Mesoamerican Cultures and their Histories:Spotlight on Oaxaca Mask Making, NEH 2011

Patricia Rhoden Bartels, 7th Grade, 9 Day Unit

Tusked Tigre Mask from Oaxaca, Mexico

GUIDING QUESTIONS VOCABULARY HISTORY OF THE REGION OBJECTIVES and the EXPECTED FOCUS DISCUSS HAND OUT of SYMBOLS FROM OAXACA LEGENDS FROM OAXACA MATERIALS RESOURCES WRITING ACROSS THE CURRICULUM (WAC) HANDOUT LESSON PLANS FOR 9 DAYS EVALUATION RUBRIC FOR GRADING MASK EVALUATION RUBRIC FOR GRADING WRITING ACROSS THE

CURRICULUM ANALYSIS AND INTERPRTATION

OAXACA MEXICAN MASK MAKING OAXACA NEH 2011

PATRICIA BARTELS

GOAL: to create a holistic, interdisciplinary exploration which investigates the cultural composition of Oaxaca, Mexico, expressed through mask-making among the Mixtecs and Zapotecs. Students will analyze, interpret, compare and contrast arts and crafts with an emphasis on masks. Cultural experiences will be evidenced in my students’ art activities which promote worldwide cultural appreciation.

OVERVIEW: Students will glean knowledge of the pre-Columbian archaeological sites and ceremonial centers dating back thousands of years. Olmec, Zapotec and Mixtec are three of the major civilizations of Mesoamerica. The ancient city of Monte Albán originated as a Zapotec city before the Mixtec gained control. The Mixtecs later lived in the hilltop settlements of northwestern Oaxaca. They were known as the "People of the Rain,” and moved during the Post-Classic period to the valley of Oaxaca. Mixtec history extends longer in time than any other Mesoamerican, except the Mayan culture, lasting for hundreds of years (with exception the Maya period). Many of the largest and most excavated ruins are close to Oaxaca and photo images I took will be shared. Zapotec art frequently showed sacrificed conquered captives, royalty, their spiritual beliefs and their way of life. The Mixtecs conquered the Zapotec and were great artisans. Later these peoples were influenced by the Spanish who produced work in stone, wood, and metal, the art then evolved into a blending of both cultures. Today, the Central Valley offers numerous small villages specializing in regional arts and crafts such as: hand-woven rugs, black pottery, colorful carved wooden masks and figures, narrative codex paintings, manuscripts and textiles, all influencing the art from Central Mexico to Yucatan.

Guiding Questions for classroom discussion and student research include:

1) What was the role of the artists in early Mixtec and Zapotec cultures? 2) How did ancient Mixtec and Zapotec art forms differ?

3) What similarities do they share? 4) What important events worldwide have impacted the art of Oaxaca, Mexico?

5) What social or cultural events have impacted art of this region over the past 500 years? 6) How did art forms created in other areas of the world influence the art of Oaxaca, Mexico? 7) How did the visual elements common to Mixtec and Zapotec art impact art around the world and relate to art in North America? 8) Who were the important patrons of the arts during the Mixtec and Zapotec periods and how did they control the arts and crafts that were produced? 9) How have these art forms changed to give us contemporary Oaxacan art? 10) How during times of oppression and invasion were the local arts affected? 11) How did local artists use art as a way to express religious, political or social ideas influencing change in Oaxaca Mexico? 12) What media is used by Mixtec and Zapotec artists 13) How has the media available influenced the product? 14) How did ancient Mixtec and Zapotec art forms differ from Western Art? 15) How did ancient Mixtec and Zapotec art forms influence Western Art?

Objectives with an emphasis on mask making

Students will explore how masks are depicted in Mixtec and Zapotec paintings and sculptures.

Students will investigate how artists from the Mixtec and Zapotec cultures used various clay techniques and differing media.

Students will examine elements of design, patterning and decoration common to Mixtec and Zapotec art.

Students will determine how art can be used for political and social change or commentary.

Students will gain an awareness of the purposes of masks in Mesoamerican culture relating to drama and festivals.

Students will identify the materials used to make and decorate masks from the past and today discussing form and function.

Students will explore how the people of Oaxaca used available materials to construct the masks.

Students will compare and contrast masks from various Oaxacan cultures - comparing medium used - form and function.

Students will view contemporary masks and contrast them to artifacts from the past concentrating of the elements of the visual arts.

Students will view contemporary masks and contrast them to artifacts from the past comparing symbols, meaning, and purpose of the masks.

Students will draw (design) a mask using examples for inspiration based on computer lab research of Oaxacan masks and later construct their own masks out of clay

Students will change the meaning - conveying their own personal message with their mask.

Students will integrate 3 clay hand-built construction techniques: use draped slab form of construction along with other coil and pinch hand building techniques.

Students will exhibit craftsmanship in forming and finishing their work of art.

Students will write a WAC (Writing Across the Curriculum) assignment where they find an image of an Oaxacan mask and analyze and interpret it using the elements of art.

Students will critique their own work using a Rubric to determine how successful the mask is in portraying the message the student has intended to portray.

Students will study the cultures of Oaxaca, from Pre-Classical through contemporary times, and discover how the art of mask making has been transmitted for thousands of years.

Students will discover how a culture's belief system can be reflected in masks.

Students will produce/explore works of art using symbolism to portray "self."

Students will draw (design) and produce a clay head/mask using slumped slab clay for the base and all 3 hand build techniques for decoration and build an armature out of crushed paper.

Students will paint and decorate their interpretive masks once they have been fired in the kiln.

VOCABULARY FOR ANALYSIS and INTERPRETATION

Balance Asymmetry

Symmetry

Line

Shape

Form

Color

Pattern

Repetition

Positive space

Negative Space

Texture

Media/ Medium

Hand build: Slab coil, pinch and coil techniques

Function vs. Non-functional Art

Narrative

Realism

Abstract

Anthropomorphic

Theomorphic

Supernatural

Pre-Columbian

Mesoamerica

Pre-Hispanic

Indigenous

Humanities

Vocabulary relating to culture

Mesoamerica is a cultural area in the Americas extending from central Mexico into Belize, Guatemala, El Salvador, Honduras, Nicaragua, and Costa Rica. Here, a number of pre-Columbian societies flourished before the Spanish colonization in the 16th and 17th centuries. Prehistoric groups including the Olmec, Zapotecs and Mixtecs of this area are characterized by agricultural villages and later with large ceremonial and politico-religious capitals. This cultural area included some of the most complex and advanced cultures of the Americas, also including the Teotihuacan, Maya, Totonac and Aztec culture.

The Olmecs were forerunners to all Mesoamerican civilizations. They flourished during the Pre Classical,

Formative period, as early as 1500 BCE to about 400 BCE. A Pre-Columbian civilization, they lived in the lowlands of south-central Mexico.

Zapotec civilization was an indigenous pre-Columbian civilization that flourished in the Valley of Oaxaca evidenced back 2,500 years including the ancient city of Monte Albán.

Mixtec are indigenous peoples from Oaxaca in southern Mexico. The region is mostly mountainous, with valleys, an agricultural area growing corn (maize), beans, squash, and chilies. Cultivation was done with digging stick and hoe. Houses are rectangular, with thatched roofs. Crafts such as weaving and pottery developed during this period.

Negrito A Face mask painted black. The color black was associated with powerful deities (gods) in pre-Hispanic Mexico. When the Spanish conquerors imported African slaves to work in their mines and plantations, they were regarded by many of the local Indians as superhuman figures possessing magical powers.

Monte Albán ancient city dates back to originated as a Zapotec city before the Mixtec gained control

Carnaval a festival or fiesta which includes dancingTigre ( Mexican word for jaguar ) ,Chuen (the dog), Ahau (the eagle) Tejonero a hunter Tejone refers to a wild animalLos Jardineros is a popular dance drama performed in

the central Oaxaca valley.

HISTORY OF OAXACAOaxaca is a site of great importance, it is one of the 5 world “Cradles of Civilization” with remains dating back over 10,000 years. Archaeologists divide Mesoamerican civilization into three major time periods: the Pre Classic or Formative period extending from 1500 B.C. - A.D. 300, the Classic period extending from A.D. 300-950, and the Post Classic period extending from A.D. 950-1521.

THE PRE CLASSIC PERIOD

Development of agricultural techniques chiefs evolved from positions held by spiritual leaders population increases

competition among people for local resources groups farming together mobilizing military forces centralize authority forms of writing begin to appear as early as 500 B.C. in Oaxaca Between 500 and 200 B.C. ceremonial centers emerged Olmec practiced ritual bloodletting the Mesoamerican ballgame develops (sports) artwork develops

THE CLASSIC PERIOD

Urban state develop throughout Mesoamerica Between A.D. 200-700. The Zapotec center of Monte Albán dominates

much of the present state of Oaxaca By 300 A.D., monuments with hieroglyphic texts describe divine origin Transform social strata from chiefdoms to kingship 900 A.D., most great centers had been abandoned Theories explain societal collapse, but no single factor tells the entire

story perhaps plagues, the instability of the elite

environmental degradation changes and the depletion of resources due to overpopulation. Outstanding artistic developments include: mosaics, stone facades

and fresco painting.

THE POSTCLASSIC PERIOD

Regional governments became highly segmented and commercial Development of “great houses,” with enclosed rooms and courts Proliferation of an of art and crafts Competition for access into exchange networks with traders and

craftspeople Technology for smelting gold, silver, and copper, was introduced from

Central and South America Economy exposed to rare materials from faraway places Fall of Tula, a Toltec center that dominated Central México from the

ninth to the thirteenth centuries, Aztec peoples moved south to Lake Texcoco

Royal marriages with Toltec families. 1450, Méxica, the most powerful of seven original Aztec groups, mix

with their rivals and they conquered an empire. ( gave their name to the nation of México, their city of Tenochtitlán became what we know as México City )

Classroom Hands on Activity:

MATERIALS FOR CLAY HANDBUILD: Mask handouts and computer research photos, 9 x12 Newsprint paper, Pencils, Clay, Recycled Paper, Plastic bags, Rolling Pins, Slipbowls, clay Modeling Tools, textural surfaces, wood/Masonite boards (to maintain an equal thickness of the slab), bowl of water

MATERIALS FOR FINISHING THE CLAY: Acrylic Paint (assorted colors), permanent Sharpie Markers, Brushes, Water dishes, Wire for hanging (Telephone Wire works),  Yarn, leather strips and assorted pieces, Bead Assortment, Animal/horse hair or fur, Fake Feathers, Materials from nature, Glue, hot Glue Gun, Glue Sticks and assorted Paint Brushes.

PROCESS: The students read about the Pre-Colombian legend of Tona, sharing the myth that explains how all people share a common destiny with an animal, the Tona. Students later try to matched their personality traits with an animal as they design their masks. The Tona legend describes the animal had a family, fought battles, would eventually get sick or die and the person it represented would experience the same. In essence, the Tona led the person, they shared a similar fate. Students select an animal which they identify with for their Tona Maks. They then show honor to this animal by creating a mask depicting it. Discuss/show examples of Mexican masks.

Demonstrate a crushed paper armature with a slab is draped over.

Demonstrate proper slab, coil and pinch techniques and how to insure a smooth surface for later painting/ decorating.

Teacher presents various ways to finish: acrylic paint, various “found” or recycled materials to decorate (feathers, yarns for hair, animal fur, and beads).

Students create the clay mask using all 3 Hand Build Techniques. When the class ends they wrap the project tightly in a plastic bag to preserve the moisture for working on the project the following day.

Once project is finished and approved by the teacher, it is allowed to dry unwrapped.

Clay projects are fired in the kiln at approx. 15,000 degrees to harden them, they are known as bisque ware.

After firing, projects are painted and decorated with materials the student brings in.

WEB RESOURCES: La Guelaguetza :: Traditions, Oaxaca City, Oaxaca La Guelaguetza festivity of Oaxaca. ... This folkloric dance is performed by men with colorful and huge, and also heavy, plumes. ...www.explring oaxaca .com/traditions, oaxaca -city, la - guelaguetza -party/

Mexican Masks - Negrito mask from Oaxaca , Mexico Masks of Mexico and Guatemala. Negrito mask. Santa Maria Huasolotitlan, Oaxaca. 8 inches long, painted wood. Though this one is associated with the ...www. masks oftheworld.com/ Mexico /Mexican%20Negrito%20 mask %205.htm

Guelaguetza Folk Dancing Pictures from Oaxaca , Mexico The Guelaguetza is a folk dancing festival which occurs yearly in Oaxaca, ... La Tortuga from San Mateo del Mar, Region del Istmo Tehuantepec, Oaxaca ...www.travelsinparadise.com/mexico/ oaxaca /.../index.html

Mexico- LA GUELAGUETZA - Oaxaca's famous regional festival ... Mexico-LA GUELAGUETZA – Oaxaca's famous regional festival ... In addition to folkloric dance and song, the cultural exchange extends to ...www.mexican-wholesale.com/mexico- la - guelaguetza - oaxaca s-famous-regional- festival

Painted Tejorones male dance mask , Oaxaca , Mexico Male Tejorone Mask. Pinotepa de Don Luis, Oaxaca. 4 ½ inches, painted wood ...www.masksoftheworld.com/.../Mexican%20Oaxaca%20mask%205.htmMexican Masks Collection of authentic danced masks from Mexico www.mexicanmasks.us/Male Tejorone Mask. Pinotepa de Don Luis, Oaxaca ... the name Tejorones is most pointedly used to refer to a group of male dancers ...www.masksoftheworld.com/.../Mexican%20Oaxaca%20mask%205.htmPopularte - Dances - Dances 5 The dance of the Tejorones, , dancers wear masks www.uv.mx/popularte/ingles/scriptphplen.php?sid=375&len=InTejoron Mask Dance of the Tejorones Mixtec area, Oaxaca. Ca. 1940 ... www.deserttraders.com/Masks/Mexican-Masks/Mexican.

FAMSI - John Pohl's Mesoamerica - Chronology of Mesoamerica Mesoamerican Timeline. www.famsi.org/research/pohl/chronology.html Masks Around the World The Incredible Art Department is for art teachers, art students, parents, homeschoolers and artists. www.princetonol.com/groups/iad/lessons/middle/masks.htm

Mask Makers WEB: lmaskmakersweb.org.s102465.gridserver.com/Masklinks/.../151 OTHER RESOURCES ; Mexican Mask links on Paper Mache Head lesson plan. Dance Masks from Mexico; Another Face- Masks Around the World Masks by George Ulrich - Milwaukee Public Museum Mask Articles by Himalayan Arts Mask images from 22 countries Mask Resources on Mask Makers Web http://www.maskmakersweb.org 4 2 eXplore Masks Around the World- From the Antropology Museum in Missouri.Masks From Around the World Behind the Masks: Exploring Culture and Self Through Art and Poetry http://www.reyesgomez.com/flashgallery.html great resource http://www.famsi.org/research/pohl/jpcodices/pohlmixtec3.html

http://oaxacaculture.com/ (ask Norma about masks)http://www.oaxacainfo.com/guelaguetza.htm http://www.oaxaca-restaurants.com/ http://www.mexicanmasks.us/#pastorela1 ***http://www.lasmanosmagicas.com/forsalepage2.htm (ask about contemporary masks by Angel her son)*** http://www.oaxacaoaxaca.com/galleries.htm galleries in Oaxaca to contact

BOOK REFERENCES:

Traditions Around the World: Masks. Traditions Around the World, Amanda Earl and Danielle Sensier. NY: Thomson Learning, 1994

Masks of Mexico: Tigers, Devils, and the Dance of Life (Jan. 1999) by Barbara Mauldin and Ruth D. Lechuga Masks of Mexico is a state-by-state guide for collectors and general folk art enthusiasts to learn about the types of masked dances still carried out in Mexico's Indian and mestizo communities today. Close to one-hundred color photos of authenticated masks from the collection of the Museum of International Folk\ Art are presented.

Masks of the Spirit: Image and Metaphor in Mesoamerica Roberta H. Markman (Author), Peter T. Markman Peter T. Markman (Author) This illustrated study guides the reader through the long history of

Mesoamerican mask-making. It explores many themes associated with one of the least understood yet fascinating religious and mythological traditions.Cut and Make Mexican Masks A . G. Smith (Author), Josie Hazen (Author)

Masks from Around the World by Garth Dahl A Personal Collection,

INTERDISCIPLINARY/ CROSS CURRICULAR LESSON In this interdisciplinary unit I will collaborate with 7th grade social studies teachers to introduce junior high students to mask making from Mexico with special emphasis on Oaxaca. Students with research various Oaxacan cultures and the culmination of the unit is when students make masks which serve as cultural and personal statements. Students then compose a written WAC (Writing Across the Curriculum) assessment to reveal the symbolism and meaning behind their masks.

Instructional Motivation based on Computer Lab Research:

1. Show some examples of ancient through contemporary masks. How were artists inspired by masks of their cultures or earlier cultures? What kind of media did they use? How have the meanings evolved or changed? Are the purposes different if so why? How are meanings or symbols depicted?

2. Students select a mask from their computer lab research to inspire their mask creation and make sketches.

3. Teacher demonstrates and reviews steps for slab, coil and pinch clay construction.

4. When fired, teacher presents a number of different decorating techniques.

5. Teacher instructs students on requirements for written Rubric self-critique. Teacher Rubric evaluation of the mask is also be very helpful.

PROCEDURES:

1) COMPUTER LAB RESEARCH Following the PowerPoint, students do research in the computer lab. Students choose a mask to use for inspiration and print it. Students decide what social issue or legends they want to represent through the mask asking what message does the mask tell?

2) DRAW IMAGE OF MASK USING COLORED PENCILS The mask is planned on paper and cut out to use as a template when they cut their clay slabs.

3) BUILD ARMATURE: Make a loose armature with wadded newspaper and masking tape. Start with a newspaper ball that's larger than a person's head. Make the ball into the desired head shape by attaching wads of newspaper for jaw, nose, and other forms. A mask may require a mouth hole that can be removed in the leather hard stage of the finished mask. Finally wrap loosely with a thin plastic bag.

4) BUILD CLAY FORMS The masks are ceramic slab construction made using a slump mold technique that students make using a plastic shopping bag and newspaper armature. Most of the facial features are pinched and pressed pieces joined together. All of the masks are made to fit the face and are hollowed out on the reverse side.

1) Wedge clay to remove air bubbles. 2) Roll out slab of clay between guide sticks (approximately 1/2 inch thick) on newsprint paper (prevent clay from sticking to the table). 3) Lay drawing on clay, trace around it, student may also trace details of drawing leaving an impression in the clay. 4) Drape clay over armature and cut clay slab to fit over newspaper armature. Finally, cut edges and smooth edges with damp sponge. 5) Add details of facial features - build up using coils, pinch and slab techniques, always and score and slip surfaces for attachment. 6) Create textures; carve in lines, patterns and shapes. Press in textures with tools and stamps (bring in found objects with interesting textures). 7) Use a pencil to poke holes in sides for hanging in line with the eyes. Reminded students to keep clay moist over night, use a plastic bag wrapping project between work sessions. If there will be several days between working, drape clay with a damp paper towels. When clay work is finished, during the leather hard stage, make sure mask and appendages are hollowed out. Handle with care during the green ware stage as the clay is brittle and very fragile.

5) REMOVE ARMATURE and allow clay to dry before firing.

6) BISQUE THE CLAY MASKS IN THE KILN When dry (green ware stage) bisque fire in the kiln at approx 1,500 degrees to harden it.

7. FINISHING: 1) Acrylic paint choices: washes, laying layers of transparent colors on the clay. Opaque acrylics, colored may also be applied. Seal with Acrylic gloss medium. Add finishing touches – for textures: raffia, horse hair, raw wool, beads and feathers. Use wire for hanging.

Evaluation: 1. Based on student discussion, compare and contrast various masks from the classroom. Were students able to express their personal message through materials/ media used in mask making masks? How did clay and added embellishments enable or inhibit the student? 2. Using Self -Analysis Rubric on clay project students determine if mask shows characteristics from Oaxacan culture? How did students use exaggeration, distortion, simplification of forms, patterns such as those found in ancient Oaxacan reliefs or other visual elements to develop meaning and symbolism in their masks?  3. Use Rubric on WAC (Writing Across the Curriculum) to determine if students integrated computer research and planning into the creation of a ceramic mask. 4. Teacher evaluation and analysis of student work, a critique meeting individually with students: using draped slab method with added coil, slab and pinch relief did students show an understanding of forming techniques? 5. Use Mask Rubric to determine if students explored a variety of media in the completion of their ceramic mask? Exhibit craftsmanship? Does the decoration help convey meaning? Does mask express a social issue?

WAC HAND OUT for Students Below:Patricia Bartels 7 th . Grade Art WAC

WRITING ACROSS THE CURRICULUM OAXACA MASKS

STUDENT’S NAME____________________________________________

Masks have been used around the world in religious and social celebrations for thousands of years. They often depict deities (gods), human, animal,

and natural spirits. It is believed that the performer wearing the mask embodies the spirit of the mask. Research different Mexican Masks and

choose one for inspiration in designing your own Mexican Mask. Make sure to PRINT AN IMAGE OF YOUR MASK. Also research the specific culture that

your mask comes from and its purpose. WAC Suggested questions:

WHERE and WHEN in Mexico was your mask used? WHO wore the mask and how is/ was the mask used? WHAT purpose does the mask serve for that culture? HOW is/ was the mask used? WHY did you choose this particular mask? HOW does the mask you made identify and represent you? DESCRIBE the visual characteristics of your mask, include: media, line,

shape, texture, color, balance, repetition, pattern, (use art vocabulary) How have you used symbolism in the mask you created?

Writing Requirements:

Typed – 1 page, double spaced, 12 pt. font, do not adjust the margins Hand Written – 1 1/2 page front & back, single spaced, do not skip lines, normal margins

Writer’s Checklist

[ ] Did I stay on the topic? [ ] Did I write in complete sentences?

[ ] Did I use correct spelling? [ ] Did I use details?

[ ] Did I meet the paper length and abide by the writing requirement?

Oaxaca’s Legends and Folktales

Oaxaca is steeped in myths and legends more commonly known as folktales. The mask makers of Oaxaca borrow themes from the region's diverse indigenous people. Folktales have blended with Spanish beliefs as the populations mixed. Animal deity, such as Chuen (the dog), and Ahau (the eagle), can be matched with similarities in animal and supernatural characters shared by Olmec, Mixtec, Zapotec, Mixe, Chantino, and Trique cultures In many cases the folk tail which included animals were once gods or deity to the locals. The artistry produced in the different villages reveals the knowledge never forgotten from their distant past. Oaxaca’s myths are often historical, based on a real event, but at other times just fanciful. These stories frequently relay a moral or lesson based on life. Oaxaca has a vast collection of myths and legends. Perhaps the best known is the Zapotec tale of the birth of fire; the mystical lighting of the Apoala trees from which the first Mixtecan man and woman emerged.

In each of these legends there are traditions revealed that range from epic to simply giving us some good advice. Whatever the purpose, these narratives are passed down from one generation to the next.

SYMBOLS and LEGENDS OF OAXACA MEXICO

Set of Symbols to share:

“Barrowed” from: Folklore Oaxaca, Mazatec, Zapotec, Mixtec, Trique, Amuzgo, Chatino, Tequistlatec, Chinantec, Chatino at: www. oaxacanwoodcarving.com /mythnatr.html SYMBOLS and LEGENDS OF OAXACA MEXICO

Great Legend to share:

LEGENDS OF OAXACA MEXICO from http://oaxaca-travel.com

THE LEGEND OF LaTona, tona is short for tonal, which is short for tonalli. (The Guardian Angel)

OAXACA MEXICAN MASKS LESSON PLANS PATRICIA BARTELS

DAY 1 of 9 DAYS 7 TH Grade Art Lesson Plan

Lesson Title: Clay – Mexican Masks (quiz)

Rationale: Students will be introduced clay vocabulary terms, and the history of Oaxacan masks. Students will write about the mask they use for inspiration (WAC Assignment).

Objectives: Students will be introduced to three different clay hand-building techniques (slab, coil, and pinch). Students will also be introduced to clay vocabulary. Students will be introduced Mexican mask making.

Materials/Resources: poster board with clay vocabulary terms, examples of Mexican Masks, WAC handout, PowerPoint created by Mrs. Bartels on Oaxacan masks will be presented and discussed.

Lesson Activities: Review clay vocabulary terms using poster board

Administer the quiz on clay terms. Have the students self- grade their quizzes. Introduce Mexican masks and the different uses for them.

Introduce the WAC, Writing Across the Curriculum, assignment that will be accompanying the in class project. Make sure there are no questions about the WAC assignment. Inform the students that they will need to be prepared to go to the Computer Lab first thing the next day.

Evaluation/Assessment: Quiz over clay vocabulary terms.

Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards

DAY 2 of 9 DAYS 7 TH Grade Art Lesson Plan

Lesson Title: Clay – Mexican Masks

Research in the Computer Lab

Rationale: Students will be introduced to the medium of clay, accompanying vocabulary and Mexican masks. Students will write about the mask they use for inspiration (WAC Assignment/ computer Lab research).

Objectives: Students will be introduced to three different clay hand-building techniques (slab, coil, and pinch). Students will also be introduced to clay vocabulary. Students will be introduced to Mexican mask making.

Lesson Activities: Through computer lab research, students will be re-introduced Mexican masks and the different uses for them. Review the WAC assignment that will be accompanying the in class project. Review procedures for Computer Lab before leaving class. Begin research in the Computer Lab.

Evaluation/Assessment: Rubric for grading the WAC.

Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards

DAY 3 of 9 DAYS 7 TH Grade Art Lesson Plan

Lesson Title: Clay – Mexican Masks (sketch of mask for hand build)

Rationale: Students prepare a 2D drawing which they will later make into a 3D sculptural mask. Students will plan the mask reflecting back on early Oaxacan designs, patters and images.

Objectives: Students will design Mexican masks 2D using resources in preparation for the 3D clay mask making.

Materials/Resources; Drawing Paper and colored pencils, photo from Computer Lab

Lesson Activities: Review Oaxacan masks and the different uses for them. Review the WAC assignment that will be accompanying the hands on class project. Make sure there are no questions about the WAC assignment. Have the students use the image of their mask to start a line drawing of their mask – ask them to label the parts with the specific technique they will be using (slab, coil, pinch). Remind them that they will have to have this drawing finished prior to receiving clay.

Evaluation/Assessment: Grade sketches for Mexican Masks.

Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards

DAYS 4 through 7 of 9 DAYS 7 TH Grade Art Lesson Plan

Lesson Title: Clay –Mexican Masks (hand build)

This step may include several more working days to complete!

Rationale: Students will be introduced to the medium of clay, accompanying vocabulary and Mexican masks. Students will write about the mask they use for inspiration (WAC Assignment).

Objectives: Students will be introduced to three different clay hand-building techniques (slab, coil, and pinch). Students will also be introduced to clay vocabulary. Students will be introduced to Mexican mask making.

Materials/Resources: WAC handout MATERIALS FOR CLAY HANDBUILD: Mask handouts and computer research photos, 9 x12 Newsprint paper, Pencils, Scissors, Clay, Recycled Paper, Plastic bags, Canvas cloth, guide sticks, Rolling Pins, Slip dishes, clay Modeling Tools, found object with interesting textures, moist paper towels, and drawing of their mask from the day before.

Lesson Activities: Review clay terms and instructions for beginning with clay –demonstrate if necessary for review. Have the students use the drawing of their mask to start building their specific mask – if the student does not have their mask drawing done they will not receive clay to begin. Build basic armature for slumping clay slab.

Give a brief introduction to Mexican Masks and discuss this assignment with the class.

Give specific instructions on how to properly use clay including clean-up directions. Walk around and make sure all the students understand what they are doing. Students should then be working on their mask.

Evaluation/Assessment: Observance of students while they use clay, Progress grade on green ware clay, Final Rubric evaluation of clay project when completed.

Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards

ALLOW CLAY TO DRY AND FIRE GREENWARE

DAYS 8 and 9 of 9 Lesson Title: Painting Clay –Mexican Masks

Rationale: Students will be introduced to the medium of acrylic paint to complete Mexican masks.

This step may include several more working days to complete!

Students will write about the mask they use for inspiration (WAC Assignment).

Objectives: Students will be introduced to acrylic paint and the varied techniques including washes and opaque layering. Students will add decorative patterns and designs which relate to studies of ancient Oaxacan art. Students will be glue features and materials to the mask to add to the interest such as fake or natural fur, beads, and other found objects that add to the mask making. Finally students will wire the masks for hanging.

MATERIALS FOR FINISHING THE CLAY: Acrylic Paint (assorted colors), Paint Markers, Permanent Sharpie Markers, Brushes, Water dishes, Wire for hanging (old Telephone Wire works great), jute, Yarn, leather strips and assorted pieces, Bead Assortment, Animal/horse hair or fake fur fabric, Feathers, Materials from nature Glue, hot Glue Gun, Glue Sticks, and assorted Brushes.

Lesson Activities: Discuss options for decorating the mask. Instruction on use of acrylic paints as a permanent water base media. Discuss safe use of the hot glue gun. Walk around and make sure all the students understand what they are doing. Students should then be working on their mask.

Evaluation/Assessment: Observance of students while they use clay, Progress grade on green ware clay, Final Rubric evaluations of clay project when completed. Student will complete a Rubric Self- Evaluation of mask making project as well as teacher rubric evaluation attached.

Standards: 7.1.1, 7.3.3, 7.8.2, 7.9.2 National Art Standards

Created using RubistarEvaluation Making A Mask : Mexican Mask Making, Oaxaca

To be used by student for self-evaluation and teacher for evaluationTe

acher Name: Mrs. Bartels Student Name:     _______________________________________________

CATEGORY 4 3 2 1 Score Creativity Totally original

design, no element is an exact copy of designs seen in source material.

Most of the mask elements are unique, but 1 element may be copied from source material.

Some aspects of the mask are unique, but several elements are copied from source materials or other students.

The mask is a copy of a mask seen in source material or one made by another student (80% or more of elements are copied).

 

Attractiveness/Craftmanship The mask shows that the creator was took great pride in his/her work. The design and

The mask shows that the creator took pride in his/her work. The design and construction look planned.

The design and construction were planned. The item has several flaws (unwanted

The mask looks thrown together at the last minute. It appears that little design or planning was done.

 

construction look carefully planned. The item is neat (free of unwanted bumps, drips, marks, and tears).

The item has a few flaws (unwanted bumps, drips, marks, tears), but these do not detract from the overall look.

bumps, drips, marks, tears), that detract from the overall look.

Craftsmanship is poor.

Details Mask details are all easily viewed and identifiable from across the classroom.

Most mask details are easily viewed and identifiable from across the classroom.

Most mask details are easily identified when the mask is seen close-up.

Many mask details are too small or are not clear.

 

Durability The mask was built to last through multiple performances.

Most of the mask is sturdy, but there are a couple of pieces that might need extra care when wearing it.

The basic structure of the mask is sturdy, but many of the details are fragile.

The mask is flimsy and falls apart easily. It may not last for one wearing.

 

Sources The student has 5 or more sources of inspiration correctly cited.

The student has 3-4 sources of inspiration correctly cited.

The student has 2 sources of inspiration correctly cited.

The student has fewer than 2 sources of inspiration correctly cited.

 

Knowledge about Culture/Story

The student can answer 3 questions correctly about how the mask relates to the culture or story being studied.

The student can answer 2 questions correctly about how the mask relates to the culture or story being studied.

The student can answer 1 question correctly about how the mask relates to the culture or story being studied.

The student does not understand how the mask relates to the culture or story being studied.

 

Knowledge of Mask Construction

The student can clearly describe the steps used to make his/her mask. The student can accurately

The student can clearly describe the steps used to make his/her mask.

The student can describe most of the steps used to make his/her

The student has great difficulty describing how his/her mask was constructed.

 

point out how this process was similar or different from mask-making in the culture being studied.

mask.

Time and Effort Class time was used wisely. Much time and effort went into the planning.

Class time was used wisely. Student could have put in more time and effort at home.

Class time was not always used wisely.

Class time was not used wisely and the student put in no additional effort.

 

Created using Rubistar:

WAC / Writing Across the Curriculum

Analysis of A Work of Art : Mexican Mask Making, Mrs. Patricia Bartels

Student Name:     ________________________________________

CATEGORY 4 3 2 1 Description Makes a complete

and detailed description of the subject matter and/or elements seen in a work.

Makes a detailed description of most of the subject matter and/or elements seen in a work.

Makes a detailed description of some of the subject matter and/or elements seen in a work.

Descriptions are not detailed or complete.

Analysis Accurately describes several dominant elements or principles used by the artist and accurately relates how they are used by the artist to reinforce the theme, meaning, mood, or feeling of the artwork.

Accurately describes a couple of dominant elements and principles used by the artist and accurately relates how these are used by the artist to reinforce the theme, meaning, mood, or feeling of the artwork.

Describes some dominant elements and principles used by the artist, but has difficulty describing how these relate to the meaning or feeling of the artwork.

Has trouble picking out the dominant elements.

Interpretation Forms a somewhat reasonable hypothesis about the symbolic or metaphorical

Student identifies the literal meaning of the work.

Student can relate how the work makes him/her feel personally.

Student finds it difficult to interpret the meaning of the work.

meaning and is able to support this with evidence from the work.

Evaluation Uses multiple criteria to judge the artwork, such as composition, expression, creativity, design, communication of ideas.

Uses 1-2 criteria to judge the artwork.

Tries to use aesthetic criteria to judge artwork, but does not apply the criteria accurately.

Evaluates work as good or bad based on personal taste.