DOCUMENT RESUME SO 024 695 ED 379 199 Zurmuehlen, Marilyn, Ed.; Thunder-McGuire, Steve, AUTHOR Ed Marilyn Zurmuehlents Working Papers in Art Education, TITLE 1993. Number 12. Iowa Univ., Iowa City. School of Art & Art INSTITUTION History. PUB DATE 93 NOTE 95p. Working Papers in Art Education, 13 North Hall, The AVAILABLE FRGM University of Iowa, Iowa City, IA 52242. Reports General (020) Collected Works PUB TYPE Research /Technical (143) MF01/PC04 Plus Postage. EDRS PRICE *Art Education; Art History; Chinese Americans; DESCRIPTORS Computers; Creativity; Cultural Context; Educational Technology; Elementary Secondary Education; Motivation; Multicultural Education; Nonverbal Communication; Preservice Teacher Education; Self Concept; Womens Education Chinese Language Schools; Russian Studies IDENTIFIERS ABSTRAT.T This collection of doctoral student research papers as with a biographic dedication to Marilyn Zurmuehlen. The papers be and their authors are introduced in brief discourse by a faculty (1) "Feminism < > mentor (mentor's introduction). Articles include: Dialogic Interaction < > Research (Miriam Cooley), introduced by (2) "Art, Culture, and Elizabeth J. Sacca, Concordia University; Chinese American Students: An On Going Case Study at a Chinese Community-based School" (Mei-Fen Chen), introduced by Enid Zimmerman, (3) "Preliminary Examination of Reductive Indiana University; Tendencies in Art Understandings and Lesson-Planning of Pre-Service Teachers" (Georgianna Short), introduced by Judith Smith Koroscik, (4) "Genres of Art History and Rationales For Ohio State University: and Against the Inclusion of Art History in Elementary School Curricula: A Philosophical Study Addressing Clarification and Justification Questions Regarding Art History Education" (Cheryl Williams), introduced by Kenneth A. Marantz, Ohio State University; (5) "Truth and Community: Reality Construction in the Visual Arts" (John White), Pennsylvania State University; (6) "Relating Continuity and Change to the Tabasaran of Daghestan" (Lorraine Ross), introduced (7) "The Conceptual by Steve Thunder-McGuire, University of Iowa; Analysis of the Construct Multicultural Art Education" (Bill Davidson), introduced by Larry Kantner, University of Missouri; (8) "An Exploratory Study of Nonverbal Digital Video Interactive Analytic Techniques Applied to an Individual Learning Dance" (Karen Keifer-Boyd), introduced by Beverly J. Jones, University of Oregon; (9) "Intrinsic Motivation and Social Constraints: A Qualitative Meta-Analys'is of Experimental Research Utilizing Creative Activities in the Visual Arts" (Gloria Sharpless), also introduced by Beverly J. Jones, University of Oregon; and (10) "Reflections and Refractions of Societal Images: The Cultural Formation of Self-Identity in a Middle School Art Classroom" (Monica Kirchweger), introduced by Ron W. Neperud, University of Wisconsin. (MM) MARILYN ZURMUEHLEN WORKING PAPERJ IN CRT EDUCATION U S. DEPARTMENT OF EDUCATION OfIce of Educational Research and improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) y4This document has been /produced as eceived from the person or organization originating it. Minor changes hens been mad* to improve reproduction Quality Points of wo4kwor opinions Macedon lb 3 docu- ment do not necessarily represent official OERI position or policy "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) BEST COPY AVAILABLE (-) MARILYN ZURMUEHLEN WORKING PAPERY IN cART EDUCATION is published by the School of Art & Art History of. The University of Iowa. Manuscripts by graduate students, along with papers from their mentors which establish a context for the student papers are welcomed. They should follow the form of the Publication Manual of the American Psychological Association (3rd ed.) or the MLA Handbook. Send an original and one copy to: Dr. Marilyn Zurmuehlen, Editor Working Papers in Art Education, 13 North Hall, The University of Iowa, Iowa City, Iowa 52242. Marilyn Zurmuehlen Working Papers in Art Education, 1993 Number 12 1993 d introduction Marilyn Zurmuehlen's insistence that we come as close as possible to the stories of artmaking was underpinned by a conviction of willing openness to new thoughts and ideas. She made this clear to a considerable number of doctoral students studying across the United States and Canada when in 1982, as Chairperson of Seminar for Research in Art Education, she began the Graduate Research Seminar, a national forum for graduate students to present research, and the corresponding publication of that doctoral student research, Working Papers in Art Education. The maintenance of a diverse community of Art Education inspired Marilyn. Marilyn Zurmuehlen's Working Papers in Art Education continues with the publication of research papers. Nearly sixty years after waking in the Bitter Root Mountains surrounded by an unexpected August snow Norman Maclean reflected, "When I looked, I knew I might never again see so much of the earth so beautiful, the beautiful being something you know added to something you see, in a whole that is different from the sum of its parts." In a similar way one of Art Education's research projects these days is to restore the wisdom of adding something known to something seen, both in art making and art teaching. The papers collected in this volume ground art education in a dialectic of personal experience and theory. Here, artists/teachers have stories to tell which inform research, and research theory completes meanings of personal artistic inquiry. Reference Maclean, Norman. (1976). A River Runs Through It and Other Stories. Chicago: University of Chicago Press, p. 146. Steve Thunder-McGuire Editor On the cover, an untitled porcelain work by Marilyn Zurmuehlen Marilyn Zurmuehlen's Working Papers in Art Education 1993 contents PAGE 1 MARILYN ZURMUEHLIN 5 CONCORDIA UNIVERSITY Miriam Cooley/Feminism < > Dialogic Interaction < > Research 13 INDIANA UNIVERSITY Mei-Fen Chen/Art, Culture, and Chinese-American Students: An On Going Case Study at a Chinese Community-based School 24 OHIO STATE UNIVERSITY Georgianna Short/Preliminary Examination of Reductive Tendendcies in Art Understandings and Lesson-Planning of Pre-Service Teachers 33 Cheryl Williams/Genres of Art History and Rationales For and Against the Inclusion of Art History in Elementary School Curricula: A Philosophical Study Addressing Clarification and Justification Questions Regarding Art History Education 43 PENNSYLVANIA STATE UNIVERSITY John White/Truth and Community: Reality Construction in the Visual Arts 54 UNIVERSITY OF IOWA Lorraine Ross/Relating Continuity and Change to the Tabasaran of Daghestan 59 UNIVERSITY OF MISSOURI Bill Davidson/The Conceptual Analysis of the Construct Multicultural Art Education 63 UNIVERSITY OF OREGON Karen Keifer-Boyd/An Exploratory Study of Nonverbal Digital Video Interactive Analytic Techniques Applied to an Individual Learning Dance 74 Gloria Sharpless//ntrinsic Mortivation and Social Constraints: A Qualitative Meta-analysis of Experimental Research Utilizing Creative Activities in the Visual Arts 83 UNIVERSITY OF WISCONS!N Monica Kirchweger/Reflections and Refractions of Societal Images: The Cultural Formation of Self-Identity in a Middle School Art Classroom Marilyn Zurmuehlen Marilyn Zurmuehlen died November 19, 1993, at her home in Iowa City, Iowa. People with whom Marilyn was a colleague and teacher, while she was head of Art Education and Professor of Ceramics at The University of Iowa for twenty years, and on the faculties of The Pennsylvania State University and The University of Missouri, know how fortunate they were to have worked with her. Marilyn received her Ph.D. from The Pennsylvania State University, University Park, PA; and studied at Osaka University of Arts, Osaka, Japan; Haystack Mountain School of Crafts, Deer Isle, ME; The Cleveland Institute of Art, Cleveland, OH; Case Western Reserve University, Cleveland, OH; Ball State University, Muncie, IN. A larger community of art education, who remember Marilyn as an inspired teacher, will remember how she chose to present to the field a particular vision of research with the emphasis on faithfully rendered meaningful experience. Marilyn was a researcher who let life's curiosities have their full dignity. She is the author of Studio Art: Praxis, Symbol, Presence and a co-author of Understanding Art Testing, as well as numerous articles published in Art Education, the Canadian Review of Art Education Research, the Journal of Multi-Cultural and Cross-Cultural Research in Art Education, Studies in Art Education, and Visual Arts Research, among others. In 1993 Marilyn was honored by being elected a Distinguished Fellow of the National Art Education Association. This honor was added to her being awarded, in 1990, the June King Mc Fee award for her continuing achievement in scholarly writing, research and professional leadership in the field of art education. On December 19, 1993, The University of Iowa held a memorial service in the Old Capitol. I read the acceptance speech, "Living by Narratives in Art and Art Education," that Marilyn gave when she was presented the Mc Fee award. Perhaps it was because her speech was an autobiographical account, complete with anecdotes of painting bake.' mud as a child and remembrances of people who contributed to her life's story, that I kept thinking of how no one knows for sure where great teaching comes from. Her story seemed to me a captivating record of events and circumstances relaying to listeners and me a purpose, an element of which was teachi I was reminded how Marilyn so profoundly understood herself as a part of a larger cycle of doing and remembering, that her students became aware of good reasons to be more attentive and more reflective. It struck me that Marilyn first came to know me as a storyteller and that I learned from her that history was immediate experience and so, in turn, Marilyn is present while I'm telling stories. And for this reason, it is probable that her contribution as a teacher may rise anonymously in the life of a grandchild. The maintenance of dutiful reflection in the making of essential artifacts brought Marilyn to an inescapable stance toward teaching and making: "Choosing from the vantage of the present, a particular view of a personal aesthetic past, we find a center from which to teach." 1 Marilyn Zurmuehlen's Working Papers in Art Education 1993 01 .1 ,. %It 44 LIN ' e e ' ''. )*41 , .4: . ... :ii_l'.* :&11.* ilt; ., / P i ;' i s ,:i....4",., . 4, .7.r:.14" ' a) toti ' LL 1r"(1410 introduction mentors ELIZABETH J. SACCA Concordia University Miriam Cooley studies the experiences of her students as Loren Cary studied those of her mother as she "turned out" elementary schools her children at:ended and department stores where she addressed a complaint to the personnel: He'd use that tone of voice they used when they had important work elsewhere. .. . Then he'd dismiss her with his eyes. I'd feel her body stiffen next to me, and I'd know that he'd set her off. "Excuse me," she'd say. "I don't think you understand what I am trying to say to you ..." And then it began in earnest, the turning out. She never moved back. It didn't matter how many people were in the line. It didn't matter how many telephones were ringing. She never moved back, only forward, her body leaning over counters and desk tops, her fingers wrapped around the offending item or .. . document, her face getting closer and closer. They'd eventually, inevitably, take back the faulty item or credit her charge or offer her some higher-priced substitute ("like they should've done in the first place," she'd say, and say to them). They would do it because she had made up her mind they would (1991, p. 58). Whether it was through "cold indignation" or "hot fury," turning out was a matter of will. "I came to regard my mother's will as a force of nature, an example of and a metaphor for black power and black duty. My duty was to I had no option but to succeed and no compete in St. Paul's classrooms. doubt that I could will my success" (p. 58). St. Paul's was an "exclusive" prep-school that had become co-ed and had begun recruiting Afro-American students. White schoolmates and parents would ask Loren Cary and her friend Jimmy how they "managed to get to St. Paul's School" (p. 58). Years later she explained, "The point was that we Marilyn Zurmuehlen's Working Papers in Art Education 1993 had been bred for it just as surely as they. The point was that we were there to turn it out" (p. 59). Members of excluded groups who enrol in schools will those school to recognize their achievements and their ability to excel. Consciously or unconsciously, they are collaborating with teachers and administrators who are committed to inclusive curriculum and teaching (See Transformations). As she asks her students about their experiences learning art, Miriam Cooley is encouraging them to articulate what Marilyn Zurmuehlen calls "the power of the particular, the conviction of the concrete" (1987, p. 27; 1990, p. 64). In doing so, she is demonstrating critical teaching as part of an active endeavor to transform education (Gluck & Patai, 1991; Ng, 1991; Weiler, 1988). Miriam Cooley cites Julia Kristeva's description of the feminine as the other lacking desire, agency and creative possibilities, and its critiqtrc by Trinh T. Minh-ha and Barbara Christian. Committed to their own creative possibilities, women art students resist the notions of feminine as the other lacking desire and agency. In adapting methodologies to these women in this specific situation, Miriam Coc!ey works to hear exactly what they are saying, what they are saying to their teachers and school, and how they, quietly or otherwise, are turning out their own education. References Cary, L. (1991). Slack ice. New York: Knopf. Gluck, S. & Petal, D. (Eds.). (1991). Women's words: The feminist practice of oral history. New York: Routledge. Ng, R. (1991). Teaching against the grain: Contradictions for minority teachers. In J. S. Gaskell & A. T. McLaren (Eds.), Women and education (2nd ed.) (pp. 99-115). Calgary: Detselig Enterprises. Transformations: The New Jersey Project Journal. (Available from the New Jersey Project, White Hall 315, William Paterson College, Wayne, NJ 07470) Weiler, K. (1988). Women teaching for change: Gender, class & power. South Hadley, MA: Bergin & Garvey. Zurmuehlen, M. (1987). Storytelling for the art classroom. Texas Trends in Art Education, 5, 27-31. Zurmuehlen, M. (1990). Studio art: Praxis, symbol, presence. Reston, VA: National art Education Association. 4 Marilyn Zurmuehlen's Working Papers in Art Education 1993