pencils are allowed for sketching or writing.
No flash photos. The flash of light can damage the artwork.
Walk, do not run.
Keep voices down.
Stay with your guide.
Interactive Touch ScreenYou will be greeted with a 12-foot long horizontal touch pad in the
atrium where you can learn about the museums artists, exhibitions
and events. Before entering the galleries, invite students to explore the
touch screen. Allow five to ten minutes for students to scroll through
the artwork. Please remember, however, that the screen is sensitive and
objects should not be placed on it.
Location
SCAD Museum of Art
601 Turner Blvd.
Savannah, Georgia
912.525.7191
scadmoa.org
HoursTuesday Friday: 10 a.m. to 5 p.m.
(open late on Thursday until 8 p.m.)
Saturday and Sunday: Noon to 5 p.m.
Closed Monday
Parking
Parking is available in metered spots
alongside the museum on Turne
Boulevard or in the Savannah Visito
Center parking lot located one block
south of the museum on Martin Luthe
King Jr. Boulevard. The museum entrance
is located at the buildings atrium on
Turner Boulevard.
Preparing for Your Visit
PREPARING FOR YOUR VISIT 6
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Galleries Main lobby Entrances Restrooms
TURNER BLVD.
GALLERY 4
GALLERY 5GALLERY 3GALLERY 1
ANDR LEON
TALLEY GALLERY
TAD CAF
AND RETAIL
MAIN
LOBBY
THEATER
MATTHEW MASCOTTE
THEATER PLAZA
ALEX TOWNSEND GRAND COURTYARD
EICHBERG HALL
PAMELA ELAINE POETTER GALLERY
WALTER O.
EVANS CENTER
FOR AFRICAN
AMERICAN
STUDIES
GALLERY 2
MARTINL
UTHER
KING
JR.BLVD.
FAHMA
VENUE
Main Level
PREPARING FOR YOUR VISIT
FahmAve.
FahmAve.
TurnerBlvd.
TurnerBlvd.
TurnerBlvd.
W.OglethorpeLane
Montg
omm
erySt.
Martin
Luth
erKin
gJ
r.Blvd.
MartinL
uth
erKin
gJ
r.Blv
d.
EichbergHall
SavannahVisitorsCenter
SavannahVisitorsCenterparkinglot
ExLibris SavannahCivicCenter
SCADMuseumofArtAlexTownsendGrandCourtyard
W.OglethorpeAve.
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Talking About Art
Below are some questions you might use to begin discussions about the artwork you see in the museum.
Describe it.
1. What do you see in this painting/photograph/sculpture/artwork?
2. What kinds of lines do you see? Shapes? Colors? What does this artwork show?
3. How would you describe the people in this scene?
4. How would you describe this artwork to a friend who isnt here?
Relate it.
1. What does this artwork remind you of? What things do you recognize in it? What things seem new to you?
2. How is this artwork like the one we just saw? What are some important differences?
3. How is this artwork different from real life?
4. What interests you most about this work of art?
Analyze it.
1. Which objects seem closer to you? Farther away?
2. What can you tell me about the colors in this painting? What color is used the most?
3. Does this scene look crowded or desolate?
4. What can you tell me about how this person lived? How did you arrive at that idea?5. What do you think is the most important part of this artwork?
6. How do you think the artist made this work?
7. What questions would you ask the artist about this work, if s/he were here?
Interpret it.
1. What title would you give to this artwork? Why did you you decide on that title?
2. What do you think is happening in this artwork?
3. What sounds would this artwork make, if it could?
4. What do you think this artwork is about? How did you come up with that idea?
5. Pretend you are inside this scene. What does it feel like?
6. Why do you suppose the artist made this artwork? What makes you think that?
Evaluate it.
1. What do you think is good about this artwork? What is not so good? Why?
2. Do you think the person who made this did a good or bad job? What makes you think so?
3. Why do you think other people should see this work of art?
4. What do you think other people would say about it? Why do you think that?
5. What would you do with this work if you owned it?
6. What do you think is worth remembering about this work of art?
TALKING ABOUT ART 8
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The Harlem Renaissance
During the 1920s many African Americans migrated from
rural areas to industrial, Northern urban centers in search
of employment and better living conditions. Termed the
Great Migration, this movement brought many African
Americans to New York City, particularly a neighborhood
in northern Manhattan, called Harlem. This convergence
of African Americans in Harlem led to a renaissance of
creativity and intellectualism, forming new ideas about
black identity and transforming Harlem to a beacon of
African American pride and achievement.
This period marks the era of the New Negro, a term
encompassing the quest for self-identity and the desire to
move beyond the stereotypes surrounding slavery. Critics
such as Alain Locke and W.E.B. Du Bois urged artists and
writers throughout the United States to explore themes
of African American life and culture and to break out of
caricature and stereotyping in their works. They were
encouraged to become a voice for the decades of forced
silence their race endured and to portray their culture
and lifestyle as it was rather than being subject to the
inaccurate representations of others. Artists were also
encouraged to explore African art and culture, the roots
of their ancestry, as a source of inspiration. During this
era, art, music, literature and theater progressed rapidly
The Harlem Renaissance created long-term success
for notable figures such as Billie Holiday and Langston
Hughes, and produced lasting, influential musical styles
such as jazz and swing.
The Harlem Renaissance was a time marked by African
Americans finding and expressing their identity amid a
culture of segregation and inequality. They achieved this
through creative and intellectual practices: literature, music
and artwork. Their successes were lasting and paramount
for the future of equality and cultural recognition in
American history.
Historical Contextof the Evans Collection
HISTORICAL CONTEXT OF THE EVANS COLLECTION 10
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HARLEM RENAISSANCE ART CARDS 1
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Identity Box:
Fred Wilson
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IDENTITY BOX: FRED WILSON
Identity Box: Fred Wilson
Using Fred Wilsons curatorial technique and the context of the Harlem Renaissance, each student will create an
Identity Box assemblage that reveals something about their personality/character and culture.
TIMEFRAME: MUSEUM VISIT AND (TWO-THREE) 60-MINUTE CLASSES
Lesson Objectives
Learn how Fred Wilson gives voice and identity to works of art by
giving them a new context and allowing individuals to form their own
interpretation of a piece. Students will learn how Fred Wilson uses
juxtaposition to create interesting dynamics through art installations.
They will be educated on challenging visual relationships, status quos,
history, and social perspectives.
Discuss why Wilson paired certain historical pieces together, what was
his intended meaning and its connection to the Harlem Renaissance.
Discuss different variables that will encourage finding ones own
identity, the importance of understanding culture and the contributionsAfrican Americans have made to the Harlem Renaissance, and Fred
Wilsons contribution to museums, personal perspective, and the larger
historical context.
Create an Identity Box assemblage of objects that tells a personal story.
National Standards
NA-VA.5-8.1 Understanding and applying media, techniques, and
processes
NA-VA.5-8.3: Choosing and evaluating a range of subject matter,
symbols, and ideas
NA-VA.5-8.4: Understanding the visual arts in relation to history and
cultures
NA-VA.5-8.5: Reflecting upon and assessing the characteristics and
merits of their work and the work of others
NA-VA.5-8.6: Making connections between visual arts and other
disciplines
Georgia Standards
VA7CU.1 Discovers how the creative process relates to art history.
VA7CU.2 Investigates and discovers personal relationship to
community, culture, and world through creating and
studying art.
VA7C.1 Applies information from other disciplines to enhance
the understanding and production of artworks.
VA7MC.2 Identifies and works to solve problems through creative
thinking, planning, and/or experimenting with art
methods and materials.
VA7MC.4 Participates in dialogue about his or her artwork and the
artwork of others.
Materials/Instructional Setup:
Teacher: glue, acrylic paint,
paintbrushes (various sizes), hot
glue gun, Mod Podge, newspaper,
water cans, markers, crayons, and
colored pencils
Students: Five to seven personal
objects/images no larger than
their hand (no glass/ceramics) that
they are allowed to glue or paint, a
shoe or photo box
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IDENTITY BOX: FRED WILSON
ASSEMBLAGE
JUXTAPOSITION
CURATOR
CONCEPTUALART
Assemblages are art creations that consist of a collection
of different materials. These could include wire, wood,
paper, and cloth--almost anything that fits the design
and texture requirements of the artist.
An act or instance of placing two things close together
or side by side. This is often done in order to compare/
contrast the two, to show similarities or differences, etc.
A person responsible for a specific collection in a cultural
heritage institution (such as an archive, a library, or amuseum). The curator specializes in a subject relevant to
the collection and is deeply informed about the content
it contains.
A form of artistic representation, in which a specific
concept or idea, often personal, complex and inclusive,
takes shape in an abstract, nonconforming manner, based
upon a negation of aesthetic principles.
Terminology/Definitions:
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IDENTITY BOX: FRED WILSON
Artists Background:
I get everything that satisfies my soul from bringing
together objects that are in the world, manipulating them,
working with spatial arrangements, and having things
presented in the way I want to see them.
- Fred Wilson
Although I have mainly arranged objects created by
others, I have been thinking about relationships and whats
really important in life. Its great to create this kind of work
in addition to the museum critique projects. This work of
my own creation is what I am excited about now.
- Fred Wilson
Fred Wilson is a world-renowned American artist and curator of African
American and Caribbean descent, whose career has spanned the past four
decades. He was born in the Bronx, New York, in 1954, received a B.F.A
from the State University of New York at Purchase in 1976, and currently
lives in New York City. Fred Wilson has an unorthodox artistic practice o
pairing artifacts found in museum collections in such a way that it leads
viewers to recognize changes in context, thus creating changes in meaning
Although he studied art, he no longer has a strong desire to make things
with his hands. His interest lies in shaping interpretations of historica
truth, artistic value, and the language of display. Wilson creates mixed
media installations that reveal how art and culture are shaped by social and
economic structures. He also has formidable narrative skills and a talent fo
fashioning installations that reinvent a more powerful interpretation than
individual components. His work challenges viewers to think deeply about
the multi-layered art before them.
Selected works of art:
Fred Wilson installations
Fred Wilsons installations will be the catalyst for this lesson. Wilson not only highlights the achievements of the African
American artists, but also exposes the plight of a people that helped build this nation. Wilson has paired specific objects
together in order to tell stories about a forgotten, but important journey that led to the Harlem Renaissance. These
stories tell not only of their life struggles, which are poignant reminders of days gone by, but also reveal the significant
contributions this cultural group made to the world of art (ie. literature, drama, music, visual art, dance).
Students will take a journey of self-discovery by exploring and identifying pieces of themselves as they migrate fromthe museum to the classroom. By examining their own viewpoints and relationships to others, students will gain a better
understanding of the layers that give dimension to culture; gain an appreciation for artistic diversities; and gain sensitivity
that will allow them to show empathy toward those who are different from themselves. This unit is about allowing the
students to relate, rationalize, and reinvent social and historical norms.
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Museum Visit/Discussion
Review Historical Context of Evans Collection, the Harlem Renaissance, page ten.
The artist Fred Wilson realizes that many people do not know about the achievements of African American artists. Being
of African American and Caribbean descent, Wilson wants to let everyone know how important these achievements were
not only to his life as an artist and curator, but also to American history. In order to get his message across, Wilson places
objects together in such a way that the group of objects tells a story about the African American journey to freedom
All of the objects and artwork were created by African American artists and represent a time period that spans from the
late 1800s to the present.
The teacher will look at each installation created by Fred Wilson and ask the students the following questions:
1. Look at this installation for a moment. Describe the objects in this installation
2. How would you describe this scene to a person who could not see it?
3. Are there any people/figures displayed in this scene? How would you describe them? Are they like you or different?
4. How do you think each object relates to the African American journey to freedom?
5. What story do you think Fred Wilson would like us to take away from this scene?
6. How does Wilsons work reflect his personal identity?
7. What questions would you ask Fred Wilson about this work, if he were here?
For homework, students will need to:
Write in their sketchbooks, giving a brief reflection about their experience at the museum. Bring to class a shoe or photo box along with five to seven objects/images that represent their personality/characte
and/or cultural heritage.
Classroom Activities
Discussion/Warm-up:
Teacher will ask the following questions:
What were some of the objects or stories that you remember from our museum visit? (Students can read or talk abou
their reflections that they wrote for their homework assignment.)
How does Wilsons work reflect his personal identity?
Instruction/Guided Practice:
Teacher to ask the following: Look the objects you chose to represent you. What do these objects say about you, you
personality and cultural heritage? Do they represent what is important to you? Your interests, hobbies, and successes?
The student will need to decorate the inside and outside of the shoe or photo box with color combination or pattern
that best depicts their personality and/or cultural heritage.
The students will arrange and glue their objects into the box.
Closure:
Students will write a brief summary on the following to share with the class:
Why they chose the color pattern/combination to represent their personality.
What meaning do these objects have personally and/or culturally?
Modification for Intelligences
Students who finish work early may have free draw time.
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Unsatisfactory (1)
Following
Instruction
Student demonstrated
above average listening
skills and exhibited
exceptional behavior
on the museum tour
An outside of the box
thought process was
used when it came to
creating a dynamic
and uniquely colorful
Identity Box
The student brought
in 5 or more objects to
create the Identity Box
Student is
exceptionally neat and
demonstrates superb
craftsmanship
Student proactively
contributed to class
discussion and critique
by offering a variety
of ideas, making
suggestions and asking
a variety of questions
Student did not listen
to any instructions and
disregarded all of the
rules on the museum
tour
Little or no thought
was put into making
the Identity Box
colorful and interesting
The student did not
bring in any of the
requested materials tocreate the Identity Box
No attempt to be
neat or use good
craftsmanship skills
Student never
contributed to class
discussion and critique
Student somewhat
listened and abided by
some of the rules on
the museum tour
Limited or adequate
thought process was
used to make the
Identity Box colorful
and interesting
The student brought in
1 to 2 objects to create
the Identity Box
Student work
somewhat neat and
demonstrates adequate
craftsmanship
Student contributed
to class discussion and
critique by offering one
or 2 ideas, but did not
ask any questions
Student demonstrates
good listening skills
and followed majority
of the rules on the
museum tour
Demonstrated good
thought process and
planning was used to
make the Identity Box
colorful, interesting
and unique
The student brought in
3 to 4 objects to create
the Identity Box
Student is very neat
and demonstrates
good craftsmanship
Student contributed
to class discussion and
critique by offering
various ideas, but
asking few questions
Creativity
Planning
Technical
Skills/
Neatness
Class
Participation
Adequate (2) Good (3) Excellent (4) Score
Identity Box Assessment Criteria:
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Artist Cards:
Harlem Renaissance
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Artist Cards: Harlem Renaissance
Artist cards are miniature works of art that can be collected and traded, similar to baseball cards. Students will create
their own artist cards using the Harlem Renaissance as inspiration, and bring their cards with them on their museum
field trip.
ARTIST CARDS: HARLEM RENAISSANCE
TIMEFRAME: (THREE) 60-MINUTE CLASSES
Lesson Objectives
Learn about and take notes on the Harlem Renaissance. Discuss the Harlem Renaissance and analyze and interpret selected art-
works from the time period.
Create individual artist cards using various artworks from teachers intro-
duction on the Harlem Renaissance as inspiration.
National Standards
NA-VA.5-8.1 Understanding and applying media, techniques and processes
NA-VA.5-8.4 Understanding the visual arts in relation to history and cultures
NA-VA.5-8.5 Reflecting upon and assessing the characteristics and merits
of their work and the work of others
NA-VA.5-8.6 Making connections between visual arts and other disciplines
Georgia Standards
VA7MC.1 Identifies and works to solve problems through creative
thinking, planning and/or experimenting with art methods
and materials.
VA7CU.2.d Participates in activities (e.g., discussion, reading writing, art mak-
ing, art events) that promote personal engagement in the com-
munity and/or study of art history.
VA7PR.1 Understands and applies media, techniques and processes
with care and craftsmanship.
VA7PR.2 Creates artwork reflecting a range of concepts, ideas and
subject matter.
VA7C.3.b Identifies and builds art skills and habits of mind that support
a variety of important human endeavors (e.g., higher-order
thinking, tolerance for ambiguity, judgment in the absence of
rule, finding structure in apparent disorder, problem-solving
skills, perseverance, creativity, imagination).
Materials
Students personal sketchbook
Pencil
Artist card template (4x6 or 5x7)
Various art supplies (colored
pencils, markers, paint, paint
brushes, scrap paper, scissors,
glue, hole punch, string)
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PORTRAIT
LANDSCAPE
SCULPTURE
EXHIBITION
COMPOSITION
RHYTHM
A work of art that represents a specific person or a group
of people. Portraits usually show what a person looks like
and reveal something about the subjects personality.
A painting, photograph or other work of art that depicts
natural scenery such as mountains, valleys, trees, rivers
and forests.
A three-dimensional work of art. Such works may be
carved, molded, constructed or cast. Sculptures also in-
clude assemblage, in the round and relief, and are made
in a variety of media.
A public showing of a piece or a collection of objects.
The plan, placement or arrangement of the elements
of art in a work. It is often useful to discuss these in
reference to the principles of design, as well as to the
relative weight of the compositions parts
A visual tempo or beat. The principle of design that
refers to a regular repetition of elements of art to
produce the look and feel of movement. It is often
achieved through the careful placement of repeated
components, which invite the viewers eye to jump rap-
idly or glide smoothly from one to the next.
Terminology/Definitions:
ARTIST CARDS: HARLEM RENAISSANCE 20
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Aaron Douglas,The Creation,gouache on paper, 12.75"
x 9'', 1927. Aaron Douglas created three images used as
illustrations for the book of poems by James Weldon
Johnson titled Gods Trombones: Seven Negro Sermons
in Verse. He rendered each piece with a flatly painted,
hard-edged style reminiscent of African sculpture.
In these poems, Johnson draws on the rhythms and
pacing of an African American minister preaching to the
congregation.
The Creationwas inspired by the Book of Genesis. This
work depicts the first man with plants, hills, a rainbow
and a stream. Douglas uses scale, contrast and line to
illustrate the moon, as God flung it against the darkness.
Richmond Barth,Head of a Dancer, bronze, 18'' x 7'' x 7''
1937. Inspired by a long-standing interest in Greek and
Roman art and mythology and living in Harlem as the
Harlem Renaissance unfolded, Barth created sculpture
that engaged and celebrated the beauty of the black
male body. Head of a Dancer encapsulates this focus
presenting an elegant, grounded form.
Selected works of art:
Romare Bearden, The Blues Has Got Me,watercolor on
paper, 19.375'' x 26.125'', 1944. The piece pays tribute to
jazz music of the 1920s and 1930s. This particular image
was inspired by the lyrics from In the House of Blues, a
song by American blues singer Bessie Smith.
Beauford Delaney, Portrait of Ella Fitzgerald, oil on
canvas, 24'' x 19.5'', 1968. This painting combines
abstract techniques with portraiture. The characteristics
of Ms. Fitzgeralds face subtly emerge from, or disappea
into, the expansive field of color and texture around her
Delaney used color in expressive and symbolic ways
with yellow being a common hue used to reference
illumination and healing.
Alain Locke, The New Negro,1925. This is the definitive
text of the Harlem Renaissance and includes poems,
writings and art from the leading African American
writers and artists of this time.
ARTIST CARDS: HARLEM RENAISSANCE
Aaron Douglas,Boy with Toy Plane, oil on canvas,22.5''
x 17'' 1938. This piece highlights an important aspect
of Aaron Douglas conceptual focus, capturing those
everyday moments of African American life. Here
with his active and intentional brushstrokes, Douglas
depicts a boy at rest in the midst of play. With color and
contrast, he conveys the boys pensiveness, the relaxedstate of his body and a moment of pause from which
the boy seems likely to move on.
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ARTIST CARDS: HARLEM RENAISSANCE
Discussion/Warm-up:
Describe: Have students describe what they see in the artwork.
Analyze: Students discuss how the visual findings relate to one another and compare the design relationships of the
elements and principles in the artwork that help organize it.
Interpret:Encourage students to identify themes and ideas in the artwork to find meanings and emotion. Have the
students create their own interpretation or explanation of the artwork.
Evaluate: Have students make decisions on the success, value or worth of the artwork. Students can also relate the
artwork to other works from the same time period or from other periods in art history.
Instruction/Guided Practice
The teacher will introduce and present a short history on the Harlem Renaissance. After the introduction on the Harlem
Renaissance, the teacher will present the chosen artworks and students will take part in analyzing and discussing each
artwork. The discussion/warm-up procedures can be used when investigating each artwork. Students will listen and
participate in the discussion.
Students need to take notes in their sketchbooks during the teacher lecture and artwork discussion.
After the presentation on the Harlem Renaissance, the teacher will give instruction on the project. Students will begin
by brainstorming 3 sketches in their sketchbooks using the Harlem Renaissance and chosen artworks as inspiration.
Each student will get an artist card template (these templates should be 4'' x 6'' or 5'' x 7'').
On the back side of the artist card, students will write bullet points about the Harlem Renaissance.
Art supplies will be passed out for the students to begin creating their individual artist card, building on their sketchesto illustrate their ideas.
After completing the artist cards, students will share their finished projects and discuss highlights of the Harlem
Renaissance.
Students will bring their cards with them on their museum field trip for further comparison and discussion.
Closure
Upon completion of the project, the teacher will reiterate what was learned about the Harlem Renaissance.
Questions to ask the class:
How did the Harlem Renaissance influence life for African Americans during and after that time?
What kind of impact did the Harlem Renaissance have on American history?
In what ways do the select works of art reflect the history of the Harlem Renaissance?
Each student will share something they learned about the Harlem Renaissance and how it inspired the artwork on thei
artist card.
During museum field trip: Teacher can repeat the closure and have students share highlights of the Harlem Renaissance
Modification for Intelligences
Teachers can select different artworks to demonstrate themes occurring in the Harlem Renaissance and add more
detailed instruction to the lesson procedures to accommodate advanced students. Students who finish work early can
make more than one artist card.
Assessment Criteria
Checklist: Each item counts for 25 percent of the final grade
Students were attentive and participated in class discussion during the lecture.
Students took notes during the lecture.
Students completed a minimum of three sketches in their sketchbook before beginning their final artwork.
Students completed their artist card with bullet points on back.
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23
Collage:
Jacob Lawrence
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Collage: Jacob Lawrence
After viewing, analyzing and discussing the artwork of Jacob Lawrence, create a collage that emulates the artistic styles o
Jacob Lawrence, focusing on color and shape. The collage must relate to the students identity and include a background
that represents two contrasting settings (rural and urban). The artwork can be a split scene going any direction.
TIMEFRAME: (TWO TO THREE) 45-MINUTE CLASSES
Lesson Objectives
Learn about the Harlem Renaissance by observing and analyzing paintings
by Jacob Lawrence.
Discuss and write about the idea of a sense of place and identity as
explored by Lawrences work.
Create a collage that represents personal identity in two different settings:
rural and urban.
National Standards
NA-VA.5-8.6: Making connections between visual arts and other disciplines.
Achievement Standard:Students compare the characteristics
of works in two or more art forms that share similar subject
matter, historical periods, or cultural context. Students
describe ways in which the principles and subject matter of
other disciplines taught in the school are interrelated with the
visual arts.
Georgia Standards
VA6CU.1 Discovers how the creative process relates to art history
a. Recognizes the unique contributions of past and
present artists, art periods, and movements.
d. Recognizes varied reasons for making art throughouthistory, how history and culture have influenced art,
and how art has shaped culture and history.
VA7AR.3 Reflects and expands the use of visual language throughout
the artistic process
a. Writes a personal reflection about a work of art in a
journal, essay or other written response that captures
of a work of art.
b. Reflects upon meaning conveyed through principles
of design and elements of art discussing how these
contribute to the merit of a work of art.
f. Evaluates own artwork using criteria (e.g., composition,
craftsmanship, technical skill, meeting goals of work,creativity, felt meaning, progress over time).
VA8MC.3 Demonstrates how artists create and communicate meaning
in artworks
c. Studies contemporary and/or historical works of art to
determine influences that shaped the development of
the work.
Materials/Instructional Setup:
Handouts about Harlem
Renaissance and printouts of the
selected artworks (or PowerPoint
presentation), pencils, brightlycolored construction paper, scissors,
glue. Advanced students will also
need shoeboxes.
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COLLAGE: JACOB LAWRENCE
BACKGROUND
CRAFTSMANSHIP
COLLAGE
DISCRIMINATION
IMMIGRATION/MIGRATION
PREJUDICE
The space in the picture that is farthest from the viewer.
Objects in the background are less detailed and smaller.
How well the artwork was constructed or assembled.
A form of art in which various materials such as photo-
graphs, pieces of paper or fabric are arranged and at-
tached to a backing, such as paper.
Any distinction, exclusion, restriction or preference
based on race, color, origin, etc.
Disliking someone without reason; bias.
Moving to a new country or a new part of a country.
Terminology/Definitions:
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COLLAGE: JACOB LAWRENCE
Selected works of art:
Artists Background:
Born in Atlantic City, New Jersey in 1917, Jacob Lawrence emerged as one of Americas leading painters and the first to document
the history of African Americans through widely viewed and influential artworks. Lawrence moved to Harlem in 1924 where he
experienced the vibrancy of black intellectual, cultural, and artistic life during the Harlem Renaissance. At the age of 24, he became
the first African American whose work was included in the permanent collection of the New York Museum of Modern Art.
The 1930s was actually a wonderful period in Harlem, although we didnt know it at the time
Of course it wasnt wonderful for our parents. For them it was a struggle, but for the younger
people coming along like myself, there was a real vitality in the community.
Our homes were very decorative, full of pattern, like inexpensive throw rugs, all around the
house. It must have had some influence, all this color and everything. -Jacob Lawrence
Jacob Lawrence, Library Series: The Schomburg,gouache
on paper, 26 x 20, 1986. Lawrence has captured the
motion and liveliness of a library that he most likely
spent numerous hours in during his childhood. Within
the image, each figure in the canvas is immersed in thei
reading materials, engaged in an activity.
Jacob Lawrence, Genesis Creation
Sermon III: And God Said Let the
Earth Bring Forth the Grass, Trees,
Fruits, and Herbs,gouache on paper,29.75'' x 22'', 1989.
Jacob Lawrence, Genesis Creation
Sermon VIII: And Creation Was Done
and All Was Well,gouache on paper,
29.75'' x 22'' 1989.
Based on biblical texts and his own memory of the
Sunday sermons of the Rev. Adam Clayton Powell Sr. at
the Abyssinian Baptist Church in Harlem, New York, Jacob
Lawrences Genesis Creation Sermonseries delivers a richly
personal interpretation. Inspired by realism and details of
iconography, Lawrences Genesis Creation Sermon series
also reveals his interest in references from art history. The
bright colors and expressive, monumental preacher figure
that stands central in each work reflect the artists affinityfor action and resonance given in the sermon. The gestural
movements of the preacher figure engage the viewer in
the immediate foreground while also leading to a middle
ground containing parish members watching in awe. In
the background, four arched windows exhibit an exterior
scene beyond the church that encompasses the theme
of each Genesis Creation panel. Together, the Genesis
Creation Sermonseries depicts a unique narrative universally
celebrated and one that is unique to American art.
Jacob Lawrence, The Card Game,tempera on board,19
x 23.5'', 1953. This piece depicts a group of four car
players, two men and two women, seated around a re
table wearing embellished garments and looking deepl
engaged in their game. This scene is framed by an arc
of white curtains, and the brilliant light that illuminate
from within the group is similar to card playing scene
from Northern Renaissance artists like Caravaggio an
Adam de Coster.
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Discussion/Warm-up:
Introductory Questions
1) What is discrimination?
2) Why do people discriminate?
3) Have you ever experienced discrimination?
Lets take a look at the first two paintings by Lawrence from Genesis Creation Sermon.
1) What is similar about these two paintings?2) What is different?
3) How can we describe Lawrences style using art terms like color and shape?
Imagine that it is the early part of the Great Migration and you recently moved to the North.
Write a letter to a family member or friend who has remained in the South. You may want to tell them about your trip
North, your first impressions of a Northern city, or the things you like and do not like about your new home. Like many
migrants, you may also want to try to convince people back home to move North to join you.
Now lets look at Library Series andThe Card Game.
1) What kind of activities are the figures engaged in at the library?
2) What expressions do you see on their faces?
3) What do you notice about the color/shapes in this piece? 4) How is The Card Gamedifferent from the library scene?
5) What do you notice about the figures faces?
6) What messages do these images communicate about the Harlem community?
Instruction/Guided Practice
Teacher will discuss benefits of collage over painting and model the planning and placement of objects before
gluing them down to show different outcomes. Teacher will demonstrate how to draw and cut out the paper for the
collage (keeping in mind there are students at different ability levels) emphasizing that the background needs to be
constructed first.
Steps to Completion
1) Draw background objects, people, shapes etc. on construction paper first (vary your colors of construction paper)
2) Experiment with the layout of your collage before gluing.
3) Glue down the background objects first once youve decided on an arrangement that you like.
4) Draw middle and foreground objects, people, shapes, etc. on construction paper.
5) Cut out your foreground and middle ground objects (cut out sharp lines at odd angles to give effect of Lawrences
style).
6) Experiment, overlap and adjust your layout of shapes.
7) Glue final pieces down.
Closure
Quick writing prompt: Why was Jacob Lawrence an important historical figure?, What does your collage tell us
about your identity?
Students will turn in a written reflection about their identity and sense of place using art terms like space, color, shape
form, etc.
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Modification for Intelligences
Simplified students are shown many examples of works by Lawrence and pictures from the Harlem Renaissance
Students may orally explain their sense of place and create a collage using only one setting instead of two.
Advanced students create the original project and then choose which setting they prefer. Then using construction
paper and a shoebox, they will construct a 3-D model of their collage.
Assessment Criteria Each section is worth 20 points
Craftsmanship how well the project was put together, glued down, cut out Objective goals met and project turned in on time
Background shows two different settings or places
Reflection thoughts and ideas are well-written and turned in with the collage
Artistic achievement student shows growth in this media, paid attention to details and instructions and worked
diligently throughout the project.
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Group Portrait:
Charles White
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Group Portrait: Charles White
Students will create their own group portrait representing a culture they identify with. Supported by visual principals
employed by artists during the Harlem Renaissance, students will have the framework to create a dynamic and expressive
piece through a limited palette of shapes, forms and (optionally) color.
TIMEFRAME: (THREE TO FOUR) 60-MINUTE CLASSES
Lesson Objectives
Discuss both aesthetic and narrative qualities in the piece through critical inquiry and deduction. Students will identify
major forms, shapes and directions of movement by using design vocabulary like line, shape, space and form, along
with basic geometric vocabulary (circle, oval, diamond, etc.).
In order to identify the narrative, students will use Visual Thinking Strategies (VTS). The teacher will prompt with
questions like, What do you see these figures doing? and What makes you say that? until the class has come
to an agreeable conclusion regarding the story and its elements.
Create a group portrait, individually, celebrating a culture or subculture students identify with and have a vested interes
in. Examples might include a group of friends, family, or something less personal such as a musical genre, or even less con-
crete and more abstract like pet culture, etc.
National Standards
NA-VA.5-8.2: Using knowledge of structures and functions
Achievement Standard:Students generalize about the effects of visual structures and functions and re
flect upon these effects in their own work. Students employ organizational structures and analyze what
makes them effective or not effective in the communication of ideas. Students select and use the quali-
ties of structures and functions of art to improve communication of their ideas
NA-VA.5-8.4: Understanding the visual arts in relation to history and cultures
Achievement Standard:Students know and compare the characteristics of artworks in various eras and
cultures. Students describe and place a variety of art objects in historical and cultural contexts. Students
analyze, describe, and demonstrate how factors of time and place (such as climate, resources, ideas, and
technology) influence visual characteristics that give meaning and value to a work of art.
Georgia Standards
VA7MC.1 Identifies and works to solve problems through creative thinking, planning, and/or experimenting with art
methods and materials
a. Uses imagination and the elements and principles of design to shape meaningful works of art.
b. Visualizes new ideas using mental and visual imagery.
c. Explores essential questions, formulates unique ideas and concepts using creative thinking and
problem-solving skills (e.g., using visual organizers, diagrams, visual journals, brain-storming lists
art resources, and in discussions)
VA7C.2 Develops fluency in visual communication.
a. Reads, writes, listens to, responds to, speaks about and views information related to art (e.g.
reading across the curriculum). b. Integrates information and skills from art into other areas of knowledge and academic disciplines
(e.g., math, Reading, English Language Arts, social studies, science, performing arts, physica
education, technology, connections, and other programs within and beyond the middle schoo
environment). (Using art to enhance other areas of learning)
d. Identifies and describes trends in the visual arts and communicates how the issues of time, place
and culture are reflected in selected artwork.
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GROUP PORTRAIT: CHARLES WHITE
SHAPE
LINE
SPACE
FORM
An element of art. An enclosed space defined and de-
termined by other art elements such as line, color, value,
and texture.
A mark with length and direction(s). An element of art,
which refers to the continuous mark made on some sur-
face by a moving point, often defines a space, and may
create an outline or contour; define a silhouette; create
patterns of movement and the illusion of mass or volume.
An element of art that refers to the distance between,
around, above, below or within things. It can be de-
scribed as two-dimensional or three-dimensional; as flat,
shallow, or deep; as open or closed; as positive or nega-
tive; and as actual, ambiguous, or illusory.
In its widest sense, total structure; a synthesis of all
the visible aspects of that structure and of the man-
ner in which they are united to create its distinctive
character. The form of a work is what enables us to
perceive it.
Terminology/Definitions:
Materials/Instructional Setup:
11'' x 17'' white paper
Construction paper of various colors
Crayons, markers, pencils, erasers, etc. (teacher
may offer assortment of available supplies)
Adhesives (glue, tape, etc.)
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Selected work of art:
Charles White,The Bridge Party, oil on canvas, 22'' x 17'', 1938. As with other works by White
The Bridge Party employs a dramatic perspective and tight compositiongrouping the figures
as if contained by the support itself, with a rich palette of warm hues and exaggerated features
White is able to draw out characteristics, expressions and styles of dress that offer an honest
yet poetic narrative whose clues portray the realistic human relationships and situations othe time.
Discussion/Warm-up
Teacher prepares drawing materials and an image of Charles Whites The Bridge Party(on the overhead projector
monitor or printouts) for discussion.
Teacher presentsThe Bridge Party(without mentioning the title or giving any background on the image at first) and
begins discussion by asking students what they see (using VTS prompts) until the class has identified the theme
elements of design (line, shape, etc.) and their significance, and the cultural ramifications of the piece.
Students will then have the opportunity to discuss their own cultures and communities, whether it is a microcosm o
friends with common interests or more comprehensive family backgrounds.
Instruction/Guided Practice
With guidance from the teacher, students will render their own group portrait representing a culture they identify
with. Supported by visual principles upheld by many visual artists during the Harlem Renaissance, students will have
the framework to create a visually dynamic and expressive piece.
The cultural background of each portrait should be supported by visual cues, which may include:
Choice of dress
Props
Qualities of shape or line
Other indicators that came up during group discussion
Students will begin by assembling a word bank of nouns and adjectives that can be translated into a visual portrai
representing the culture they most strongly identify with.
Teacher will ask students to select a number of shapes they wish to use before they begin rendering their portrait
emphasizing cohesion of form over complexity of individual facets in their portrait.
The number of shapes and geometric complexities may vary from class to class, depending on their sophistication
and responsibility with provided tools.
In a more advanced class, the teacher may wish to incorporate vocabulary like line, value, negative/positive space
and so forth. These too can be substituted for the simple outline above.
In order to check for understanding, the teacher may again ask students to identify major shapes and forms within
The Bridge Party, or use another piece of art to ensure the concept has translated properly.
Once the teacher is satisfied students have grasped the concept and parameters of the assignment, they are free to
begin their portrait. The teacher may need to remind students to refer to their word bank and limit themselves to the
shape palette established earlier in class.
Closure
Students will have an opportunity to share and discuss their work. The teacher should encourage students to use
vocabulary from the lesson and identify the cultural significance of their portraits components (dress, props, etc.)
Alternatively, students may present their work without delineating its culture outright and allowing their peers to
analyze it through VTS, identifying effective visual elements and making suggestions for future work.
Students are encouraged to identify the shapes used in their peers work and assess the effectiveness of their use
individually as well as in the composition as a whole. This should be a good opportunity to address the concept o
constructive criticism in the art room.
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Modification for Intelligences
Students who finish early may ask the teacher for advice on refining their image.
Assessment Criteria
See rubric below.
Grading Scale
A= 4 3.6
B= 3.5 3.2
C= 3.1 2.8
D= 2.7 2.5
F= 2.4 0 Score#x Weight%(for each objective)
In-Progress
Craftsmanship Paper torn or
heavily wrinkled,
smudged or
scribbly mark-
making
Little application
of materials,
very few visual
elements
present.
Irresponsible
or unsafe use
of materials,
e.g. accosting
classmatesor breaking
materials.
Paper wrinkled
or in generally
poor condition,
little effort
evident in mark-
making.
Less than half
of the paper
covered, poor
use of time.
Use of materials
somewhat
controlled, messy
or thoughtless
application topaper.
Paper mostly
intact, some
care used in
application of
medium.
Portrait mostly
complete,
subjects
present but few
supplementary
visual cues.
Controlled use
of materials,
application may
be haphazard.
Thoughtful
application
of materials,
paper in good
condition.
Portrait
complete,
cultural
background of
characters clear.
Good use of
materials,
thoughtful
application,
tried innovativetechniques.
Paper clean
and unwrinkled,
exceptional use
of materials,
undisputable
effort applied.
Portrait complete
with detailed and
creative use of
shapes, cultural
significance
abundantly clear.
Safe but
exploratory use
of materials.
Medium stayed
on paper andaway from other
surfaces.
Completion
Use of Medium
Beginning Developing Accomplished Exemplary Score
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Printmaking:
Edward Mitchell Bannister
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PRINTMAKING: EDWARD MITCHELL BANNISTER 35
Printmaking: Edward Mitchell Bannister
Monoprinting is a form of printmaking that produces a singular print rather than multiples. Using Edward Mitchell
Bannisters work and the Harlem Renaissance as inspiration, students will create a monoprint of a unique landscape that
conveys a mood.
TIMEFRAME: (ONE) 60-MINUTE CLASS
Lesson Objectives
Learn about mood, brush strokes, and racial prejudice.
Discuss what layers of paint symbolize. What do colors symbolize? What do
brush strokes symbolize?
Create a natural mood landscape monoprint.
National Standards
NA-VA.5-8.1: Understanding and applying media, techniques, and processes
Achievement Standard: Students select media, techniques and
processes; analyze what makes them effective or not effective incommunicating ideas; and reflect upon the effectiveness of their
choices.
Georgia Standards
VA5CU.2 Views and discusses selected artworks
c. Discusses how social events inspire art from a given time
period.
VA5AR.3 Explains how selected principles of design are used in an artwork
to convey meaning and how they affect personal responses to and
evaluation of the artwork
b. Uses art terms with emphasis on the principles of design:
balance, proportion, rhythm, emphasis, unity, contrast.g. Discusses the effect of color properties (hue, intensity,
and value) and color schemes (analogous, monochromatic,
complementary) on the composition.
Materials/Instructional Setup:
Images of Edward Mitchell Bannisters Streamside(1870), Landscape(1897)
and Summer Twilight(1899)
acrylic paint
8'' x 8'' glass/Plexiglas
8'' x 8'' tag board/ card board/ matboard
foam brush/ paintbrush
paper towels
masking tape
markers
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PRINTMAKING: EDWARD MITCHELL BANNISTER
MONOPRINT
MOOD
TONALISM
A single print created in paint or printed ink on glass,
Plexiglas or metal plates
State of mind or feeling
Quality of brightness, deepness, or hue of tint or shade
of color
Terminology/Definitions:
Selected works of art:
Streamside, oil on canvas,
14 x 22, 1870
Landscape, oil on canvas,
21 x 25, 1897
Summer Twighlight, oil on canvas,
14 x 19.5, 1899
Edward Mitchell Bannister (1828-1901)
Painter Edward Mitchell Bannister found much of the inspiration for his paintings in the seascapes and landscapes of
New England. He maintained a keen interest in the French Barbizon School and in the work of artist Jean-Franois Millet
Accordingly, Bannister was known for using a tonalism style (which emphasizes mood and shadow) in the rendering o
his pastoral scenes. His technique often involved building up the surface of his works through heavy, dense brush strokes
in what was often deemed Impressionist style painting. Bannisters preference for landscapes adorned with trees and
rolling hills as seen here in Streamside (1870), Landscape (1897) and Summer Twilight (1899) recalls the 19th-century
tradition of the Hudson River School, whose oeuvre captured the sprawling vastness of Americas natural terrain.
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Discussion/Warm-up
Provide the following instructions for students:
Can you write in your own words about a time when you felt you were pushed into a new situation, where you had to
start over completely? (Maybe it was a new school, or a new neighborhood. Relate to the Harlem Renaissance and the
migration to the big cities.)
Instruction/Guided Practice
Instruct students to sketch a series of unique landscapes. They may depict places they have been before, but studentsmust change some element drastically, so it looks new.
Use the masking tape, mask off the border on your glass. On the glass/Plexiglas youre going to paint the landscape
using the paint and paintbrush, and then transfer it to the paper/board.
The first layer can be the background. Youre going to stamp the paper/board onto the glass. Once youve pressed i
the first time you want to mark on the back of the paper and on the masking tape so you know where to line it up for
the next few times.
The next layer can be trees or bushes. Continue with more layers. The thicker the paint, the better. The colors you
choose will set the mood your monoprint will reflect.
Closure
Whats the meaning behind the mood in the work you created? Did you use nature to describe it? How does this relate
to the Harlem Renaissance? What kind of mood have you created? Does your landscape represent a possible mood thatthe people of the Harlem Renaissance might have been feeling? Before the migrations to the cities most people lived and
worked on farms. How do you think they adapted to the city life? What do you think that was like for them?
Modification for Intelligences
For simplified lesson, allot extra time. For advanced students, additional objects in the landscape are required. Examples
include animals, fence, barn, etc.
Assessment Criteria
Have students successfully created a monoprint?
Have students learned how to respond and discuss to the Harlem Renaissance?
Have students created their own mood with good craftsmanship?
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38
Drama:
Walter Dean Myers
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Drama: Walter Dean Myers
Using Walter Dean Myers poem Harlem and related artwork, students will create a performance using narration, tableau
improvisation and pantomime; incorporating costumes, props, music and set pieces as desired.
TIMEFRAME: (FOUR) 50-MINUTE CLASSESLesson Objectives
Learn about the history and culture of the Harlem Renaissance through observation of art, research and literary com
prehension to create a performance of Harlem, by Walter Dean Myers.
Learn to stage a poem as a dramatic work.
Discuss how to create a dramatic work from a poem that communicates thought and feeling.
Create an original performance piece that is instructive and entertaining for the school community.
Participate in a cooperative learning environment.
National Standards
NA-T.5-8.6: Comparing and incorporating art forms by analyzing methods of presentation and audience response
for theatre, dramatic media (such as film, television, and electronic media), and other art forms
Achievement Standard:Students describe characteristics and compare the presentation of charactersenvironments, and actions in theatre, musical theatre, dramatic media, dance, and visual arts. Students
incorporate elements of dance, music, and visual arts to express ideas and emotions in improvised
and scripted scenes. Students express and compare personal reactions to several art forms. Students
describe and compare the functions and interaction of performing and visual artists and audience
members in theatre, dramatic media, musical theatre, dance, music, and visual art.
NA-T.5-8.7: Analyzing, evaluating, and constructing meanings from improvised and scripted scenes and from the
atre, film, television, and electronic media productions
Achievement Standard:Students describe and analyze the effect of publicity, study guides, programs
and physical environments on audience response and appreciation of dramatic performances. Stu
dents articulate and support the meanings constructed from their and others dramatic performances
Students use articulated criteria to describe, analyze, and constructively evaluate the perceived effec-
tiveness of artistic choices found in dramatic performances. Students describe and evaluate the per
ceived effectiveness of students contributions to the collaborative process of developing improvised
and scripted scenes.
NA-T.5-8.8: Understanding context by analyzing the role of theater, film, television and electronic media in the
community and in other cultures
Achievement Standard: Students describe and compare universal characters and situations in dramas
from and about various cultures and historical periods, illustrate in improvised and scripted scenes, and
discuss how theater reflects a culture.
Georgia Standards
TAMS6.1 Analyzing and constructing meaning from theatrical experiences, dramatic literature, and electronic
media
TAMS6.2 Developing scripts through improvisation and other theatrical method
TAMS6.3 Acting by developing, communicating, and sustaining roles within a variety of situations and
environments
TAMS6.5 Directing by conceptualizing, organizing, and conducting rehearsals for performance
TAMS6.6 Researching cultural and historical information to support artistic choice
TAMS6.7 Integrating various art forms, other content areas, and life experiences to create theatre
TAMS6.11 Engaging actively and appropriately as an audience member in theatre and other media experiences
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DRAMA: WALTER DEAN MYERS
TABLEAU
IMPROVISATION
PANTOMIME
Participants make still images with their bodies to represent
a scene
To invent, compose, or perform with little or no preparation
The telling of a story without words, by means of bodily
movements, gestures, and facial expressions
Terminology/Definitions:
Materials/Instructional Setup:
Copies of the poem for distribution
Device for playing music
Various costume and set pieces as needed
Internet or encyclopedia for research
Observation notebooks for museum visit
Video recording equipment for performance
and/or evaluation if desired
Artists Background:
Walter Dean Myers is an author for young adults who was born in West Virginia in 1937. He spent most of his childhood
and teenage years in Harlem. Myers experienced a happy, yet tumultuous childhood, growing up with foster parents. He
developed a love of books at a young age, perhaps partially due to his speech impediment, and he cultivated a habit o
writing poetry and short stories.
From Walter Dean Myers:I am a product of Harlem and of the values, color, toughness, and caring that I found there as
a child. I learned my flat jump shot in the church basement and got my first kiss during recess
at Bible school. I played the endless street games kids played in the pre-television days and
paid enough attention to candy and junk food to dutifully alarm my mother.
Bernard Drew, The 100 Most Popular Young Adult Authors: Biographical Sketches and Bibliographies, 1997, p. 289
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DRAMA: WALTER DEAN MYERS
Selected work of art:
Harlemby Walter Dean Myers 1997. This poem was penned by young adult fiction writer Walter Dean Myers (book-
form of the poem was a 1998 Caldecott Honor book) who grew up in Harlem. It relates the story of settlement of African
Americans in Harlem from the South. Many well-known landmarks and luminaries from the era are included in the poem.
The poem is a rich depiction of the Harlem Renaissance. Through it, learners will connect to different aspects of the
arts, history and culture of the time period using observation, dramatic tableaux and creative improvisation. WalterDean Myers is a modern day author who was raised in Harlem and enjoys much success as an African American author
of young adult literature. Presumably, he had his way paved for him by the great Harlem Renaissance writers who came
before his time. In this respect, a connection is made to many modern artists, including the work of Fred Wilson, also a
New Yorker from the Bronx (a few blocks north of Harlem).
Discussion/Warm-up
Teacher leads the class through the following discussion:
What to do you see in your imagination when you read/hear the poem?
What works of art do you see in the museum that correlate with your mental images of the poem?
Can you transpose these images into sound and movement for the stage?
How would you use costumes, set pieces and music in your vision of this staging? Color and sound?
Can you communicate the locations from the poem to the stage?
Can you create characters from the poem and bring them to life in performance?
Instruction/Guided Practice
Day 1
Distribute and read poem out loud with the class.
There are 26 stanzas in the poem. Divide them among small groups of students (3-5 per group). Explain that each
group will rehearse and perform more than one stanza.
Ask students questions for reflection from the discussion/warm-up listed above.
Museum Visit
Have groups work together in museum to identify art works that will help them bring their stanzas to life in a
performance piece. Can they identify images that they would be able to recreate for their performance? Suggestions
of music? Colors? Attitudes? Are there depictions of people, animals, or objects in the art works they can embody?
Students should bring notebooks and writing utensils for taking notes and writing down the names of art works for
further research, if necessary.
Day 2
Have groups read and research their stanzas for historical and literary meaning. For instance, in the stanza tha
mentions Jack Johnson, Joe Louis and Sugar Ray: Who were these people? What are the calls and songs and shouts
referred to in the third stanza?
Each group will assign a narrator and create a tableau for each of their stanzas utilizing images from museum visi
and research. Vocals may be used for emphasis (such as background noises of traffic) or to engage music/singingbut additional dialogue may not be added. Group may break up the narration amongst members if desired.
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Day 3
Finish tableau and research, if necessary
Narrator will recite the stanza of the poem while group members act out the scene. Students are encouraged to
embellish tableau with movement, props, costumes, music, etc. Class time will be taken to plan and incorporate these
elements.
At end of class period, discuss staging of performance options. Some examples:
Set up the room in stations so that observers can move from station to station in the order of the poem
Set up as a proscenium performance and have frozen tableau come alive one by one on the stage
Day 4
Students will perform their stanzas of the poem for each other and use evaluation worksheet to assess one another.
Optional: Performance
Students may invite family, or school may have other students attend performance. If working on Harlem Renaissance
in social studies or art, for example, these students may benefit from learning about the time period after viewing the
performance. May also be used as a performance for a future assembly or other opportunity for performance during
non-school hours.
Closure
What was your experience in staging the work? Was it easier or harder than you expected?
What did you learn that you didnt know before you started working on this:
About drama?
About history?
About art?
Were you able to incorporate skills you learned (e.g. observation, improvisation, pantomime, and tableau) in prio
lesson units?
How was it working with your group?
Are you proud of your work and would you like to perform it for the public?
If you had more time, what would you improve?
Modification for Intelligences:
Students not able or willing to participate in the performance aspect of the lesson may contribute by working as
researchers; costume/prop/set designers. Students proficient in art, dance and music may also create works to contribute
to the dramatic performance.
Assessment Criteria
See Assessment Rubric and Students Self-Evaluation
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Review of classmates work
When you watched your classmates work:
1. Could you tell who the characters were? ______________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
2. Were you able to recognize any of the art works from the museum? _______________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
3. Did you know where (location) they were? If so, where? _________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
4. Did they use music, costumes, props, or some other way to help make the story clear? _______________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
5. Did you see clear actions? If so, can you name some of them? ____________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
6. If you were directing this, what are some suggestions you would make to improve the communication of the ideas in
the poem? ______________________________________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
7. What did you like the most in what you saw and why? __________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
8. Did you learn anything from watching the scene? If so, what? ____________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
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Harlem: A Poem
By Walter Dean Myers
1. They took the road in Waycross, Georgia
Skipped over the tracks in East St. Louis
Took the bus from Holly Springs
Hitched a ride from Gees Bend
Took the long way through Memphis The third deck down from Trinidad
A wrench of heart from Goree Island
A wrench of heart from Goree Island [sic]
To a place called
Harlem
2. Harlem was a promise
Of a better life,
of a place where a man
Didnt have to know his place
Simply because
He was Black
3. They brought a call
A song
First heard in the villages of
Ghana/Mali/Senegal
Calls and songs and shouts
Heavy hearted tambourine rhythms
Loosed in the hard city
Like a scream torn from the throat
Of an ancient clarinet
4. A new sound, raucous and sassy
Cascading over the asphalt village
Breaking against the black sky over
1-2-5 Street
Announcing Hallelujah
Riffing past resolution
5. Yellow, tan, brown, black, red
Green, gray, bright
Colors loud enough to be heard
Light on asphalt streets
Sun yellow shirts on burnt umber
Bodies
Demanding to be heard
Seen
Sending out warriors
6. From streets known to be
Mourning still as a lone radio tells us how
Jack Johnson
Joe Louis
Sugar Ray
Is doing with our hopes.
7. We hope We pray
Our black skins
Reflecting the face of God
In storefront temples
8. Jive and Jehovah artists
Lay out the human canvas
The mood indigo
9. A chorus of summer herbs
Of mangoes and bar-b-que
Of perfumed sisters Hip strutting past
Fried fish joints
On Lenox Avenue in steamy August
10. A carnival of children
People in the daytime streets
Ring-a-levio warriors
Stickball heroes
Hide-and-seek knights and ladies
Waiting to sing their own sweet songs
Living out their own slam-dunk dreams
Listening
For the coming of the blues
11. A weary blues that Langston knew
And Countee sung
A river of blues
Where Du Bois waded
And Baldwin preached
12. There is lilt
Tempo
Cadence
A language of darkness
Darkness known
Darkness sharpened at Mintons
Darkness lightened at the Cotton Club
Sent flying from Abyssinian Baptist
To the Apollo.
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13. The uptown A
Rattles past 110th Street
Unreal to real
Relaxing the soul
14. Shango and Jesus
Asante and Mende
One people A hundred different people
Huddled masses
And crowded dreams
15. Squares
Blocks, bricks
Fat, round woman in a rectangle
Sunday night gospel
Precious Lordtake my hand,
Lead me on, let me stand
16. Caught by a full lipped Full hipped Saint
Washing collard greens
In a cracked porcelain sink
Backing up Lady Day on the radio
17. Brother so black and blue
Patting a wide foot outside the
Too hot Walk-up
Boy,
You ought to find the guys who told you
you could play some checkers
cause he done lied to you!
18. Cracked reed and soprano sax laughter
Floats over
a fleet of funeral cars
19. In Harlem
Sparrows sit on fire escapes
Outside rent parties
To learn the tunes.
20. In Harlem
The wind doesnt blow past Smalls
It stops to listen to the sounds
21. Serious business
A poem, rhapsody tripping along
Strivers Row
Not getting its metric feel soiled
On the well-swept walks
Hustling through the hard rain at two oclock
In the morning to its next gig.
22. A huddle of horns
And a tinkle of glass
A note
Handed down from Marcus to Malcolm
To a brother
Too bad and too cool to give his name.
23. Sometimes despair
Makes the stoops shudder
Sometimes there are endless depths of pain
Singing a capella on street corners
24. And sometimes not.
Sometimes it is the artist
looking into the mirror
Painting a portrait of his own heart.
25. Place
Sound
Celebration
Memories of feelings
Of place
26. A journey on the A train
That started on the banks of the Niger
And has not ended
Harlem.
[Note: last line, Harlem, may be performed by entire ensemble.]
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Skill
Demonstrates concentration and
believability in drama activities.
Expresses original and imaginative ideas
in discussion and/or drama activities and
work in a group
Demonstrates the use of museum
observation and utilizes research tools
to create performance. Behaves in
appropriate manner in museum setting.
During rehearsal: communicates story by
utilizing script, improvisation, tableaux
and other skills
Performance: develops and maintains
character through movement, dialogue,
vocal projection, and scene work. Also able
to contribute in other areas such as dance,
music, design of props, costumes, etc.
Listens and reflects as an attentive
audience member.
Reflects on their own work in the drama
process (at closure)
Assessment Rubric
Total Score
A= 10-12 (83-100%)
B= 7-9 (58-75%)
C= 4-6 (33 -50%)
D= 2-3 (17-25%)
F= 0-1 (0-8%)
Developing (1)
Breaks concentration and lacks focus.
Work lacks originality and
imaginati