Decolonizing November: Deconstructing and Unlearning Misconceptions and Stereotypes Through Art by Ms. Danette Marie

Decolonizing November

Detail of Alcatraz 40th Anniversary Print by Jesus Barraza of Dignidad Rebelde. Retrieved from dignidadrebelde.com/story/view/43.

Deconstructing and Unlearning Misconceptions and Stereotypes Through Art 5th Grade Danette Marie Albino

Description People, including our students, are exposed to various types of messages through various forms of media such as art, television, movies, books, and social media. Some of these messages tell us about how we are seen, how we should see ourselves, how other people are seen, and how we should see other people. Not all of these messages are truthful and respectful; in fact, many of these messages are based on and reinforce systems of oppression, misconceptions, and stereotypes, and have harmful consequences. Particularly during this time of the year, with holidays such as DĂa de los Muertos and Thanksgiving, we are given messages about Latin@ and indigenous people that are often based on misconceptions and stereotypes. Aesthetics, customs, and traditions from these cultures are taken out of context, striped of their significance, and stereotyped, often under the pretense of multiculturalism. In this unit, students will investigate, deconstruct, and unlearn the misconceptions and stereotypes they are exposed to during this time of the year with art and other forms of media.

Essential Questions What is deconstruction? What is unlearning? Why do we need to deconstruct and unlearn certain concepts? How can we deconstruct and unlearn? What should we deconstruct and unlearn? Are what we exposed to in art, television, movies, books, and so on truthful and respectful about all people? Who are usually respected in art, television, movies, books, and so on? Who are not?

How can art, television, movies, books, and so on show people in a truthful and respectful way?

Unit Objectives Students will learn how art can be used to reinforce harmful concepts and how art can be used to fight against harmful concepts. Students will learn how to use deconstruction and unlearning through discussion and art. Students will learn to be critical of all concepts they come across, identify misconceptions and stereotypes, and determine what is respectful and beneficial or not to all people. Students will learn how to show solidarity through art.

Terms to Know Often times, similar yet different terms are used interchangeable and cause confusion in the discussion of race, ethnicity, and culture. Most of the following terms will be used in the unit, could come up in discussions, or are unknown but needed in discussions when explaining certain concepts specifically associated with these terms. In order to have comprehensive discussions, definitions have been selected from various resources (such as the Afrlatin@ Forum and Open Minds to Equality) and provided for the following terms: Race – a socially-constructed classification of a group of people often based on a common ancestry, geographic location or origin, phenotype (i.e. skin color), and presumed behavioral traits; constructs of race vary depending on the society Ethnicity - an affiliation and/or identification with a large group of people defined by national (i.e. Irish, Italian), tribal, religious (e.g. Jewish), linguistic, and cultural origin or background Nationality – citizenship in a nation-state; for indigenous people, belonging to a particular ethnic group (i.e. Taíno, Cherokee) Culture – the customary beliefs, social forms, practices, and traditions of a social group (i.e. racial, ethnic, nationality) Latin@ – an ethnicity often confused as a race; a person who is from or whose cultural origins are in countries associated with Spanish and Portuguese colonialism; usually associated with Spanishspeaking people from or with origins in Latin America but it can also be applied to native Floridians, Californians, Arizonans, etc. whose families and cultures go back to pre-colonialism and have been affected by colonialism, Filipin@s, Haitians, and other Caribbean

people; the “@” in Latino/Latina is used to be gender neutral and has no set pronunciation Hispanic – from the Latin term Hispania, meaning of or related to Spain; often used interchangeably with the term Latin@; excludes non-Spanish-speaking Latin@s and the ties and influences of indigenous and African people and cultures in the Americas Spanish – a Romance language originating from the country of Spain; a person who is from or whose cultural origins are in Spain; often used inaccurately to describe a Spanish-speaking Latin@ person Indigenous Person – also referred to as tribal person, first person, native person, and aboriginal person; there is no set definition of what an indigenous person is, however there are certain classifications indigenous people fall on which include but are not limited to: self-identification as indigenous usually have a smaller population than that of the dominant culture in their countries (with the exception of Bolivia and Guatemala) usually have (or had) their own languages different from that of the dominant culture in their countries have (or had) their own land/territory Native American – an indigenous person who is from or whose cultural origins are in the present-day United States of America Indian – a person who is from or whose cultural origins are in India; when Columbus landed in present-day Bahamas, he believed he was in India and referred to the indigenous people of the Bahamas as Indians – since then indigenous people of the Americas have been inaccurate referred to as Indians

Prejudice – a negative personal behavior that discriminates against individuals Racism – a form of oppression based on race; an institutional belief that one race has a right to more power and resources than another; when [political, cultural] power is added to racial prejudice, it becomes racism Ethnocentrism – a form of oppression based on ethnicity; usually tied in with racism, xenophobia, and linguicism Xenophobia – a form of oppression based on what is foreign; usually tied in with racism, ethnocentrism, and linguicism; im/migrants are the main victims of xenophobia Linguicism – a form of oppression based on language; usually tied in with racism, ethnocentrism, xenophobia, classism, and ableism (usually audism – discrimination against people who are deaf or hard of hearing) Cultural Appropriation – the act of taking an element or various elements of a culture (usually a marginalized culture), out of its context, by someone of a different culture (usually a cultural group in power); not to be confused with assimilation; seen as cultural theft and stereotyping; specific examples include but are not limited to: a person with no cultural ties to the sacred holiday Día de los Muertos using sugar skulls aesthetics to celebrate Hallowe’en a person with no cultural ties to indigenous cultures using feathered headdresses, which to some indigenous cultures is like a Purple Heart, something to be earned, as a costume a person with no ties to Maori culture getting a Maori facial tattoo, which is considered a form of identity theft to the Maori people

Assimilation – the act of integrating in a culture (a cultural group in power) by someone of a different culture (a marginalized culture); often used as a survival tactic for im/migrants, people of color, people in poverty, LGBTQA people, etc.; some elements or all elements of one’s culture are given up in order to assimilate to the dominant culture; specific examples include but are not limited to: a person whose native language is not English refusing to speak the native language in a region that primarily speaks English a person changing their name to an Anglo-Saxon name a person changing their physical features (e.g. using skin lightening products) and dressing to appear more like the dominant culture Forced Assimilation – the nonconsensual act of integrating in a culture (a cultural group in power) by someone of a different culture (a marginalized culture); a tactic for cultural genocide; specific examples include but are not limited to: the kidnapping of indigenous children to be “adopted” by white families and be assimilated in their culture in the United States of America, Australia, and so on the banning of Hula dance and other customs and traditions in Hawai’i by missionaries during the 1800s the forced religious conversion by indigenous and African people – caught practicing their own religious customs usually resulted in abuse and/or death

Lesson 1: Representations of Latin@ and Indigenous People in Our Media

Detail of an illustrated page from Norman Bridwell's Clifford's Halloween. Retrieved from imagesofindiansinchildrensbooks.blogspot.com/2007/03/here-is-cliffordbig-red-dog-from.html.

Overview This is an introductory lesson to the unit. Students will investigate different forms of media for their representations of Latin@ and indigenous people; specifically they will investigate Glen Keaneâ&#x20AC;&#x2122;s character design of Pocahontas for the Disney animated film Pocahontas (as an introduction) and books from their school library depicting Latin@ and indigenous people. Students will also learn to build on their digital art skills in this lesson. After investigating books and gaining skills to create digital art, students will create information graphics to report their findings on the representations of Latin@ and indigenous people.

Essential Questions What is deconstruction and unlearning? Why do we need to deconstruct and unlearn certain concepts? How can we deconstruct and unlearn? What should we deconstruct and unlearn? Are what we exposed to in art, television, movies, books, and so on truthful and respectful about all people? Who are usually respected in art, television, movies, books, and so on? Who are not? How can art, television, movies, books, and so on show people in a truthful and respectful way?

Sunshine State Standards Use art-criticism processes to form a hypothesis about an artist's or designerâ&#x20AC;&#x2122;s intent when creating artworks and/or utilitarian objects. (VA.5.C.3.2) Critique works of art to understand the content and make connections with other content areas. (VA.5.C.3.3) Create artwork to promote public awareness of community and/or global concerns. (VA.5.F.3.1) Create artwork that shows procedural and analytical thinking to communicate ideas. (VA.5.F.3.2) Work collaboratively with others to complete a task in art and show leadership skills. (VA.5.F.3.3)

Lesson Objectives Students will be introduced to deconstruction, unlearning, and digital art techniques. Students will practice using deconstructive skills, unlearning methods, and digital art skills.

Students will create art reflecting knowledge of digital art techniques and concerning the misconceptions and stereotypes of a culture.

Tools and Materials Sketchbooks; laptops or computers with Pixie or any other ageappropriate creativity software program; a printer

Introduction Introduce the lesson by playing a clip of animator Glen Keane explaining his character design of Pocahontas (youtube.com/watch?v=xus02QEJon0 – start at 1:53 and end at 6:24). After this clip, students will be shown a depiction of Matoaka (the real Pocahontas). Students will compare and contrast the Pocahontas character and Matoaka, and discuss Keane’s design decisions and the misconceptions and stereotype of the design. After the initial discussion, “The Pocahontas Myth” by the late Powhatan chief Roy Crazy Horse will be read and discussed. In the discussion of the passage, students will also brainstorm what the artists and writers could have done in order to portray Matoaka and the Powhatan people respectfully and accurately.

Detail of a portrait engraving of Matoaka by Simon de Passe. Retrieved from wikipedia.org/wiki/pocahontas. Detail of a screen capture of Pocahontas by the Walt Disney Animation Studios.

After the discussion, give a brief explanation of what they will be exploring in this unit, including how and why the essential questions and the objectives will be specifically connected with Latin@ and indigenous people and culture for the unit.

Process 1. Students will be given a numbered list [compiled with the help of the school librarian] of all the books in the school library that involve Latin@ and indigenous people and culture. (This list will also state the total number of the libraryâ&#x20AC;&#x2122;s books.) Students will be taken to the library with their sketchbooks and will evaluate the books on Latin@ and indigenous people. They will tally the books based on questions such as: How many books depict Latin@ and indigenous characters as animals? How many Latin@ and indigenous characters are animals? How many are humans? How many books talk about indigenous people in todayâ&#x20AC;&#x2122;s time and not in the past? How many books talk about indigenous people are historic? How many indigenous characters are from the past? How many are living in todayâ&#x20AC;&#x2122;s time? How many books avoid talking about specific cultures or tribes within Latin@ and indigenous culture? How many specific cultures or tribes within Latin@ and indigenous culture are talk about? How many times are these cultures talked about? And so on. Students will be responding to 3-4 tally questions of their choice and write down their findings on their sketchbooks. After students are finished tallying the books, students will share their findings and discuss what these findings imply, what could stay the same in their findings, what should change. Afterwards, students will have a discussion based on the essential questions.

2. Students will be introduced to Pixie (or any other ageappropriate creativity software program that’s accessible). They will be informed on its basic functions and tools and shown how to use them. After students are introduced to the software program, they will have “free” time to use and explore it. 3. Students will be introduced to information graphics, or infographics. They will be informed of the various ways of how and why they are used. Use various examples of infographics and bring special attention to Tina Kugler’s infographic on the representation gap in children’s books. Discuss what the statistics imply and how they relate to the school library’s collection, if at all.

Detail of Tina Kugler's infographic on the representation gap in children’s books. Retrieved from tinakugler.squarespace.com/blog/2013/6/28/illustration-friday-equality. 4. In their sketchbooks, students will first design three infographics based on their findings. The designs should have a color scheme of no more than 4 colors and have one or two symbols/illustrations that relate to their findings. Students will choose an infographic they think best depicts their findings in a cohesive and aesthetically appealing manner. Students will recreate their designs on Pixie. The students will use the same

color schemes, the same symbols, and one font. The text should b legible. 5. The students’ infographics will be displayed in the school and shared with the local Latin@ and indigenous organizations.

Assessment Formative During discussions, students will be observed for their thoughtfulness and critical thinking skills. Summative Students’ infographics will be assessed using the following rubric: Category

Excellent

Good

Average

Needs Work

Growth – Student met the objectives, increased their artistic skill, and applied new skills in the work. Creativity and Craftsmanship – Student created work mindful of the art style and explored innovative or original ways to solve artistic problems. Effort – Student stayed on task, used materials and tools with care, and went beyond the objectives. Helpfulness – Student was respectful, cooperative, aided others without doing the work for them, and provided new questions that advanced classroom discussion.

Artists Glen Keane - animator and illustrator; his most notable works include his character animations of Ariel from The Little Mermaid, Adam/the Beast from Beauty and the Beast, Aladdin from Aladdin, Pocahontas from Pocahontas, and Tarzan from Tarzan; he has no website or any social media profile, however “The Art of Glen Kean” fan blog (theartofglenkeane.blogspot.com) is a good source for his works, interviews, and lectures. Tina Kugler – illustrator and storyboard artist; has published various children’s books and has worked for companies such as Walt Disney Studios, Nickelodeon Animation, and Warner Bros. Animation; you can reach her website at tinakugler.squarespace.com. Illustrators of Books on Latin@ and Indigenous People Featured in the School Library – all school libraries vary in their collection of books so the illustrators feature in the examined books will vary as well.

Lesson 2: Día de los Muertos Is Not Our Hallowe’en

Detail of a photograph of a catrina [created by Mexican artisan Emilio Barocio Jacobo] by Florence Leyret Jeune. Retrieved from artisanos-demichoacan.tumblr.com/post/44942791114.

Overview This lesson will primarily focus on the Latin@ sacred holiday Día de los Muertos and the representations of Latin@ people who celebrate the holiday. A simple image search on Google is one indicator on how the holiday, a holiday that traces back to precolonialism and is celebrated among various Latin@ people [and Filipin@ people] to honor loved ones past, is widely misunderstood and how its aesthetics are appropriated for Hallowe’en celebrations, fashion, art, and so on. For this lesson, students will

investigate, deconstruct, and unlearn the misconceptions and stereotypes of the holiday and the people who celebrate it. Students will first discuss what they know or what they believe to know of the holiday and the cultures associated with it. Students will then have a meeting with an artisan involved in the aesthetics of Día de los Muertos and have a discussion on the history of the holiday and its traditions and customs. Afterwards, students will investigate various representations of Día de los Muertos (from its cultural context and outside of its cultural context). From what is learned through these activities, students will write a responsive essay to the essential questions listed below.

Essential Questions How do we determine what we’re exposed to in art, television, movies, books, and so on to be truthful and respectful about all people? How do we determine that they’re not truthful and respectful? How do we know when an element or elements of a culture are appropriated and turned into something(s) completely different? What should we do when we realize a visual artwork or any other media work is not a truthful or respectful representation of a culture? How can we represent other cultures in art and other media respectfully?

Sunshine State Standards Examine historical and cultural influences that inspire artists and their work. (VA.5.H.1.1) Use suitable behavior as a member of an art audience. (VA.5.H.1.2) Compare works of art on the basis of style, culture, or artist across time to identify visual differences. (VA.5.H.2.1)

Describe the ways in which artworks and utilitarian objects impact everyday life. (VA.5.H.2.2)

Lesson Objectives Students will be introduced to Día de los Muertos and cultural appropriation. Students will practice using deconstruction skills and writing skills. Students will write an essay reflecting knowledge of Día de los Muertos, cultural appropriation, misconceptions, and stereotypes.

Tools and Materials Copies of a K W L chart, the essential questions, and the petition “Walt Disney Company: Stop Trademark of Dia de los Muertos;” video conference equipment if needed

Introduction Introduce the lesson by having students fill out the What I Know and What I Want to Learn sections of a K W L chart on Día de los Muertos and the cultures that celebrate the holiday. Have a discussion on their responses. Afterwards, play the short animated film Día de los Muertos [produced] by Ashley Graham, Kate Reynolds, and Lindsey St. Pierre (vimeo.com/71853142). Discuss with students how the short connects or not to their conceptions of the holiday, whether or not the short was true to the purpose of the holiday, and whether or not it was respectful of the holiday and cultures that celebrate it.

Details of screencaps of Día de los Muertos.

Process 1. Students will have a conference with an artisan involved with the aesthetics of Día de los Muertos. (This will either be a classroom visit or a video conference, depending on the availability of the artisan.) The artisan will showcase their work and discuss the history of the holiday and its traditions and customs. Students will ask appropriate questions that further the conversation on the holiday and the cultures that celebrate it. Students will begin filling out the What I Learned section of their K W L charts. 2. Students will be shown various depictions of Día de los Muertos both in its cultural context and outside of its cultural context. Specifically, students will investigate images found in Google for “Dia de los Muertos” (and possibly “Dia de los Muertos lesson”), samples of José Guadalupe Posada’s artwork, Florence Leyret Jeune’s photographs of Día de los Muertos observation. Students will compare and contrast these images along with the artisan’s works and begin discussing cultural appropriation and how it reinforces misconceptions and stereotypes. Students will read the online petition “Walt Disney Company: Stop Trademark of Dia de los Muertos” (change.org/petitions/walt-disneycompany-stop-trademark-of-dia-de-los-muertos) and discuss how it connects to common appropriations of the holiday and its consequences. Students will finish their K W L charts.

Details of José Guadalupe Posada’s works: Alcoholic Calavera, Don’t Forget Me!, Calavera of the Good Defenders, and Calavera of the Cyclists. Retrieved from moma.org/collection/artist.php?artist_id=4707

Screencap of Google image results for "Dia de los Muertos."

Details of portraitures of those observing DĂa de los Muertos by Florence Leyret Jeune. Retrieved from didyouseethewind.com/2013/06/05/la-mortla-muerte 3. Using their K W L charts, students will write a responsive essay based on the essential questions. The essay should have 2 paragraphs that have at least 5 sentences each; the first

paragraph should address how to determine when representations of a culture are truthful or not and how to determine when a culture is being appropriated (the first essential questions), while the second paragraph should address what should be done when representations are not truthful and how to create representations that are truthful (the last essential questions).

Assessment Formative Students will fill out a K W L chart during the lesson. Summative Studentsâ&#x20AC;&#x2122; essays will be assessed using the following rubric: 4 - Strong Ideas

3 - Developing

2 - Emerging

1 - Beginning

- Establishes a

- Develops a focus

- Attempts focus

- Lacks focus

clear focus

Uses some descriptive

- Ideas not fully

and

- Uses

language

developed

development

descriptive

- Details support idea

language

- Communicates

- Provides

original ideas

relevant information - Communicates creative ideas

Organization

- Establishes a

- Attempts an

- Some evidence of

- Little or no

strong

adequate introduction

a beginning, middle

organization

beginning,

and ending

and end

- Relies on

middle and end

- Evidence of logical

- Sequencing is

single idea

- Demonstrates

sequencing

attempted

- Uses effective

- Diverse word choice

- Limited word

- No sense of

language

- Uses descriptive words

choice

sentence

- Uses high-level

- Sentence variety

- Basic sentence

structure

an orderly flow of ideas

Expression

vocabulary - Use of sentence variety

structure

Score

Conventions

- Few or no

- Some errors in:

- Has some difficulty

- Little or no

errors in:

grammar, spelling,

in: grammar,

evidence of

grammar,

capitalization,

spelling,

correct

spelling,

punctuation

capitalization,

grammar,

punctuation

spelling,

capitalization, punctuation

capitalization or punctuation

Legibility

- Easy to read

- Readable with some

- Difficult to read

- No

- Properly

spacing/forming errors

due to spacing/

evidence of

forming letter

spacing/

spaced - Proper letter

forming letters

formation

Rubric compiled by Janelle Cox. Retrieved from k6educators.about.com/od/GradingStudents/a/Writing-rubric.htm

Artists Ashley Graham, Kate Reynolds, and Lindsey St. Pierre – illustrators, cartoonists, animators, and recent graduates of the Ringling College of Art and Design; they have gained recognition for their senior thesis at Ringling, the award-winning animated short film Dia de los Muertos; you can reach them respectively at ashleygrahamart.blogspot.com, katereynoldsart.blogspot.com, and gloryfeet.blogspot.com. Artisan – this artisan should be involved with the aesthetics of Día de los Muertos and be a member of a culture that celebrates it. If you don’t know of one, get in touch with the local Latin@ community to find such an artisan. José Guadalupe Posada – printmaker, illustrator, and cartoonist; born in 1852 and died in 1913; was a Mexican artist whose work influenced many Latin@ artists; his work was usually satirical and political; he is best known for his calaveras (skull/skeleton imagery), especially La Calavera Garbancera, a print that represented someone who was ashamed of their indigenous heritage and assimilated to French culture by dressing in their style and wearing

make up to imitate white skin color; after his death, his work became associated with Día de los Muertos; you can find more information and samples of his work at www.moma.org/collection/artist.php?artist_id=4707. Florence Leyret Jeune – photographer; is originally from France but is based in New York City and Michoacán, Mexico; she focuses on portraiture and socio-documentary photography and is known for her portraits of the artisans of Michoacán (artisanos-demichoacan.tumblr.com) and her photography on the traditions and rituals in Michoacán (didyouseethewind.tumblr.com); you can reach her at didyouseethewind.com.

Lesson 3: Indigenous People and Solidarity

Detail of Giving Thanks for Over 520 Years of Indigenous Resistance by Melanie Cervantes of Dignidad Rebelde. Retrieved from dignidadrebelde.com/story/view/173.

Overview In this lesson, students will explore indigenous people and showing solidarity through art. By now, students have learned how to break down stereotypes and misconceptions and how to become informed about different cultures; with this lesson, students will learn how to help defend the rights of others through art. Firstly, students will view a Pepper Ann episode called â&#x20AC;&#x153;Dances with Ignoranceâ&#x20AC;? and have a responsive discussion on the possible ways one should approach a new culture, apologizing when one has perpetuated stereotypes, and how to fight against the reinforcement of misconceptions and stereotypes through art. Students will then be

introduced to artists Rini Templeton and Dignidad Rebelde and their activist art. Students will then research indigenous activists of their choosing and create drawn and painted portraitures of the activists. Students will present their portraitures and discuss the activist of their choosing and their cause. Lastly, the drawn portraitures will be copied and distributed to organizations and activists to be utilized for their campaigns in the same way Templeton distributed her work freely to support causes (this also applies to Dignidad Rebelde as they have contributed their art for free in the past).

Essential Questions What are ways we can show solidarity? What are ways to bring attention to the marginalization of others? How can art, television, movies, books, and so on show people in a truthful and respectful way? How has art been used to depict people in truthful, respectful, and supportive ways? Why should art be used to depict people in truthful, respectful, and supportive ways?

Sunshine State Standards Create artworks to depict personal, cultural, and/or historical themes. (VA.5.S.1.3) Analyze works of art that document people and events from a variety of places and times to synthesize ideas for creating artwork. (VA.5.O.2.1) Create meaningful and unique works of art to effectively communicate and document a personal voice. (VA.5.O.3.1) Discuss artworks found in public venues to identify the significance of the work within the community. (VA.5.H.2.3)

Lesson Objectives Students will be introduced to activist art, Rini Templeton, and Dignidad Rebelde. Students will practice using drawing and painting techniques. Students will create art reflecting knowledge of activist art and portraitures.

Tools and Materials Sketchbooks; drawing pencils; paintbrushes; tempera paint; white sulphite paper; copies of a list of indigenous activists

Introduction Introduce the lesson by playing the episode â&#x20AC;&#x153;Dances with Ignoranceâ&#x20AC;? from the animated series Pepper Ann (youtu.be/aaClmdcnV1s). Discuss with students how Pepper Ann should have firstly handled approaching a new culture, how she worked to redeem herself, and the levels of apologizing when one has perpetuated or reinforced misconceptions and stereotypes (acknowledge what was done, apologize without excuses, make sure to not repeat the action, and advocate against the action). Extend the discussion by brainstorming on ways one can advocate against the action and other forms of wrongdoing; towards the end of the discussion, focus on activist art.

Details of screencaps of the Pepper Ann episode "Dances with Ignorance."

Process 1. Students will be introduced to activist art, specifically the activist art of Rini Templeton and Dignidad Rebelde. Students will be informed of what activist art is, why people create art for little to no profit, and the various ways activist art has been used. Students will explore the art of Rini Templeton and Dignidad Rebelde, focusing on the art they have created in solidarity for indigenous people and their causes.

Three drawings by Rini Templeton in solidarity for the Zapotec and Navaho people. Retrieved from www.riniart.org/?s=4&c=20

Detail of Free Hawaiâ&#x20AC;&#x2122;i by Melanie Cervantes of Dignidad Rebelde. Retrieved from dignidadrebelde.com/story/view/220 2. Students will be given a list of indigenous activists with brief descriptions. (You can compile a list from

wikipedia.org/wiki/Category:Native_Americans%27_rights_activis ts or elsewhere.) Students will choose whom they desire to research and represent in their portraitures. Students will be expected to do their research outside of class. 3. Students will have drawing sessions to prepare for their portraitures. They will practice facial proportions using this handout as a guide:

Retrieved from artyfactory.com/portraits/pencil-portraits/proportions-of-ahead.html Students will then partner up and draw portraitures of each other in their sketchbooks without using the guide. Afterwards, students will be given new partners to practice drawing different physical features. 4. By now, students have chosen and researched their activists. Students will first create a simple line drawing of their activist in sulphite paper. Students will then create a painting of their activist with tempera paint in sulphite paper. 5. Students will present their portraitures and discuss the activists, their cause(s), why they desired to show solidarity to the activists and their cause(s), and their artistic decisions while creating the portraitures.

6. The drawn portraitures will be copied and distributed to organizations and activists (local and national) to be utilized for their campaigns in the same way Templeton distributed her work freely to support various causes.

Assessment Formative During discussions, students will be observed for their thoughtfulness and critical thinking skills. Summative Students’ artworks will be assessed using the following rubric: