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Lesson Plan (ARTE 344)

Student Teacher: Lily Picot Title of Lesson: Exquisite Animal Collage Swap: A Lesson in Food Sustainability Big Idea: Students will learn that art can be used to discover the realities of unsustainable animal farming by creating a collaborative animal collage in the style of the “Exquisite Corpse”. Social Issues / Concepts of the Lesson / Essential Questions:

• How can art be used as social commentary? • How can art function to engage youth cultures in social activism? • How can art activism draw attention to changes for the better that need to take place

concerning animal farming practices? • How does student engagement foster a sense of responsibility for informing citizens

about the negative aspects of meat production in the United States? • How can a collaborative, animal collage project instill a sense of responsibility to

protect animals, and the environment in adolescent students? List of Concepts of Art, Artists, and Culture Involved in this Lesson:

• Alexis Rockman, “The Farm”, and Human Relationships to Food Production • Nancy Standlee and Collage Techniques • Surrealist Artists and The Exquisite Corpse swapping game

List of Teaching Resources:

• Visual board with both art examples and bulleted points about social issue • Powerpoint presentation with relative information about factory farming practices, and

artists as social commentators. • Various books on collage techniques for student reference. • Teacher example of project, along with examples of interesting collage materials.

Class Information:

Grade Level(s): 8th Number of students: 9 Time available for this lesson: Three Class Periods, 40 minutes each Class Location: St. Mary’s School - Science Lab Teaching dates: February 23rd, 28th, and March 8th - 2012

1. Objectives: 1.1 Conceptual Objectives: 1. Given facts about the nature of animal husbandry as they pertain to food production in the United States, students will effectively explain the importance of being aware of how and where the food they consume is produced. 2. Given an in depth class discussion about themselves as food consumers, students will explain clearly how their own, future actions might

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contribute to positive change. 3. Given examples of artworks by Alexis Rockman, students will explore the use of art as social commentary and will explain thoughtfully their own interpretations of his 2000 painting, “The Farm”. 4. Given examples of Surrealist artists “Exquisite Corpse” drawings, students will identify effectively the benefits of collaborative art making. 1.2 Skill Objectives: 5. Given examples of animal collage artworks by Nancy Standlee and assorted paper materials, scissors, and glue, students will thoughtfully map out an animal template that contains a visually complex color scheme. 6. Given assorted collage materials, printed text, oil pastels, scissors, and glue, students will skillfully apply collage materials and original designs to animal templates in a way that expresses sentiments about the nature of that particular animal’s role in food production. 7. Given precut and marked foam core pieces, scissors, and glue, students will carefully cut collaged animals into thirds (along marked lines) and glue each third to a piece of foam core within the marked sections. 8. Given a brief discussion on formal artistic elements and democratic decision making within a group, students will conscientiously decide how the individual animal body parts will be grouped into whole, animal forms and displayed at the St. Mary’s art show. 2. Assessment Criteria:

1. Students actively engage in conversation about food production by asking questions and sharing personal thoughts about what happens on animal farms. 2. Students successfully articulate the types of animal foods they consume now and how they could make different choices to elicit positive change in the future. 3. Students actively discuss the role of artists as social commentators. 4. Students react to imagery of “Exquisite Corpses” by actively discussing whether or not this collaborative method of art making is beneficial. 5. Students thoughtfully plot out the backgrounds of templates, exhibiting attention to unity and dynamic color schemes. 5. Students carefully apply collage materials to templates in a way that demonstrates their understanding of that animal’s role in food production. 6. Students carefully cut and glue animal parts onto foam core along pre-marked lines. 7.  Students  respectfully  participate  in  discussion  about  how  the  collective                            animal  parts  should  be  arranged  and  displayed  for  final  viewing.    

3. Learner Characteristics:

3.1 Developmental Rationale The wide array of materials, processes, and collaborative elements of this project may benefit students of this age group, since 13 and 14 year olds learn well in cooperative

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groups and respond well to academic variety and challenge (Wood, 2007, p. 165). According to Wachowiak (2009), students of this age group are often unusually sensitive to problems in the world, but do not know how to help (p. 113). They are also concerned about questions surrounding morality and personal values and may benefit from interpreting artworks to help themselves develop a moral code (pg. 114). Unsustainable food production impacts students’ lives and the lives of others in many different ways. It is a social issue that is gaining attention and so, it makes for an interesting and fitting topic for discussion and self-expression through art making. Cognitively speaking, fourteen year olds are very aware of global problems, and feel invested in finding solutions and participating and learning more (Wood, 2007, p. 175). By recognizing that art can serve as social commentary as well as a means of self-expression, students can begin to take a moral stand, and adopt new sets of values or learn how to better defend their existing sets. Although the issue of food production is often wrought with controversy, dialogues about consumer influence can be very effective within this age group, because students are able to employ abstract reasoning, especially as it pertains to cause and effect (p. 175). By examining themselves and others as consumers, students can further understand an important role that they play in society and can begin to answer their own questions about how they can respond to one of the world’s greatest problems – how to maintain a sustainable and humane food supply. 3.2 Students with special needs This lesson is relatively adaptable for students with special needs. Depending on what accommodations may be needed, the lesson might be altered by: precutting more pieces for the collage, reading aloud more of the facts rather than having students read themselves, and having students work in partnerships for further assistance. Adaptive scissors may be employed for students with physical limitations.

4. Literature and References 4.1 Rationales of this lesson Factory farming is an industry that regards animals and the natural world as mere commodities to be exploited for profit. In animal agriculture, this way of thinking has led to institutionalized animal cruelty, serious animal and human health risks, genetic modification, resource depletion, and devastating environmental destruction (sustainabletable.org – The Issues, n.d). The students of St. Mary School are most likely residents of DeKalb County, which is well known as a farming community. Students who live here have inevitably seen animals grazing in local farm pastures and have also most certainly smelled the toxicity of larger farming operations. It is my hope that after this lesson, they will be able to reflect critically about sustainable and unsustainable food production practices in their own communities and beyond. In this lesson, I will expose students at St. Mary school to facts about factory farming, facilitate discussions about consumer practices, and offer a wide array of media to allow students to reflect upon and create artwork that meaningfully addresses the issues being raised. Together, we will examine the artwork of Alexis Rockman, as it relates to issues of food production. (viewingspace.com-Alexis Rockman, n.d.). His paintings explore the threats that agriculture, breeding, and artificial selection pose to nature and question the roles that humans play in these threats. We will also study the artwork of Nancy Standlee (nancystandlee.com- Collage page), who celebrates the beauty of farm animals by depicting them through colorful, mixed media collages.

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4.2 Background of the Topic The Environmental Protection Agency defines a CAFO as, “An agricultural operation where animals are kept and raised in confined situations. CAFOs congregate animals, feed, manure and urine, dead animals, and production operations on a small land area. Feed is brought to the animals rather than the animals grazing or otherwise seeking feed in pastures, fields, or on rangeland” (EPA.gov, What is a CAFO?, n.d). The living conditions within most factory farms are appalling. Confining animals indoors as closely together as possible exposes them to high levels of toxins from decomposing waste. To protect them, and us, from diseases inherent in such conditions, animals are administered antibiotics, which contribute to problems with antibiotic-resistant bacteria (farmsanctuary.org, Factory Farming, n.d.). In almost every stage of raising animals on a factory farm, animals suffer unnecessary mutations and cramped, stressful living conditions. Scientists have even linked animal stress to food quality and safety. When an animal is subjected to stress and pain, it is more prone to disease and can produce lower quality meat, milk, or eggs (farmsanctuary.org, Factory Farming, n.d.). As the American population increasingly distances itself from direct connections between farms and food, supermarkets and often fast food restaurants have become the “source” of our diets. This can be a dangerous and apathetic way to think about food. Over 90% of American meat comes from factory farms, technically known as Confined Animal Feeding Operations (CAFO’s), and two percent of livestock farms now raise 40 percent of all animals in the United States (sustainabletable.org, The Issues, n.d.). It is easy for Americans to support this industry, because it is one that fosters convenience and low prices. What most consumers do not think about, however, are the hidden dangers to their own safety and the catastrophic impacts on the economy and the environment. Michael Pollen (2006), a University of California Berkeley professor, and author of several, successful books about food sustainability, expounds on some things to bear in mind when considering factory farming, “Cheap industrial food is cheap only because the real costs of producing it are not reflected in the price at the checkout. Rather, those costs are charged to the environment, in the form of soil depletion and pollution (industrial agriculture is now our biggest polluter); to the public purse, in the form of subsidies to conventional commodity farmers; to the public health, in the form of an epidemic of diabetes and obesity that is expected to cost the economy more than $100 billion per year; and to the welfare of the farm- and food-factory workers, not to mention the well-being of the animals we eat”. 4.3 Information about related artists, styles, movement or cultures a. Alexis Rockman is a successful painter from New York whose artworks often depict how our culture perceives and interacts with plants and animals, and the role culture plays in influencing the direction of natural history. He often mixes fantasy and reality to project “what if” scenarios that provoke controversy and discussion about the future of agriculture and genetic modification. b. Nancy Standlee is a multi-media artist from Texas whose current works feature unique, collage techniques using handmade papers, text clippings, maps, and thinned oil paints. Her subject matter is heavy in animal forms, specifically farm animals. c. The term “Exquisite Corpse” refers to a collective game played by Surrealist artists during the late 1920’s whereby each participant would

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write a line of poetry, fold over the paper, and pass it on to the next participant. In the end, there would result a collaborative “poem”. One example of a line produced by this game was, “The exquisite corpse will drink the young wine”- hence the game’s namesake. Eventually the game was adapted as an art form whereby participants would draw a body section on a pre-folded piece of paper and would then cover and pass it to the next person who would draw a different body section, eventually resulting in a strange, new creature. 4.4 Art Terms/Vocabulary

a. Multi-media art- Art that includes the application of more than one medium. b. Unity- occurs when all of the elements of a piece combine to

make a balanced, harmonious, complete whole. c. Harmony- A pleasing arrangement of color and parts d. Factory farms, “officially” called Concentrated Animal Feeding Operations (CAFOs), are agricultural operations where animals are kept and raised in confined situations. CAFOs congregate animals, feed, manure and urine, dead animals, and production operations on a small land area. Feed is brought to the animals rather than the animals grazing or otherwise seeking feed in pastures, fields, or on rangeland (epa.gov, n.d.). Confining many animals in cramped quarters requires antibiotics and pesticides to slow the spread of disease and pestilence that occurs through these crowded living conditions. e. Sustainable Farming- A way of raising food that is healthy for people and animals, does not harm the environment, is humane for workers and respects animals, enhances rural communities.

4.5 Description of visual examples a. Powerpoint images of Alexis Rockman’s painting, “The Farm”. b. Powerpoint images of Nancy Standlee’s Animal Collages. c. Powerpoint examples of “Exquisite Corpse” art works. d. Visual board with pictures of CAFO’s, bulleted facts, teacher examples, and collage how-to’s. 4.6 List of references

Alexis Rockman : The Official Site. (n.d.). Retrieved February 22, 2012, from http://www.alexisrockman.net/

Concentrated Animal Feeding Operations (CAFOs) - What is a CAFO (n.d.) US Environmental Protection Agency. Retrieved April 20, 2012, from

http://www.epa.gov/region07/water/cafo/index.htm Exquisite Corpse. (2008, June 15). Exquisite Corpse. Retrieved February 20,

2012, from http://www.exquisitecorpse.com/definition/About.html Factory Farming, What is a Factory Farm? - The Issues . (n.d.). Sustainable Table. Retrieved April 20, 2012, from

http://www.sustainabletable.org/issues/factoryfarming/ Farm Sanctuary | Watkins Glen, NY. (n.d.). Farm Sanctuary | Watkins Glen, NY.

Retrieved April 20, 2012, from http://farmsanctuary.org/issues/factoryfarming/index.html

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Nancy Standlee Artist Texas Contemporary Mixed Media Collage Art. (n.d.). Nancy Standlee Artist Texas Contemporary Mixed Media Collage Art. Retrieved February 21, 2012, from http://nancystandlee.com/

Pollan, M. (2006, June 4). Mass Natural - New York Times. New York Time Magazine. Retrieved April 20, 2012, from http://www.nytimes.com/2006/06/04/magazine/04wwln_lede.html?_r=1&oref=slogin

Viewing Space: Alexis Rockman. (n.d.) Retrieved April 25, 2012, from http://www.viewingspace.com/genetics_culture/pages_genetics_culture/gc_w02/gc_w02_rockman.htm

Wachowiak, F. (2009). Emphasis on art: a qualitative art program for elementary and middle schools (9th Ed.) New York: Allyn & Bacon, Inc.

Wood, C. (2007). Yardsticks: children in the classroom ages 4-14. Turner Falls, MA:Northeast Foundation for Children

5. Integration/Connecting Links 5.1 Idea mapping 5.2 Daily/Ordinary objects Containers from fast food restaurants to elicit discussion about roles as food

consumers. Containers can be cut up and used as part of the collage. 5.3 Literature: “Teen Activist Packets” distributed after the lesson for further Information on how students can respond to this social issue.

6. Looking at and talking about ART

Alexis Rockman – “The Farm, 2000 6.1 What do you see here? (“Weird looking farm animals.” “A square cow” “ A chicken with too many wings”, etc…)

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6.2 How does looking at this make you feel? Why? (“Weird”, “Funny”, “Uncomfortable”) 6.3 What do you think the artist was trying to communicate? (“That the animals are not natural.” “That the animals are being mistreated.” “That the animals are evolving into something new.”) 6.4 What does this piece of artwork say about the future? (“That animals will become odd looking and unhealthy if we keep interfering with them.”” That we have the power to change nature as we want to.”) 6.5 Where might our own actions as humans and consumers fit into this artwork? (“That our choices affect nature.” “That we change animals to suit us.”)

7. Illinois State Goals

7.1 Goal # 25.A. Through observation, discussion, interpretation and analysis, students learn the “language” of the arts. Section 3e. Analyze how the elements and principles can be organized to convey meaning through a variety of media and technology. In this Lesson: Students will observe, discuss and interpret works of art that utilize different artistic principles to achieve meaning, such as Nancy Standlee’s collaged animal forms. They will also learn how their own works of art can be used to convey meaning by using mixed media applications and organizing finished pieces in a strategic way. 7.2 Goal # 26. Students acquire skills to produce visual arts. Section B.3d. Demonstrate knowledge and skills to create 2 and 3 dimensional works and time arts that are realistic, abstract, functional and decorative. In this Lesson: Students will create a work of art that demonstrates the knowledge and skills of applying mixed media art materials to a surface to achieve a work of art that is abstract, decorative and functional as a learning tool.

7.3 Goal # 27. Artists are influenced by- and influence- the times and places in which they live and work.

Section B.3. Know and describe how artists and their works shape culture and increase understanding of societies, past and present. In this Lesson: Students will study and discuss the work of artist, Alexis Rockman, and how his art has influenced discussion and increased understanding about human relationships to animals and food production.

8. Media/Art Materials Needed and Organization of Supplies 8.1 Day One: (Materials arranged neatly at the front of the room)

Assorted Paper Materials for Collage (Arranged by color) (10) Translucent Paper Animal Templates

(10) Fact Sheets w/Zip lock Bag Attached (One for Each Animal) (10) Baskets for distributing collage Materials (10) Glue Sticks and Paper Cups With Glue and Brushes (10) Scissors

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(10) Zip-lock bags w/paperclips Newspaper Sheets

8.2 Day Two: (Materials arranged neatly at the front of the room)

Assorted Paper Materials for Collage Student Animal Templates Zip-lock Bag w/Fact Sheet and Collage Materials (10) Baskets for Distributing Collage Materials (10) Glue Sticks and Paper Cups With Glue and Brushes (10) Scissors Tempera Paint Cakes and Water Cups/Brushes Oil Pastels Assorted Markers (Fine Tip and Broad) Newspaper Sheets

8.3 Day Three: (Materials arranged neatly at the front of the room) Assorted Paper Materials for Collage Student Animal Templates Zip-lock Bag w/Fact Sheet and Collage Materials (10) Baskets for Distributing Collage Materials (10) Glue Sticks and Paper Cups With Glue and Brushes (10) Scissors Oil Pastels Assorted Markers (Fine Tip and Broad) Newspaper Sheets

(30) Precut Black Foam Core Panels ************************************************************************* 9. Instructional Procedures with Time Frame

9.1 DAY ONE 9.1.1 Introduction (12 minutes) (Students should be instructed to choose the same seat for each class period.) TOPIC QUESTIONS:

• Has anyone here heard of the term “factory farm”? (Yes or No.) • What do you think that means? (A place where animals are killed for meat.) • Do you think it’s important to know how your food is produced? (Yes/No)

Why or Why not? (Because something gross or wrong might be happening where you can’t see it.)

ASSOCIATION QUESTIONS: • Ever since we were little, we’ve looked at storybook pictures of farms and

farm animals. What do you think of when you think of animal farms? (Cows in a field. Sheep grazing.) Do you think that what is in your mind represents what is actually happening? (Yes, because we see that here in DeKalb.) When you buy meat at the grocery store, do you think it comes from DeKalb? (Yes/No)

• The biggest clients of factory-farmed products are fast food companies and prepackage food companies. Can you give me some examples factory farm products you might have eaten this week? (McDonalds, Burger King, Sloppy

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Joes at school, etc…) • Sometimes food is really tasty, but it can be oddly shaped or formed. Does this

ever make you feel kind of weird? Can you give me some examples of times when you felt confused about where your food came from? (Hot dogs, chicken nuggets.)

VISUALIZATION: • When considering the painting, “The Farm”, what might Alexis Rockman be

saying about the future of animal farming? (That animals will be oddly shaped in the future. That humans will keep modifying new animals for themselves.)

• Who here has an example of a disturbing image they have seen regarding animal farming? (I saw pictures of farm animals being abused.)

• Can you think of some ways that making art could influence the way people think about how animals are raised? (Seeing pictures or paintings about animal abuse might make people mad and demand change.)

TRANSITION: • The project we are going to make today just might be a way that we can

change the way people think about how animals are raised while allowing you to learn new facts as well.

• So after viewing the examples in this presentation and on the visual board, I am going to assign you a factory farm animal to learn about and make an art piece out of.

• This is what our finished pieces are going to look like. (Weird! What is that?! Cool!)

• So you may notice that this is one weird looking creature. The reason for this is that once you finish your art pieces, we are going to cut them into thirds and trade body parts to make a new animal. Who can tell me which animals were used here? (A rabbit, a bee, and a turkey or chicken.)

• Our new creatures might also remind us of Alexis Rockman’s strange farm animals from the painting, “The Farm”.

9.1.2 Demonstration and Art Making Activities (20 minutes)

Instructor Activities Student Activity DAY ONE: Set Up: Arrange collage materials at the front of the room, along with empty baskets for gathering supplies with. Demonstration: Show students teacher example and go over the interchangeability of the panels, the boundaries of the “matching lines”.

Students will listen and ask questions about the process.

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Explain the transparent nature of the template and how the collage materials will be applied to the front, and cut out from the back. (Lines will remain visible.) Demonstrate how to use larger collage pieces at first, overlapping the edges and using torn pieces. Emphasize patterns and dynamic color schemes. Discuss the possibilities of monochromatic or complementary colors.

Randomly assign students an animal template and a corresponding fact sheet. (Encourage them to alter the shape of the animal as long as the bold lines that cross the marked borders still match up.)

Give each student a basket to collect collage materials, pencils, glue sticks, and scissors in. Have them begin mapping out and gluing down collage pieces.

Students will listen and ask questions about the process.

Students will listen and ask questions about the process.

Students will remain seated while they receive templates. They will write their names on the template in an obvious place. Students will line up with baskets to pick out collage materials. Students will begin altering and collaging templates, taking care to choose a dynamic color scheme, overlap edges, and thoroughly glue down pieces.

9.1.3 Lesson Closure and Clean Up Activities (8 minutes)

Instructor Activities Student Activity Instruct students to put text cut outs and chosen collage materials into zip lock bags and to make piles out of scraps for recycling.

Pass out paperclips and have each student write their names on their zip locks and templates with a sharpie marker and clip the baggie to their templates.

Assign students to come around and pick up scissors, pencils, and scraps for recycling.

After students sit down, ask if each student can give an example of a new fact about animal farming that they learned today.

Remind them what they will be doing next class and to think about what they’ve learned as they make consumer choices.

Students will carefully place her or his cut outs into the zip lock bag and clean up work areas.

Students will paperclip the bag to the template and mark both with their own names. They will leave template in place for instructor to pick up.

Students will assist peers in the gathering of materials.

Students will raise hands to give examples of new facts that they have learned. Students will ask questions and then line up, remembering to grab belongings, and leaving their templates at their seats.

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*************************************************************************** 9.2 DAY TWO 9.2.1 Introduction (6 minutes) (Students should be instructed to choose the same seat for each class period.) TOPIC QUESTIONS:

• What does it mean to be a consumer? (A consumer is someone who buys things.)

• Are we at all responsible for the damage that is caused by unsustainable food practices? (No. We are not the farmers. OR Yes-we buy the products.)

ASSOCIATION QUESTIONS: • As food consumers we make choices about what we want to eat. Can you think

of any examples where you have felt like you knew it was sort of “morally” wrong to eat something, but you did it any way? Name one. (Sometimes I feel guilty about eating cows because they are so cute.)

• As humans, do we have a responsibility to treat animals humanely? Why or why not? (It is cruel to treat animals meanly. It is not ok for them to suffer.)

VISUALIZATION: • When considering the collage art of Nancy Standlee, what stands out to you

visually? (The colors…The words, etc.) • How can you adapt some of these techniques to get your own messages out

about sustainable food production? (Idea mapping here…) TRANSITION:

• Today, we are going to carefully and thoughtfully add different media to our templates to convey messages about how animals are treated and what our own roles may be in their production as food for us.

• We will use our text clippings from last week and finish up any larger collage areas that we missed.

9.2.2 Demonstration and Art Making Activities (26 minutes)

Instructor Activities Student Activity

DAY TWO:

Set Up: Arrange collage materials at the front of the room, along with empty baskets for gathering supplies with.

Lay out templates (w/zip lock bags) at students’ seats on top of newspaper sheets.

Demonstration: Show students teacher example and discuss adding additional media to paper collage, such as text, (handwritten or typed), oil

Students will return to original seats. Students will listen and ask questions about the collage process.

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pastel, marker, paints, etc.

After intro, students will line up at front of the room and take a basket to fill with collage materials, a glue stick, scissors, and any other media they’d like to include. Encourage students to choose text and writings that will really communicate what is that they want to convey about the way their his or her assigned animal is treated on a factory farm.

Instruct students to use a variety of collage materials and other media for visual interest. Remind them to use plenty of glue and to smooth everything down carefully.

Students will gather materials and return to their seats.

Students will think about what they want to communicate through text and writing and will apply it applicably.

Students will choose a variety of materials for visual interest and will carefully adhere and smooth them down.

9.2.3 Lesson Closure and Clean Up Activities (8 minutes)

Instructor Activities Student Activity Instruct students to leave their finished works at their seats, while cleaning up his or her area and lining up at the sink to wash hands.

Assign several students to come around with baskets to collect supplies. After students sit down, ask if each student can give an example of a new fact about animal farming that they learned today.

Remind them what they will be doing next class and to think about what they’ve learned as they make choices about what they consume.

Students will clean up perspective areas and will wash hands.

Students will assist in the gathering of supplies. Students will raise hands to give examples of new facts that they have learned.

Students will ask questions and then line up, remembering to grab belongings, and leaving their templates at their seats.

*************************************************************************** 9.3 DAY THREE 9.3.1 Introduction (6 minutes) (Students should be instructed to choose the same seat for each class period.)

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TOPIC QUESTIONS: • How do you think we, as consumers, can help change the food industry? (We

can buy foods that do not come from factory farms. We can eat less meat.) • How do you think that artists can influence social issues like this? (Artist can

show pictures and paintings of what is actually happening to make people aware.)

ASSOCIATION QUESTIONS: • As food consumers our dollars speak the loudest. Can you give me some

examples of how our dollars might be used to support a more sustainable food system? (We can buy our food from smaller, local farms. We can grow our own gardens.)

• Just because you are young doesn’t mean that you don’t have the power to influence social issues yourselves. Can you give me some examples of how the exhibition of our animal art might impact this issue locally? (Our parents and teachers will see what we’ve learned and might choose to do something about it.)

VISUALIZATION: • When considering these images of “exquisite corpse” drawings, what do you

see? What do you think of them? (They are weird and funny. Their body parts don’t match up…)

• Can you see how adapting this style to our animal projects might serve different purposes? In what ways? (It will make the animals look more interesting. Each finished piece will have lots of information on it.)

TRANSITION: • Today, we are going finish up our collages and then cut out and add our

templates to the “swap” boards. If we have time, we will even vote on which “Exquisite Animal Parts” pair up the best. Otherwise, I will put them together in an interesting way for the show and then you will get to be surprised.

• After the show, you will get to take home the set of panels that has your animal’s head on it.

• Any questions? 9.3.2 Demonstration and Art Making Activities (29 minutes)

Instructor Activities Student Activity DAY THREE: Set Up: Stack foam core boards at the front of the room. Arrange collage materials at the front of the room, along with empty baskets for gathering supplies with.

Lay out student templates at their seats on top of newspaper sheets.

Demonstration:

Students will return to original seats.

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Show students teacher example and explain how to neatly line up and glue collages to foam core boards.

After intro, students will line up at front of the room and take a basket to fill with collage materials, a glue stick, scissors, and any other media they’d like to finish up with.

Instruct students to carefully cut out their collaged templates, following lines on the backside, and to cut into thirds along the dotted lines.

Pass out foam core pieces- A front, middle, and back. Have students pencil their names on the back of each piece.

Instruct students to carefully glue down each template section to a correspondingly marked foam core piece, taking care to smooth down the edges.

If time allows, hold up different combinations of body parts and have students vote on which they like best.

Students will listen and ask questions about the process.

Students will gather materials and return to their seats to finish up collage work.

Students will carefully cut out templates and separate into thirds.

Students will pencil names onto the back of the foam core pieces.

Students will carefully glue and smooth down each template to corresponding foam core piece, lining up edges. Students will makes suggestions, and vote on the best combinations of animal parts.

9.3.3 Lesson Closure and Clean Up Activities (5 minutes)

Instructor Activities Student Activity Instruct students to leave their finished works at their seats, while cleaning up his or her area and lining up at the sink to wash hands.

Assign several students to come around with baskets to collect supplies. After students sit down, engage in a discussion about ways that they can contribute to sustainable food practices. Pass out teen activist packets.

Remind them that the art pieces will be displayed at St. Mary’s with three different body parts and that they get to take home the piece with the HEAD that they made. If they would like to trade pieces, that is up to them, but only AFTER the show.

Students will clean up perspective areas and will wash hands.

Students will assist in the gathering of supplies. Students will raise hands to give examples of ways that they might be able to contribute, and will receive teen activist packets to take home.

Students will ask questions, offer suggestions, and then line up, remembering to grab belongings, and leaving their finished art pieces at their seats.

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10.0 Teaching Tips 10.1 Arrange collage materials in baskets, according to color, to allow for organized and thoughtful student choice. 10.2 Establish table systems and give students baskets for themselves to retrieve materials in. Let them retrieve materials, one table at a time. Also give them a zip-lock bag to place collage bits into when they are finished. 10.3 Remind students to generously apply glue to the edges of each collage piece and to smooth it down hard with thumb BEFORE adding another piece. 10.4 Approach discussions about animal cruelty with care. Monitor student comfort levels and adjust pace and content accordingly. 10.5 Be sure to allow room in conversation for student’s own feelings and questions about how meat is produced. Do not advocate one way or another, but try to identify with how they are feeling, while strengthening awareness about the issues. 11. Critical Reflections Surprises were plentiful for me during both of my teaching experiences at St. Mary School. My lesson with the eighth grade students presented fewer surprises, as my previous experience with this age group is more plentiful, and so their actions were more predictable. I was surprised however, at how genuinely taken aback the students were to learn about the happenings at factory farms. They seemed not to have known much of anything about where the meat they eat actually comes from, and how it is produced. I guess I expected that older students would have had some previous if incomplete understanding. Only one of the students had any prior knowledge of industrial farming practices. Most of my “surprises” happened with the fourth grade students. The subject material was too heavy for one of the students to handle. She broke down in tears during our discussion. Truthfully, I was less surprised by the reactions of the students and more surprised at my own lack of predictions for this kind of response to begin with. Responding to important social issues has always been at the heart of my family values and practices. Although I knew that it would be a sensitive issue to breach with younger populations, I was surprised at how much I underestimated the impact this particular lesson would have on the younger group of students. It was a jarring experience for all of us, but one that I will certainly learn from in terms of preparing and adjusting my practice for my specific audiences. I feel that student responses were outstanding in both classes. I had very few bored or complacent students. The majority was engaged with both the topic and with the artwork. I had no behavioral issues whatsoever, in either classroom. Students in both classrooms were respectful and, for the most part, stopped talking and listened when I spoke. This was especially true of the fourth graders, and their group was twice the size of the eighth grade group, at eighteen students. Almost all students understood and followed directions well.

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The dialogue about both the social issue and the artwork was rich in both classrooms. The eighth grade group did a great job interpreting Alexis Rockman’s painting and asking relevant questions. They were able to make strong connections, with little pushing, towards the dangers of human manipulation of nature and inhumane farming practices. They were curious about industrial farming and asked plenty of questions about the images and practices we discussed. Thoughtful and emotional responses were evident in the student work. The fourth grade group was also very engaged in the topic, asking questions and expressing sentiments about it. This group was also very conscientious about the art making process, seeking approval, and expressing concerns about “what looked good” in terms of the collage process. I was pleased that both groups made such great efforts to complete the artwork in meaningful ways, paying close attention to lively and repeating color schemes, and in most cases, careful craft. The best incidences of problem solving with the eighth grade group were logistical ones. I realized that I would need to have a way to redistribute all of the materials quickly after the first class. I employed zip-lock bags with the student’s name on the outside at the end of the first class. These made things go much smoother in later sessions. For the fourth grade class, my problem solving efforts were focused on reestablishing a positive environment for the students after a tense opening session. I feel like I successfully averted a lasting negative vibe by keeping an upbeat attitude and redirecting the focus of the lesson on celebrating farm animals rather than dwelling on hard facts. I feel like my organizational efforts were effective. The use of small baskets for materials made distribution and collection a breeze. It also made it easier for me to take inventory of what I would need for each session. I feel that my time organization was strong, considering the few and brief class periods. I felt like I was on track most of the time, and became increasingly better at time management. Overall, I was very pleased with the quality of the student work in both classes. My eighth graders were so careful with choice of collage materials, and with application. Some of the collage compositions were very sophisticated, with complex patterns and carefully applied text bits. Others were emotional and raw, with brave markings and obvious sentiment. Each of the eighth graders seemed to approach this lesson with interest and care and each student completed the project. Some eighth grade students reflected sentiments of hopelessness about the issue of factory farming like, “What can be done about it?” “I can’t tell farmers what to do.” etc. I would have liked to offer students more in the way of positive messages about animal husbandry and empowerment as consumers. I feel like I also could have fostered stronger correlations between the social issue and the “swapping part” of the lesson. The explanation for the swapping was more closely tied to the idea of the “exquisite corpse game” as a way to

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artistically respond to genetic modification of animals. (That is if humans keep messing around genetically, the animals could develop strange mutations over time.) I was only barely able to touch upon this, as time slipped away. Some of the artistic intent was lost here, although they still had fun swapping out the animal parts. The questioning and dialogue in both classes could have been more positive and progressive in terms of solutions to the problems that factory farming raises. I would have also have liked to have had more depth in the closing discussions and allowed for more time of sharing student artwork. I could have better implemented the logistical systems that we discussed in class. I feel like I gave it a good attempt, but fumbled a bit and made some initially poor decisions, such as having the students come up to the demonstration table one group at a time, rather than addressing everyone. I also feel like I could have been better at delegating tasks for clean up. This got better over time, but it is still an important skill that I need to work on. The only major issue I had with the quality of the work came with the application of collage materials. Heavier papers required more glue and pressure to stay put. I was able to address this and correct it with most students. Perhaps glue and brushes would be better than glue sticks next time. I also had some issues with the eighth grade class becoming confused when having to match up the templates to the foam core panels. The delineations for top and bottom could have been more clearly marked. I skipped this step for the fourth graders. Overall, I feel this lesson was pretty successful. I learned much about time management, organizational skills and creative energy. My students listened well, were respectful, and created successful pieces of art, which they seemed really proud of. I made personal connections with my students, and was able to repair tense relationships and reestablish a safe learning environment after a tense situation. Although I am regretful that I upset some tender sensibilities, I feel like it was an invaluable learning experience for all of us. Other educators have assured me that similar situations will happen again, so I am grateful to have had such a rich learning experience so early in the game and under the care of such supportive supervisors. 12. Recommendations for Future Use 12.1- This lesson could be introduced as part of interdisciplinary lessons pairing with environmental science, economy and social studies classes. Issues of food production cross many subject disciplines, as how to feed a global population sustainably presents many problems. 12.2- Certain elements of the lesson, such as the swapping of parts, can be adapted and applied to other social issues. A lesson in cultural diversity would be one example. Diverse, human heads, mid-sections, and legs could be substituted for the animal parts. 12.3- In conjunction with other disciplines, such as environmental science or

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agriculture classes, perhaps a field trip could be arranged to visit local farms to see sustainable food production and humane animal husbandry in practice. 13. Attachments: 13.1 Scoring Rubric 13.2 Safety Regulations in the Classroom Care should be taken to explain how to exercise proper usage of scissors to avoid cuts. Students should be instructed not to push or crowd when lining up for materials to avoid other injuries.

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Animal Sentiment Cuttings For Collage