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HomeMy WebLinkAbout2015-644-E Arts - Susie Wilde Arts Grant DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 C a r .v% Pl7rNif senz o � Ge ORANGE COUNTY ARTS COMMISSION w k�4�� i.u l!ra Y Aft�,y. FALL,21115 GRANT AGREEMENT \ THIS AGREEMENT, entered into this 21st day of December, 2015, by and between Orange County ("County"), by and through the Orange County Arts Commission ("Arts Commission") and Susie Wilde("Grant Recipient"). WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of local arts experiences by providing funding and support for diverse high quality programs and projects. WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program to provide economic opportunities to Orange County artists and non-profit organizations coordinating arts projects benefiting the citizens of Orange County. WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, an agency of the Department of Cultural Resources and the National Endowment for the Arts. WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the Spring Arts Grant through the procedures duly adopted by the Arts Commission; and WHEREAS, both parties wish to promote and maintain the integrity and clarity of the Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the County; NOW, THEREFORE, the County and the Grant Recipient, for the consideration and under the conditions hereinafter set forth,agree as follows: 1. Approved Grant Project. Grant funds are provided under this Agreement for the project ("Project") described in the Grant Recipient's Grant Application, attached hereto and incorporated herein as Exhibit A. 2. Grant Award. Grant funds in an amount not to exceed one thousand dollars ($1,000) have been awarded by the Arts Commission to the Grant Recipient for the approved Project. These funds must be matched at least dollar-for-dollar with cash from the Grant Recipient's funds not derived from either Orange County appropriations or the North Carolina Arts Council. 3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots Program funding to the Arts Commission. Final decisions on Grassroots Program funds to the North Carolina Arts Council arc subject to approval by the North Carolina General Assembly, 4. Responsibilities of the Grant Recipient 1 Revised June 2015 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 A. Implementation. The Project implementation shall take place between January 1, 2016 and December 31, 2016. The Project shall be implemented in the manner described in Exhibit A. Time is of the essence in the implementation of the Project. B. Modifications to project. Grant Recipient shall present major changes to the original proposal, including but not limited to changes in design, implementation schedule and increase in Project budget by more than 10%, in writing to the Arts Commission for approval. Arts Commission shall approve or disapprove Grant Recipient's request for modifications within seven (7) days of receipt thereof. Consent to project modifications shall not be unreasonably withheld. Arts Commission's decisions shall be in writing. In the event the Arts Commission fails to approve or disapprove the requested modifications within the time stated herein,the modifications shall be deemed approved. C. Non—assignment. The grant cannot be assigned or transferred to a different project or artist without prior written approval of the Arts Commission. I). Records. Grant Recipient must maintain records and other evidence pertaining to costs incurred and revenues acquired during the Project implementation. Grant Recipient shall maintain financial records pertaining to the Project for three (3) years from the date of this Agreement, in case of audit. E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding taxes or other debts of any nature. The grants shall be utilized solely for the purpose of implementing the Project and Project related expenses. F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report on January 13, 2017 . The Final Report shall be in the format required by the North Carolina Arts Council. Failure to submit the Final Report or late submission of the Final Report, for any reason, shall be grounds for denial and/or cancellation of grant funds for the Project and future grant proposals. 5. Responsibilities of the Arts Commission A. Payment. The Arts Commission shall release the grant funds in the amount of $1,000 to the Grant Recipient. 6. Publicity A. Acknowledgement. Credit must be given to the Orange County Arts Commission using the Arts Commission logo and if State funds are received to the North Carolina Grassroots Program in brochures, news releases, programs, and all other printed and online publications. Copies of such printed materials must accompany the evaluation report. When no printed information is used, verbal credit shall be given. In addition, all print and promotional material must include the following credit line(check all that apply): 2 Revised June 2015 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 i. x County Funds Only. "This program is supported by the Orange County Arts Commission. " ii. North Carolina Arts Council Funding. "This program is supported by the Orange County Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, a state agency. " B. The Grant Recipient must enter all events, exhibits and performances open to the public and related to this grant award on the ExploreChapelHillARTS.com website and display ExploreChapelHillARTS.com publicity materials (postcards, brochures, etc.) prominently and consistently at their venue or performance space. In addition, the Grant Recipient must add a link to the ExploreChapelHillARTS.com (ExploreChapelHillARTS.com logo preferred) to their main webpage. The Grant Recipient shall contact the Orange County Arts Commission for replacement ExploreChapelHillARTS.com publicity materials. 7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the Arts Commission and the North Carolina Arts Council and their officers and employees from any and all claims or actual injury, damage or loss to a person, or real or personal property that results from or is in any way connected to the use of the grant funds. 8. Independent Contractor. The Grant Recipient is an independent contractor and not an employee, agent or other representative of the County and/or the Arts Commission. Nothing contained in this Agreement shall be construed to create the relationship of principal and agent, or employer and employee, between Grant Recipient and Arts Commission or Orange County Government. Grant Recipient understands and agrees that he/she is not authorized to incur any expenses or any liability whatsoever on behalf of the County or the Arts Commission and has no authority, expressed or implied, to obligate or make representations on behalf of the County or the Arts Commission. In addition, Grant Recipient agrees to maintain his or her own worker's compensation insurance for himself/herself and his or her employees for the duration of the art work's installation. 9. Termination A. In the event of any of the circumstances set forth below(hereinafter referred to as "default"),the Arts Commission may immediately terminate this Agreement: (i) Any fraudulent representation in any verification required to obtain payment under this Agreement or other dishonesty on a material matter relating to the performance of services under this Agreement. (ii) Nonperformance, incomplete service or performance, or failure to satisfactorily perform any part of the Project or to comply with any provision of this Agreement, as determined by the Arts Commission in its sole discretion. 3 Revised June 2015 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 (iii) Failure to adhere to the terms of applicable county, state or federal laws, regulations, or stated public policy. B. In the event of default by the Grant Recipient, the Arts Commission has the discretion to elect to terminate this Agreement, in whole or in part and/or require the Grant Recipient to repay the grant funds within seven (7) from written notice of default or allow the grant recipient the opportunity to cure the default. This clause shall not be interpreted to limit the County's or the Arts Commission's remedies in law or in equity. 10. Miscellaneous. A. Entire Agreement. This Agreement and the attachments contain the final and entire understanding of the parties with respect to the subject matter of this Agreement. All modifications and amendments to this Agreement shall be in writing. This Agreement shall be binding upon the parties, their heirs, successors and assigns. B. Governing Law. This Agreement shall be interpreted in accordance with the laws of the State of North Carolina and the Orange County. C. Entire Agreement and Signatures. The parties have read this Agreement and agree to be bound by all of its terms, and further agree that it constitutes the complete and exclusive statement of the Agreement between the parties unless and until modified in writing and signed by the parties. This Agreement together with any amendments or modifications may be executed electronically. All electronic signatures affixed hereto evidence the intent of the Parties to comply with Article 11A and Article 40 of North Carolina General Statute Chapter 66. IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant Agreement, effective on the last date this Agreement is signed by both parties as indicated by the dates set forth under signatures below. For and on behalf of the Grant Recipient ,-DocuSigned by: . . 00, 7 7 12/21/2015 79B9213G332B4C5... S T��usie YY it e Date For and on behalf of Orange County Government �DocuSignedby: , o t, tk 12/30/2015 �•01137994B755E477... unty Manager Date 4 Revised June 2015 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Artist Project Grant— Fall 2015-16 Application Form Orange County Arts Commission 1 Artist Information Applicant Name: Susie Wilde Mailing Address:7400 Talbryn Way, Chapel Hill, NC 27516 Daytime Phone: 919-932-3300 Email Address:susiewilde @bellsouth.net Web Site: www.ignitingwriting.com DUNS Number: Wilde, Susan Hays, 833269637 2 Grant Request Summary Arts Program Grant Request: $1,000 Total Cash Match: $1,000 Summary Statement for Proposed Use of Arts Program Grant: partial funding for a children's book writing residency at Rogers Road Community Center t� �e W►tcke- [I f '1-1 ( (5 Artist Signature Date Typed or Printed Artist Name DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Susie Wilde's Artist Project Narrative Proposed Project: This grant is being written to receive partial funding for the first phase of a three-artist residency that will ultimately result in a book for PORCH (People Offering Relief for Chapel Hill-Carrboro Homes). The entire residency will allow a core group of children from Rogers Road Community School to author, illustrate and design this book with the help of three professional teaching artists who will guide them through an authentic process of picture book creation. This grant application seeks funding for the first phase of the project, a writing residency with Susie Wilde. PORCH is an all-volunteer, grassroots hunger relief organization whose mission is to collect and distribute food for families facing hunger in the Chapel Hill and Carrboro community, It is an organization that has, in five years, grown to unite 150 neighborhoods in providing food for 300 low-income families. When PORCH contacted Susie Wilde about creating a picture book that would reach a broader audience, she suggested having children write the book. One of PORCH's strengths is in finding partners and Susan Romaine, founder and director, reached out to Rogers Road Community Center. David Caldwell, the director, was seeking quality educational programming to supplement the afternoon tutoring that occurs at the center from Monday to Thursday. On November 18, 2015, Romaine and Susie Wilde met with Rogers Road Community Center board members who enthusiastically received the idea and wanted to begin immediately. This initial writing residency will occur in 10-12 visits. Wilde will lead the children in imagining characters that reflect the theme PORCH wishes to represent the connection of community. During the first session, students will respond to a prompt and brainstorm a number of potential characters. These will be narrowed down to a selection of finalists, chosen for their potential in representing PORCH's vision and inspiring the story's text and illustration of the story. The students will select the final character and develop that character and a plot through a series of learning games that stress higher order thinking. Once the plot is conceived, students will focus on descriptive language that will make their story sing. The residency will include having students go through a series of drafts, viewing the work's improvement until they are satisfied; often students create as many as 12 drafts. After the book's text is developed, it will be reviewed by PORCH and the other teaching artists, textile artist Peg Gignoux and book designer, Steve Godwin. They will take the Susie Wilde-Artist Project Narrative-1 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 book into its second phase of development. The third phase will occur when funding is achieved to turn the print-ready pages they produce into a book. During the writing phase of the project, Susie Wilde will work with a core group of underserved 3-5t graders who are diverse in age, gender and backgrounds. These same children will be the core group that illustrates and designs the book, but the other phases will also include younger children. The plan is to involve all the children of Rogers Road Community Center. Community Impact: In terms of the book's creation, this project's initial phases are focused not on how many people it reaches, but in the depth of the experience for the selected core group of students. This core group of underserved students often goes unheard and typically have difficult in expressing themselves in writing. In this project, they will work collaboratively to develop writing and art that first matters to them and will later matter to a wider readership. Having a small number of core students makes for ease in terms of collaboration and collaboration will free these students who often struggle with getting their words down on paper. Much of their routinized test-driven school writing is neither engaging, nor thoughtful and must be completed quickly. Being involved in a long-term project students' will be experiencing the deep thought and careful expression crucial to writing a book that matters. The students will be treated as professional writers and illustrators and the authenticity of each phase of the project will aid them in discovering and expressing their talents and feeling pride in a genuine creative endeavor. This project is focused on both process and product. Each student will have a copy of the completed book, but there will also be copies donated to every school where PORCH serves children and families. In addition, PORCH will be using this book to reach other communities that can benefit from the model they have developed. . PORCH's mission to connect diverse neighborhoods will encourage distribution and the writing and illustrating of the core group of children will affect many people than just the creators and their community. Artist Experience: Susie Wilde has been working in North Carolina classrooms for over 25 years and has composed hundreds of stories with children and families. Through those years she has honed a process composed of learning activities that take writers from a character idea to a completed story. Susie Wilde-Artist Project Narrative-2 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 In 2002, she began collaborating with Peg Gignoux, a textile artist. Together, they have produced more than a dozen Story Quilts. Wilde writes a story collaboratively with participants and Gignoux responded artistically with the same participants. In Story Quilt projects they twine two teaching artist residencies, extending the learning by connecting two art forms and increasing the depth of the experience for everyone involved. In 2007, Tell Me a Patch, a story quilt developed with patrons of Hemphill Public Library in Greensboro was transformed into a book and the artists saw this even more extraordinary arts experience, one that reached a wider audience. In 2010, Wilde and Gignoux were commissioned by the North Carolina Department of Instruction and North Carolina Art Museum to unite eight teams of teenagers across the state. These teens composed a story involving eight charter traits, resulting in the book What Can A Small Bird Be, a book that was given to every elementary and middle school library in the state of North Carolina. The book was picked up by districts who wanted more copies and it went into a second printing. In 2015, Wilde learned of another book project. Artists from the Frank Gallery in Chapel Hill, N.C. had been working with Karen refugee teens who had spent a year and a half drawing, painting and photographing at Transplanting Traditions, five acres of land where 30 Karen families farm. Wilde worked with photographer Dennis Szerszen and book designer Steve Godwin to realize the Karen Youth Art Projects' goal of completing a picture book. It is currently in the final phases of production. During this project Wilde's work with Godwin began to inspire the possibility of a picture book residency that included three art forms—writing, illustrating and book design. The PORCH project will be the first result of the collaboration between Gignoux, Godwin and Wilde. Susie Wilde-Artist Project Narrative-3 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 ir epq2015-16 Artist Project Application — Page Two ORANGE COUNTY ARTS COMMISSION Financial Information Please provide a projected budget for your proposed project utilizing the format below. Project Expenses Cash - Grant Amount + Applicant Expenses Requested Cash Match A Personnel Administrative staff Artistic stall l Technical/Production staff B Outside Fees and Services Artistic contracts 216C6*— I CVO- — 1l000 Other contracts: C Space Rental D Travel E Marketing F Remaining Project Expenses G Total Cash Expenses ,f i000.-- + z -11600.-• Project Income Cash Income A Admissions B Contracted Services Revenue C Other Revenue(specify) C I2rivate Support Corporate support Foundation support Other private support i c>00. E Government Support Federal State/regional(not including this request) Local(not including this request) F Applicant Cash G Grant Amount Requested j 1 In this application I-I Total Cash Income � COO. (must equal Total Cash Expenses, Item G above) DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Susie Wilde Teacher, Writer, Reviewer, Presenter, Consultant, Children's Book Specialist 7400 Talbryn Way Chapel Hill, NC 27516, USA (919) 932-3300 email: susiewilde@bellsouth.net iqn i tinq wri tin_q.com Professional Teaching Experience: Fall 2015- Series of 5 teacher seminars and classroom modeling at Aulander Elementary Spring, 2016 School, Bertie County, NC. Project funded by an Arts in Education Grant, NCAC Summer 2015 Work with Karen Youth Art Project to facilitate publication of a children's book Winter 2015 Guest Lecturer at Elon University, Elon, NC Fall 2014 Full-school professional development and classroom modeling on writing at Stoneville, Elementary School, Rockingham County, NC Fall 2014 10 session writing residency at Underwood Elementary, Raleigh, NC Fall 2013 Whole school professional development and modeling in writing, South Toe River Elementary School, Yancey County 2013 Guest lecturer for education students at Antioch University, Santa Barbara, CA 2012-3 Rural, low wealth writing residencies in Warrenton, Wilkes and Yancey Counties, funded by North Carolina Arts Council 2012 "Pictures and Words: Writing and Illustrating for children," a two-week workshop for teachers and artists at Penland School of Crafts, Penland, NC; self-publication of Passage: & its Making, a class resource about creating picture books. 2012 Series of five teacher trainings at Bogue Sound Elementary School centered on boys' reading and higher order thinking, sponsored by UNC Chapel Hill's First Schools 2011 "What Can a Small Bird Be?"a book collaboration with Peg Gignoux and teen writers/illustrators from across NC, sponsored by NC Department of Public Instruction and the NC Museum of Art 2004-2011 Story Quilt collaborations with Peg Gignoux in Yancey, Wake, Dare, Orange, Alamance, Durham, Guilford counties 2009 Luncheon Speaker at Eastern Carolina University, "Books Your Students Will Devour" 2009 Children's Literature Training Seminar for Preschool Teachers for DOPA (Durham Orange Preschool Association) 1 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 2007 Collaboration with Washington Gallery, Welsh artist, Heloise Godfrey and Llandough Primary School's Language and Speech Unit, South Wales, Great Britain 2007 "Pangeo's Story Project", Mary Scroggs Elementary School, Chapel Hill, NC An arts-based collaboration of music, song, story, art, and creative movement 2006 Collaboration with Washington Gallery, Welsh artist, Heloise Godfrey and 5t'-6th grade students at Radnor Road Primary in Cardiff, Wales, Great Britain 2005 Designed and co-led "Heroes" reading-writing program for at-risk 5th graders at Estes Elementary School, Chapel Hill, NC 2005 Visiting Artist at Elon University for Winter Term course,funded by James H. McEwan Visual Arts Fund. 2005 Leader Teacher and Project Developer for ArtsTeach Professional Development, Charlotte, NC 2004 Keynote address at Eastern Carolina University"No Teacher Left Untested: Bringing Meaning to Literacy Instruction" 2004-2013 CEU Workshop Leader for Meredith College in Raleigh, NC 2002-2008 Guest lecturer, Duke University, Durham, NC 2000-present Leader of Professional Development Seminars 1990-present Presenter for parents, families&teachers on the uses of children's books&writing. 1990-2001 Visiting artist/performer offering writing residencies and educational presentation about writing to children K-6 1998 National Presenter at YMCA Childcare Conference, Chicago, IL 1988-1989 Coordinator, Santa Barbara County Year of the Young Reader 1987-present Children's book and audio reviewer(see publishing credits below) Publishing Credits (Articles): Spring, 2008 "Tell Me a Patch: An Artistic Story Quilt Collaboration"an article published in Children & Libraries Winter, 2007 "Rediscovering Wonder in Wales" an article published in Teaching Artist Journal 2006-present Reviewer for Audio File Magazine 2007-2015 Audio Columnist, Chapel Hill Herald, Chapel Hill, NC 2 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 2004-present Writer/Reviewer for Novelist, on-line review data base 1999-present Monthly column on children's books, Raleigh News& Observer 1997-2006 Monthly column on children's books/audio books, Herald Sun, Durham, 1993-2003 Commentator, WUNC radio, reviewing children's books for this NPR affiliate 1993-2001 Children's book reviewer, Triangle's The independent 1997-2001 Monthly column on children's books, The Chapel Hill News 1995-2001 Monthly commentary columnist for The Chapel Hill News 1995-1998 Children's book review columnist, Learning Magazine, a national bimonthly magazine for teachers 1994-1997 Contributor, Children's Book Review, a quarterly magazine devoted to children's books 1994-2000 Contributor to Children's Literature Newsletter 1991-1995 Monthly children's book reviewer and interviewer, BookPage 1988-1997 Contributing Editor for Baby Talk Magazine 1987-1993 Publication in Santa Barbara News-Press, Peninsula Parent, Chicago Parent, Family Journal, Carolina Parent, Kids Toronto, and Twins Magazine Publishing Credits (Books): Summer Passage & its Making, a co-written self-published book on how to write a children's book 2012 Summer 2011 "What Can a Small Bird BeT, a book collaboration with Peg Gignoux and teen writers/illustrators from across NC Summer "Tell Me a Patch Story Quilt" a book collaboration with Peg Gignoux and the patrons of 2006 Hemphill Library in Greensboro, NC 1998 Contributor to Multicultural Resources for Young Readers (New Press, 1997), a large and comprehensive look at issues by experts from around the country, edited by Daphne Muse 1997 Write-a-Thonl, an educational resource for teachers wanting to organize a two day writing marathon (Heinemann, 1997) 1988 Extraordinary Chester, a picture book published by Red Hen Press. 3 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Education: 2009-2012 Memoir Critique classes taught by Carol Henderson 2013 Memoir Critique classes taught by John Yewell 2007 Three day workshop with Creative Capital 2005 Three day intensive training for Teaching Artists with Eric Booth 1998 Three day training with the Kennedy Center for Performing Arts 1977 Education Credentials, California (Multiple Subject, Learning Handicapped, Reading Specialist) 1975-1976 M.Ed. in Education, Tulane University 1974-1975 Education Credentials, Louisiana (Multiple Subject, Early Childhood, Learning Disabled) 1974 B.A. in English, Tulane University Honors and Awards: 2007 Cardiff Accredited ArtsMark Partner Award awarded by Cardiff Creative Arts Support Team 2005 Selected for Southern Artistry, an invitation only directory of touring artists organized by the Southern Arts Federation 2003 Participant in Telly Finalist Documentary"Worth It?You Bet!", a short video on early reading 1999 Finalist, 24-Hour Novel Writing Contest, Raleigh, NC 1996-present Listed in NC State Artist Touring Directory 1996-present Recipient of nine Grant Awards from the North Carolina Arts Council 1981,1985 Winner of Santa Barbara Writer's Conference Award for Best Juvenile Writer. 1989 Benjamin Franklin Award finalist, Extraordinary Chester Professional Memberships: 1996-present Member Child-lit, listsery devoted to children's books 1995-present International Reading Association 1992-present North Carolina's Writers Network 4 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 1987-2010 Association of Booksellers for Children 1982-present Society of Children's Book Writers& Illustrators (SCBWI) 1993-1995 Board Member SCBWI: Carolinas 5 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 E.L N NOME EAU'' SEAM -::;....... . :...:.-.......... /within-1u ..._.............:....,....,...,-...:.:........ 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'. ..':.F......._ .;.: ,-:-h #u � �d»i l �:1 t�� l. n9 lt a > �, . !mind :��91�,• A1iif�tS Su �ieunplox r:;nail&.M . .r .v < 3:rei- 8s-,'Yi § a ri te y pm rt kJ#t .[•. .i�-.`v f..'f May 4,2005 Students create quilt for Greensboro library N4• _- View Campus ;;•' •Y. : .: Fonville Cam :: Koury Cam Panoramics Elon students enrolled in a gallery i .. Photo unique Winter Term ; : : �:la v n heir Ja ` :' , R. fIC�[�81� �put course spent t nuary ai t5� . , , ;.,t. <; r weaving words with i:; 4. a , i er E-net! Qui( !mews artwork, producing a quilt '« .:..�.-x � r Student r . :.� . ,.,:p,, ffi :�� u d rat CE on -nett they hope will Inspire a - Faculty & .1 My generation of young -.._ ---__._.-w students to learn the joy r `R. :x ; Communit' Publications of reading. M Phoenix At About E-nee? _ _ = ;x. ,' About Elan _ - r _ • E-net! Hon Art 277, "Story Magic: .. . t t-y g Fac.s&Figures � �.--. __ . •/. - '04-'U5 Priorities . ' ri ies When Word Ignite �=� `��� @Elon Images," gave students the chance to learn what it takes to produce E-Link news two things from scratch: an interesting story and a sturdy quilt. The Connections finished product is a 3'x12' quilt depicting a story titled "Alphabet The Pendulum Cultural Events Allergy." The class will give the quilt to the Hemphill Branch Library in Greensboro for permanent display in the coming weeks. The library, In the News which opened in November, is located at the corner of West Vandalia News Releases St. and Osborne St. in Greensboro. Rankings NSSE 2004 In the collaborative class, students worked individually and on teams Elon Univ. Poll Internet Project to produce different parts of the quilt. "Alphabet Allergy" tells the For News Media story of Reid, a little boy who has trouble reading because he hasn't yet learned the joy of reading. He develops an allergy to the alphabet Visiting Eion which causes his hair to grow "W's" and his face to break out in Campsions Map Tour letters, until Nurse Paige shows him all there is to learn through Campus Shop reading. Visitor Info Commencement Adjunct art instructor Peg Gignoux taught the class, along with visiting artist and writer Susie Wilde. Just for Eton Office of HR "One of the deli Business Cards ghts of this class has been working with this level of Floorr Plans students," says Wilde, whose participation in the class was made Print Services possible through a James H. McEwen visual arts grant. "They're Env-Aware devoted, hard-working and they have taken a lot of responsibility for this project." Ironically, most students in the class had little or no previous experience with quilt making. "I had never done any quilting before," said Emily Dillard, a sophomore from Winston-Salem, N.C. "We just jumped in and started, some of us doing fonts, dyeing the background of the quilt, making letters. I learned a lot about teamwork, as well as writing children's http://www.eton.edu/e-netNNote.aspx?id=1635 t 5/4/2005 t-nett don's news andinformation site Page 2 of 2 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 literature and developing the writing process." Dillard says she is particularly excited that the quilt will be on display at the Hemphill library. "I think it's so important, because who would see it if it just stayed in this classroom?" said Dillard. "I hope it will inspire children who might be having trouble with reading." David Hibbard, Staff 1/25/2005 • • • • DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 • 6.7,t .- % 'du -1.' a: ;vitt- hir. v ?3 . ) . Students' imaginations blossom in quilt BY TINA FIRESHEETS y Staff Writer panels of the quilt. w - r •s- �`: �"` ,--� Wilde gn ux said =; some elements of the story-"5urmie was a f-,,-•_,-.4_,.::. Fr•� '" ? `, rY i• 1 !c.f:y='<?;;_-' .. .. ¢= '71. _ -T j quilt can be a challenge, sunflower who had eve 1••. I_- - I�.-:.'�.• . , 4 �P _ _ •�. �9_ :..r��,�, H par- GREENSBORO J ,,i t titularly for students who she needed to he happy— _:- I - - - r.` .. .7:::. °~-.,:T.='. -1- _ i •-gib : .; abundant sunshine,occasional :_;:<.,: 4!' don't s on hand something Wilde i rain,a gentle breeze,a strong g ..'::.. . . ii:_::'_::. :_.:•:... s . .... •.r. P d that stern and healthy leaves. = _:. . ;:. always motivates her students: But s= .-;'.f chocolate.The brainstorming Sunirie felt trapped in _L ,c;-1 -... ,_:.... e inspired re her garden sessions she leads are g home envious that rrts iced t� �z�!s P her friends Snake,Ant,Be e '' n�•.. � -_`-, " �• �5 _:': by the heats,she said. try- and Snail could move around 1 •F. . s=: - end of the day,we re and explore the world.Then ?:s i ?- -;�; m 20 M&Ms into it and still- �:.:-a� :.= .� _ one day a wizard 'z . :i- ' . ing to kee Focus"she said Y td appeared, �:=� =' :: -; :'= ::_� �.." - st. P , one her a book _ _ ,, :� 1- ,.- ., s: tvitU a tau h. giving and the abi[ .. .'; g ity to read.He said she could , - ::-:`.' = mple ilre story quail was - - 'tom I Q❑ - etc some s anywhere their yt a she wanted - `�. z '�y:. - � .: P wr'oYe ;r:: _ '''--'' .:mot., _ ^fit, and illustrated through at d Yheh•❑ hbook . ��"-'" �� �-:'�, :..,:.:: ;' own ❑ 6' s' ▪� •� P P- T ' _ _;:. .r_�� -;-:_.: .; �� "'•.; y ��'; u books.Those This story,written by stu _3`: Vii_'' P are on dianlay dents = rr • at the Church 's central who participated in a r' 3 Y branch ,�• tz quilt and writing _ €: on of the Street The students h 4 t ntin project - the at the `t - through - - -:'�;:M��'' endoFthe McGh t Horton library branch " Y -<.= , Year.The students ...F ...�:;,.--�._.�'-' ,.>tit ,��-:;}�--.�. get real[ concludes with Sunnie's '7`:w`:- F.•rr -:-' ?i'.??' .z..- f _ v r. '. ; see Y excited when they Mends working . - F=° �'': `: = " -'°-` r ;_ `r:_,: .' see their work on display, king together'to a'-'� _ =a ,,-,__', ..:. ;r a: - s., P Y, bring more kinks t❑their ar- :. -, ., ' , 4 _-r• . -.Y Lawrence said.•den communi .About 60 stu- -- •,=If-'-'t, i,' ;-.. _ w � ':. .s. k : : "I think dgives them know a sense :ferias,ages 8 to 13 participated a 3' y _ - k=':" of value and worth to know ;n the two-month story quilt '- - _.�? _ that their creations are valu- �ta ec. _ - - -- able and worthy," said. Y Led writer Su � •• .(41114:4:114,i,-;-•.; -,a Y, d Y sae - :. � - - Je,the students first collab ; _ =y.:;': _ ...max ' = s:;_c's:_= n-ated on the story learning Contact Tina FSresliects at g • Pmts courtesy or Dandmeau acme Greensbaiu POlic ucrc,y 373-3498 or EfiirsheetsL neivs- -ibout characters,scene setting About 60 Greensboro students collaborated on a story quilt to be displayed at MoGirt-Horton Library. record.com and plot development.Once he story was written,they _ hen worked with textile artist as the story unfolded,the girl --= - -vlai•guerite Gignoua toiling- began to express her ideas, rate it oii the quilt. showing a talent f❑1'imagery . C� For the past four years and language. B y `RB E R C E T -R Viide and Gign❑ux have ''She just really blossomed," f0- r' PLASTIC.:SURGERY ieiped other groups make Lawrence said. tort'quilts through their busi- The three-panel quilt wilt :ess,TEXTile Partners.Pr for soon be on display at the Mc- C .r the McGiut-Horton project, Girt-Horton library in north- FREE J E M1��!AR 7� iie women helped Elon Uni- east Greensboro.Portions of - 7 Cl- sity students make a quilt the story are printed on each 11 EAST rti display at Hemphill Library panel,along with an illustra- - J E D U C T I A7 0 1�1 ,;i southwest Greensboro, lion to match that section of - McGirt-Horton children's li- the tale.Blocks containing pie- Tuesday, January 10 at 6:OOpm .rai•ian Delores Lawrence said tures of the main characters students there became in —Snake,Ant,Snail and Sp- - ':eas ugly enthusiastic as their der—border the edges of the - Please join Dr.Barber fox, his-comprehensive seminar offering uilt progressed.Some stu- quilt.Some blocks along the .nts even showed talents that border also contain elements information about sitfe;proven and effective-Breast `:ad gene unnoticed.In panic- oldie story,such as sun,rain Augrnentation Surgery-procedures for>n omen:- o !ar,one little gill who was ini- and tulips.Sumac,the main :ally so quiet that no one knew character,remains a focal The sexzainar will be heart in 17r:Farber s-hilly accredited . -'me had a gift for writing.But point in the.center of all three - faciltty..Refreshments will ''e Served'• . . .= ; Seating is Limited. C4-275-3430 to RSVP: i Find a . a t _ D r=LV$yraaz.:Bi-ti!lei::I1;FAGS:,.. ; ...:: .: . : Hews&Record Classifieds. :.::5elkcted:On8-of,'3ir�erirci's it P7io-tic' i.2OC4 2i_G:- _E 274.57'10 or 1-800-555-5880,ext.5 - B 1-i1G Iii-_.. �.:-i �......?3 :..: : _`.: .:::. 1:_A CEYV r. . ..,..zSCJ, _Y 591 -. .•..SU1TC•-LOO:- G ENSBOI�[]�.,'-..C-.��Y-` z ,':. 336-27-5.3430..•..:wwwi6a lie T ,a..r7 Y;.;�°��,•�:-: _ ::-..1,.:_--,__ _-- _ r rfl psEicsirz�e;ycvrtr- :;�: ; :r.-- -... ..�.. -.,- �_.._,v.- .. - .3•�.?` _;?� 07 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 CAROLINA PEACEMAKER April 27,2006 UNITY , . . - . . ...._ , _._ - ,„.. _ , . . -_ _ _„:_ ,.•_ .„,,,..-_= „_„=„ ,,-.=_ „._,„__:=, „.-__„." :__.,_ . . ,,,_,_ _ _ _,..,......,„„._ -...,..„_=, ,,?=.:47 r t;-..-A- :.:'- _ •--1;Eif•--- _I-._IV - _ Y - . z'� _ Photo h Lou`:x. '; Hairston 3 r2 �. h. , . .�' Wilde .a and Gignoux n vux were y. , commissioned b the -_ by w>> Greensboro Library Arts .`- . p 9 Commission to help design - 3 and construct a community . story quilt that Is on display _+:.---: ::.':. at the library located at 2509 ,= a ; -- -=�'• -�� ..: Phillips Avenue. .Literacy -;:: specialist_ - -• p st 5usfe Wilde and - textile artist t Pe Gignoux noux - Peg 9 - are P r esented with awards for their work on the - story :: t= quilt entitled '.`We Need „ aaks Too at the McGirt- Harlon Library a Sat- - �� ry } urday,April 22. • •• • , Celebration unveils library's first community • Y By.Lou.Hairston northeast:Greensboro,the quilt raise the awareness about the Copy Editor is a collage of vibrant textiles need for a new library in the decorated .with an intricate community. ' Saturday's April. showers' .design of blooming':flowers, "This is the first time chil- were not enough to dampen the animals and characters crafted dren'have participated in a proj- moods of the residents and vis- to visually express the irrmpor- .ect like this with the public itors that filled the McGirt-Hor- tance of reading books. Iibrary.so we were very happy . ton Public Library for the cele-. Library Branch Manager, to be the first,”said Shoffner. oration and unveiling of the Velma Shaffner said GLAC,the ; . According to Pat Leyltin, community quilt entitled "We committee that oversees and chair of GLAC,the committee Need Books Too." votes:.on. all 'art projects and chose McGirt-Horton for the A product of the collabora- commissions for the Central quilt project and commissioned ' five efforts between the Greens- .•Lbr'ar'y and the city's seven Susie.Wilde and Peg Gignoux bozo Library Arts Commission :branches, helped launch the to implement the plan. (GLAC) and the McGirt-Hor- project in September= of 2005.. ton community located in This was implemented to help, see QUILT,Page 3A DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Photo by Lou Hairston Members of N.C.A&T's Delta Sigma Theta Sorority worked with children from the M¢Girt-Horton Library,community to help complete the corn- inunity story quilt(pictured in the background). Wilde who is a,literacy spe- The Dudley High School and'the fi!fc i r - rton Dance 'To .. t ie`quilt, We Need cialist said this is not the first Jazz band directed by Brannon Troupe:' y'' Books;s '``'Visit the IvicGirt- time she and textile artist'Gig- . Bynum,entertained guests with Shoffrlet said 'she is opti- Hortedt*aisiocated at 2509 noux have worked together on jazz selections and deejay, mistic about the plans for a new , Phillips Avenue. -For more projects. About four years ago, Abdula Fisher kept the'music library but realizes it will all information call the library at the_two united their talents and playing during the band's inter- depend on the outcome of the 373-58110. - started•• creating imaginative missions. Other performances Greensboro's'bond referendum story quilts. throughout the afternoon this November. She said The we wanted to do here included.spoken word artists quilt would be the first piece. was to represent the library in Clemente Mallory & Friends displayed in the new library. both word and image, said -- — -- — - Wilde. "We collaborated with the children so they could cre- ate something bigger together than they could ever create alone." - Wilde said that the children were asked to develop charac- ters and ideas using the garden as a theme. "I did the writing with the kids and Peg illustrated the setting and details.The idea of a garden came from an (library.board) advisory mem- ber that compared a library to a garden,"Wilde said. "This was such an incredi- -- ble community' effort. One thing we learned.is that all the work done together is greater than any work that could be done by one person,"-said Gig- noux. .- Shoffner said she was very grateful to the. Public Library Foundation and commended members of Delta Sigma Theta Sorority, Inc. of N.C. A&T State University for their out- standing work on the project. "It is good to Work with the community and that is basically ' why we.. were.,here," Erin Hedges, graduating -senior at N.C.A&T said. . Hedges .said she.believed working with this project was an opportunity.for the sorority.. members to be good role mod- els for the participating .chil- dren• • ' "It's good especially for these young black girls, seeing that we .ai•e in college and are being educated. We want them to see us as participants and that is part Of why we are here," Hedges said. DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 s.:.. :. ' r `„ �*�s� 'ue-.,- t�= _4.-.s. ' - °'tii.v - A QUARTERLY FORUM FOR PROFESSIONALS,.�.: =-a_ `� :Faa�r•�� fi¢,- � ;�� :rz.• , �� r�g:: �; •. uvri ''_ . .,,, fir- �-ix:v. .- _ :- .: ,°-.'.4yti.', r11ix{ice :44itA,,,-?. :Z 7;.1 4.4:4t.:..:; .."'.-*47144 4 43 etillatiLi IlkIda Mert:4,n''.''.V ''.L-.'.„ f;gam a_,.:a i ?-�-tt.,.- �'>.as.---ch,1 �yi3 �' iw .I'-'. .-1;,0‘6 '44'.'''t'-'. ';-.'■. '":44414.414":42:1"4"....-50.0744:4-TWA-Wir'-' 'Si tk '-''''.4.-Tgr‘P-MIAL V, l ,.<1 r = :1y s fr" I--V�z �. gk°k'w 2. k.4,...,.,,, ...,..P,-.2;1:70gtetitrgaresa4g,i,~45:,,,,-,etii*- •••rag - , v ; x; fit' . 4:9&r.-k,;''--7,-,;,-;%,,,,r,.,---1 rcr-\ i.-Y‘--Th I. (;-"A'-:. A '' = ::- ' -='; r'd 0, ---41 40. .1-4,N, '%-. y ° .m:x:. :.• ,' •v' i.: 6 e4' —Th -'..-41.4--,- ____,4 „L,,...._04=ov.#6,..ame-mittne.441.i:t4t.,_:.:415.1.41:::,0:4wit.41„,tta*„.„..11.1t.::,:..1_, c.::...--,...._..._._- . ...„0„l_r_f„.,0E..._.,,,At.4.1,_,,, ,,,..,,,,t.„,,,_,_._-6___,._,:...,5., _ „.,4,7„„, ,_..,„ -.: .410 ...,.. j ...„ ... ..._. . ..__. .,.. : ..._, ,.. ...,„:„.,, .. .... 1, 40k . „ . . ...., ... -... . _._,.. .... . _. ,.. ..4 - ., . ,__,... l •uT" If l . A - .. %,---s ' Of r pA N S �� �' 1 3: Y�. ��� iF Y` .5�,ra �. ye _'a 'S i _ - T7t Y�' o�r tj ' P CI TEACHING ARTIST JOURNAL 3(2),99-105 o() • Copyright©2005,Lawrence Erlhaum Associates,Inc. (.1)19 _ ABSTRACT`: : g m Literary and,fabric m arts TAS•create d..;:.,,:. .. .CJ project for stude[rts::; OD_ co p to malcea bilingual '. D• quilt co 0 The Power O .0. m f m lio m D N N O = m a o e L7 F: How do you turn a class of sixth graders who are uncornfort- �:; able with writing,unfamiliar with art supplies,but good at fidgeting and bickering into a community that achieves literary, artistic,,and civic success?With a bilingual story quilt! �.°• ;?,`' ; m That was our answer when in the spring of 2003,Kestrel• -A2._ '8 Heights teachers asked us to team up and help their sixth grade students create something special for the young Hispanic chil- `,u a i dren they were mentorn$ With Peg Gi oux s talents as a fiber artist,my experience as a literacy specialist,and our shared pas- . F:y sion for reaching and children,we thought our solution showed promise.We had no idea how powerful our playful collaborative eight-week writing-arc residency would be or how well it would orchestrate and focus the unique voices of eighteen energetic children.With our support and the help of their teachers,the students wrote an original story,designed a brilliantly colored correspondente regarding this quilt to illustrate their tale,learned about working together and article should go for discovered how creating together builds community.We walked Peg Gignoux a careful line between giving these students the direction they M1Gignouaffiad.com www.mgignadrycom needed to succeed and getting our of the way to let this commu- Susie Wilde nary of learners have true expression. 7400 Ta I bryn Way Chapel Hill,NC 27516 w+ldesaminoprirrg.corrr Two Women With a Passion for (919)932-3300 Writing, Art, and Collaboration Our Gignoux-Wilde team developed the interdisciplinary workshop,Blending Words with Pictures,based upon our years of working in the arcs with children.I,Susie Wilde,have traveled 0 100 2005 VOLUME 3,NUMBER 2 TEACHING AR11571QURN,e,L cfl. 7 m North Carolina for 14 years teaching students,parents,and teachers how to write meanisig We saw how the students'backgrounds limited their experiences and learning potential. `m ful and imaginative stories.Peg Gignoux has worked across the state with artists,teachers, Several had emotional problems that kept them from contributing easily to a group,but we m students,and hospital patients to create pop-up books and narrative art quilts.Inspired by 4 p believed our project could help. children's spontaneity and innate creative vitality,we witnessed how the arts energized learn- cyan changed children,and united groups.We believe the best way to teach is by showing, cv ing g gro p - Y Y g, f. Starting with Story °D not telling,and the best way to learn is by doing. W Many students feel writing is burdensome and overwhelming.However,collaboration Dozing a series of foot two-hazer writin sessions, rrialcing a g I led the students into story o • makes writing fun and shows students they can have great results without the drudgery they I started by reading aloud picture books that I thought would g captivate them,and I used -CO expect.Collaboration provides comfort for young writers afraid to create as well as those G these books to teach the students to think like writers.I have deveIaped a Story Skeleton tha 00 who lack confidence and patience to get their thoughts down on paper.Collaboration offers [ provides N visual way to examine the structure of a piece of writing.Students became"story o a structure for students who struggle with story logic and get lost in an overabundance of F scientists"as they dissected picture books,offered opinions,and discovered truths about die A incoherent details.Students,creating main character of each book we shared. w as a team,welcome opportunities to Each parr of the Story Skeleton holds an analogy.For example,main characters head up m discuss and think through their ideas, a story,so students put characters in Student and accidents feelings,and beliefs.As they do this, the head of the Story Skeleton.After Narrative Skeleton mm tia Mistakes and accidents can be good r3' they reach deeper levels of understand- an examination of what described the You door need to be perfect ing about how stories work and how characters,they gave the characters 111 o cri they can be successful together. specific traits.Motivation(or what the - How great it is to finish a long project that yvxa stuck Stories naturally generate images, characters want more than anything)is ° with.Messing up is goad Being messy can be GOOD. but Peg Gignoux rPaiired that many the spine of the Story Skeleton—sup- Supporting aetalk a children's ability to see and create porting the characters and connectin �amwE°.t°,,"` tr,bera„cn .... (w at came right before 12;. Those images was compromised by the entire story.Ribs represent conflict E1ent, you w , head lint '" .h their lack of experience.Not everyone is comfortable with drawing,and the task of illustrat- or problems.The ribs cover the lungs,. < 1 [AEaLlvst,on) ,j:: ing one's own story can be daunting.Gignoux's method of collaborative quilting provides a and the three ribs show how the caMna rs e;. toraI$A new way of learning to draw in which students'work becomes collective,cumulative,and writer breathes excitement into the n tbelo eme HomZre Fm s'.': inventive. middle of the story.These ribs grow �° °'C° '� We find that art and text are excellent partners.Images can clarify a point,reveal a hidden longer and longer depicting how the conflict,highlight the beauty of text,emphasize a change to make it more poignant,and give K conflict grows,The longest rib of all Climax ,pb ,,�era,ls& students anxious about writing a path for expression.As Teaching Artists,we see how merg- ';. r3 �r represents the climax of the story.The .[ihe tl1�strongest 0°` =tag ing word,picture,and collaboration unlock stories. leer represent how the character"walks 'i}= out of the story,resolving the conflict A Chance to Make Change and Community by taking action with one foot and ?_' i t::making some kind of change with the ,a Several years ago,Kestrel Heights Middle School implemented an after-school program for . •' : :foot. element students learnin En h.In this ro the middle school students men- Once.the students learned this Characters action I, Change y: tared the younger children-This was the brainchild of a former eighth grade Service Learning ., •`''.::stoiry,structure,I moved on to teach clans and became a reality through Learn&Serve America Grants.Many of the sixth graders -; ,•'-'style elements.I showed the students e involved in the story art project had served as mentors in the after-school program.One of ;.vizd"�bs by =oas�cw, ' ; y cavorting around the .0 X41 r:'r•,i.�i;:�.:..;...':::':.�.:.r.•,:..:.-l.�i-:::.:::.. the key objectives of this Service Learning class was to promote literary in both English and °) classroom to act out the difference bercveen just^"going"to schvoI and"ski in or"^Todd Spanish.We believed that creating a bilingual story quilt would inspire the English language ',:,":7-i.to school.I taught them the difference between stale"been xl�ere-donetIia 'similes learners and serve as an example of the children's creativity for the surrounding neighbor- and ooh obit similes that would make a hood- bn Ie, their writin s ankle.I read stories aloud focusing . writing;:.:,stY kzag students to rate these books in terms of vivid verbs,similes,dialogue,and We had to adjust quickly to the rhythms of this inner city school and the challenging mix ';' descriptions using the senses.Thraugli experiencing these style points,students carne to see of students—they had not been successful academically and did not enjoy or feel confident :' oariaagortarit these characteristics were to a story about their writing.Nor did they know what to expect from art.Few students had had :t;k,. ;To`teach'the students to write like writers,I b hands-on experience making art and even fewer had basic art supplies like crayons,paints,or.:. + �' is stung activities designed to Crate ideas and turn those ideas into a scary.The students started b brainstorming to markers in their homes- „�` y 4 0 102 2005 VOLUME 3,NUMBER 2 TEACHING ARTIST JOURNAL c 0 (a 7 a create a list of original characters Next,the students started collaborating, g fe"` that would make them wonder inventing colors,and hand-dyed fabrics in `m_ �■ '°"� and care.I promised that i£they Student Reflections... °6 P eY We crrn learn from each other's ideas large baggier(sinks were not available).Peg 3D chose a character they wondered has discovered that an uneven application of lloM ' • i and cared about,the character color using the"large baggy technique'mak To would tell them the story.Stu- You can sue broken things to make art. for greater color range.Students trans£ormec D dents discussed and then voted white cottons,silks,and linens into a medic; on which character they thought Pesky behavior can hart a project of hand-dyed colors in a simple but nrzarvelo was the strongest They agreed on mix of art and science.The students were de W '. Blinker,a lonely stoplight who We cant just do it alone. lighted with the abundance of vibrant fabric desperately longed to be under- now available to the entire class and their o stood.Students asked questions power to make color changes_"I didn't know pink came in so many flavors,"commented or W about Blinker and later made student. °m decisions based on the questions Peg Gignoux then organized the class into teams and assigned each to design two yards 01 W they had posed.These answers cloth out of a particular color family.A few commercial prints were mixed into the piles of tzar defined the setting,determined hand dyed cloth,and the students happily set to work arranging patches of reds,blue,yello' Blinker's motivation,and helped and more.This jigsaw puzzle of complex cloth was made stable by ironing it with heat-acti-N !: them dream up Blinker's conflicts rated fusible webbing. o°, and resolutions. Students then selected the colors they needed as they cut out specific story elements,such P Once the story's structure was - as buildings,windows,sky,and trees.They drew,painted,and assembled these elements for complete,I split the story into their quilt,occasionally voting on character images and setting items.These images were } ""*6 -� � scenes and the students into placed and anchored on the quilt with fusible webbing.The illustration process included 44'a�°`� �" writing teams_Each ream was many hand-drawn cars and figures converted into digitized images on cloth.The students ' ,ry nc,,,+a. -r w „g„bM i”"a..' E , responsible for developing a parr were eager to stitch and bead onto the quilt.Surprisingly,some of the most dedicated of our Story Skeleton.This was snitchers were the boys who had been the most disruptive students earlier in the art-making more difficult than I had irnag- process. fined.Working in groups,they had a hard time creating even simple style elements.When Story text in English and Spanish was then digitally printed and added to the sky and I saw that they didn't remember what a verb was,I feared that inexperience would threaten ground of the five panel quilt.Gignoux integrated all the elements using a free motion triple their creative expression and the successful completion of the story'Happily,I learned that stitch application with a sewing machine.The students enjoyed making contributions to they were amazing at inventing dialogue.The students showed their gift for voice and pep- the quilt,grew better at sharing their rnaterialc,and recognized how they gained more by pered the story with playful language.Conversation,humor,sensitivity,and a hint of attitude collaborating.The quilt became a place where the students demonstrated their raw creativity added flavor and texture to their story,Blinker.! During the writing process,students actively solved problems,questioned ideas,examined thoughts,admired each other's word choices]and judged their story with the same rubrics 11,_;:-rtl, : 7.1 l r .P.� ,:r., that they had used to judge the stories of others at the beginning of the project_One team, , _: ° , , , ,,g': R:;_.`;;, ,,,_q for example,composed.a dialogue about Blinker's desperate attempts to connect with cars •.• I' and people below him They gave Blinker a sense of humor and desire for relationships when . ., , :; 1.I';'60,4,4,-..=''. .1: � . kl,p they wrote,"What's up?Can I have some chicken?How's your family?Hey,hey,where you i;;::' •:� r,, ;;i;;; ;_w-- M,.i, • ,. r been. ',.:z;. ::all. IL„i.: • � �- �Vf .� y �:rte;•.., •1r �«.�- `kr '�':�'i Illustrating the Story: The Quilt I p� �'y '' '` Creating the artwork for Blinker.began immediately after the writing was completed.Peg. ':; 1� j';, ,,�,�,. .,..., ati v"•;2 c: A G" oux's process began like mine.She used books to introduce the students to the concepts ,.-�,, I '.;.."' ' MI I ,.' r 17 612e of colla•e color,form,and fabric design through the astounding illustrations of Eric Carle, _ i .' r ...; EatFaith Ringgold,Christopher M err and Margaret Hurst. '....-., -.._' '' •..r II Cam- y gas �iy�, �µ—:�. :.r:".... .- .:,1:,�;.�.... �t��..h ;�,.� •. 1' 2005 VOLUME 3,NUMBER a TEACHING ART1STJOURNAL 1C 0 By project's end,they had learned to combine fabrics in exciting ways and had grown in their � ro. artistic confidence. . Blinker? Breakdowns and Breakthroughs 4 < 0 0 CD by the 2003 6th Grade Serv[ce Learning Class Through this highly interactive approach to writing and art making,students were engaged at Kestrel Heights in a new way,but sometimes the progress on the project was slowed or halted by behavior »: w co breakdowns.It was often a balancing act of making sure the quieter students contributed and One moonless July night,a lightening t' g g ng storm raged so hard,it looked like it would 7 W that the more vocal students did not take over and turn creative chaos into pandemonium, break the sky apart Electricity ripped along the power lines until it reached the yellow, o0 We often saw how the students'lives were limited by all they did not know,did not have, Sixth rectangle of Blinker,the traffic light on the corner of Kestrel I Heights Drive and o or had nor experienced.Often,we were forced to confront the confines of our middle class Srh Grade Avenue. perspectives. W co Zap!A strong shock zinged through Blinker.His lights flashed blue,purple,and or- Tlae most powerful moment of learning came when we hung the nearly finished quilt All ange•°Whets turn red,green and yellow!"Blinker o happening CO to me!Traffic lights only n the teachers expected to see the students'joy and thought they would be thrilled about their thought and then realized he'd never really thought about anything before. accomplishment.Instead,there was silence and then a torrent of criticism.The adults were °0 0 He Iooked down and saw a house across the street shimmer as it was struck by m shocked,even the teachers who were accustomed to their student's tough critical demeanor. lightening.n Fortunately, the Kestrel Heights this as a teachable moment Ls teachers saw g "I can see?"he thought.He didn't know that the lightening which had made 00 loaded with learn- him come e to life had also struck a sixteen-year-old girl with caramel brown skin named m co m$potential and possibilities for reflection.When the teachers pointed out the triumphs Ashanti.He didn't know that Ashanti would become his best friend IV of the story quilt,and the students were asked to rethink their responses,the entire mood t changed. As the students easily listed positive elements of the quilt,one student remarked, The next day,Blinker was failed with the thrill of being alive.He could smell the wet o 0 rain drying from the pavement and sec colorful cars screech to a halt as he flashed red. cn "What we did together was so much greater than anything we could have done alone! m In a post-class reflection session,the adults revisited the experience.Together we realized Blinker ar on o power lines trying co get the attention of the cats and people who rushed around oa the streets below hire, that the students'lack of experience in critique allowed them to slip into a typical pattern of seeing the negative.When the teachers'intervention provided an appropriate way to critique Whets your Warne?What's your name'"he blinked his lights at a pretty young girl. the artwork,the students viewed the experience and product in a positive light.One teacher provided the most dramatic insight in our review with the realization that the ion moment Her name was Ashanti,and she looked up,puzzled at his flickering."What a strange $ light?It's not working right.Stop hIinidng you dumb light!"she called of silence before the onslaught of criticism • was probably not one of judgment,but of "I'm not dumb.I m trying to be your friend!"Blinker twinkled,uying desperately to awe—an awe they had no words to express. Stu Reflections... communicate. Later,the students,filled with pride and We got to show of Kestrel Heights'talent "If you don't stop blinking,I'll throw this at you!"Ashanti stooped and picked up a accomplishment,presented the quilt to the p p elementary-aged English language learners. rock which she hurled at the swinging light... gu Our teachers can use our staf to teach other They moved easily from the Spanish to Eng- teachers, The beginning of the story, fish to tell the story of Blinker.The younger Peg Gignoux is an innovative textile artist,designer and students were captivated,and the older We helped our neighborhood and Durham. educator in North Carolina.Gignoux enjoys working with students saw how their stow and artwork Anyone who reads our sto diverse populations,facilitating and creating vibrant mixed created a community of all who listened and story and sees our artwork. ?:.. media works,art quilts and handmade books with regional witnessed their powerful work - ''K-12 schools,museums and health care centers.She holds a Service learning is not just about havingfun,- BA in English from Kenyon College and a MID in Fibers from it is about helping out. .. . North.Carolina State University. Complaining can make you lase your fuse and k _ Susiewilde,M.Ed.,is a Teaching Artist who has published some great•teachers. thousards,of articles,a picture book and Write A-Thon!a ,;.'. booklor.teachers. Her website(wildewritin,ggworks,corn) A student should riot behave like a crazy zoo. = offers reviews on 150 subjects for children.Susie has spent • animal the last•;iS:_years teaching parents,teachers and students to 1 e', think andamrite.like writers. DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Thursday, October 5, 2006 r www penarthtimes.co,u�r What's On • 3 ..5.•,.^:.•.:1.i.}Y..�-Fyn _ 'F•a:Y/-.' ." .. _ - ... � _ - - j , .: y - v . _ a: T.� F•. x•. ',--:i 9 r'' � d r 1 _ - �ee. _j am • .>.•". --yam'+•' r e% r.. - w . :�;.r ; ^�, a �Y. %^;i� "fir V -I '2- - �" r� •=3;: <::� err - 8 t?G"�- �c?, r_?f:-F� .:.L , �°Y�. ::.��5�' ,�'.% k�s' '€Lr ;.j .• .tr -ti •. ?:9_i=,[ _ _ i1 ":mss. L'a �? '1'� " t'i - -r.:- _ - '. . THRILLED: School children with American children's author Susie Wilde. a Washington • to see work on displaY AN exhibition of work Great One class created individual -,-.7-7-7,__, '. `y ed by children with the help books to illustrate their story and _ g. of an author and an artist the other a large-scale mural. F:'" ,A. v :. The completed work will be q ;H. :a i ": - ;; 1' = 1 will go on show at the Wash t ': r, x exhibited at the Washington " t .,r" Wash- ington Gallery next week. ' , � y' Gallery for one week from Monday ' ;.. yam:", The gallery's Education Out T Y Y »� '"> _ ' reach Programme brought Amer- o Friday. - - �', - - '� �_��. g1 g _a The ashin ❑ Gallery man- - ,�•. :s= sir icon children's writer Susie Wilde Tkz Washington G - =.t. S W� .��- ed by Penarth Arts and Crafts a - .��s�"�.':'='�:'. '���' .�� to Wales to work with Years 5 and registered Y l�. ,: :.' ,;_ - registered charity, has an exten- �.,` ,,�•.�y:fir:::" ",A, � - 6 of Radnor Primary School, sive education outreach pro- _<-:� . Y^-'-;` ,a Cardiff,and collaborate with local P :�:• J:?^: z . gramme that has worked with a :'; Welsh artist Heloise Godfrey. :,. _•:;' wide range of groups in the corn- - Wilde, a published writer who .� •. ;,,�; .�:;.:;;'., ,.� - .,,s r Viz; - rnunity since 1998. -'? r .- ° ' ; has been leading children's work �=. " To find out more about this proj- _ - shops in North Carolina for over ect and others contact the gallery '� - . 15 years, spent a week with the . office at: Oriel Washington ''.. � ' ;� ',: children at the school in Canton. �:: _,- _. ry„;:r ;1:7:::• ..:.s.,, Gallery,1-3 Washington Buildings, - `•;.'=�'" �.'�: ' '`'� :: - _ .� «�� _: By the end of the week the chit. `- =F " ' Y Stanwell Road Penarth CF64 ;2_,,:=z> -''"= dren had learned how to create a `' ;;f ::;:.•=S yk;,: 2AD telephone 029 20"rl 2100, <;��� - P -- - - main character, construct a story r':Y . _ email infoC�washingtvngallery. - yr�,:',_r,�;�,�.:.:::.• e::;: ._:-'` � �';• skeleton and decide on a title. - ?5;.. :: ;'.: ;=?.::'• . co.uk or visit xwwwashingt❑n- _�, g� ^=�.- =��== =,.;:. �::. Through a great deal of team ax oiler .ca.ult : �:=�"�' g Y work pupils ended u with a 51-.1.,..,,,,..i.. .:r;;- <:'::::_:_: P P P th story. -.s .- This double workshop has been :._� ;::��:;s;,�rw:_°. x. ;:;�;.•. _ In the second half of the work . a, )) I ;• : : •:: : F"S Y funded by the Arts Council of i.∎"f" .,, .-,. shop Heloise Godfrey, an artist � === P Y, Wales Children in Need Help .v '_: ::.: _ ,,Z who has exhibited her work at the - -i = : ` ;, South Wales Child and Creative t� - °h�m.:�.'T � �;g. '� :i"7•":fir;. Washington Gallery, helped the �;. . " � �::�:. _� �� �.;.�.:�::»,:� '� „ Arts bring their stories to life ts Support Team and Penarth ART WORK: The children's work will be on display at the Washington by using paper collage techniques. Arts and Crafts. Gallery in Penarth. DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 o a Aa a IT P, ro a 3' 'r?, Q C — ro 4 m4 + cu ° , - o , � 7 a yma ° �a e z- eba, -, a (o 1-5. � U 1n a o c a H p U a. QA O K A L.1 r Z to teaching 'R AL° = An editorial project of the Center for Arts Policy at Columbia College Chicago r . 1 1. '-L 7:\ 7- i-L1=1 qi:4 -- -- - - . . - - -. -,.,,'' . ' 1 ';-- .'1 - ' l:',Pil Ir ... . . -. 7 - -'- oil ; = ._— 4 i -. iirt,,,,•--.:- - _ ' .:-.,-• , -.-:.-41,--•_:,._.1.-.. , . ,...i; .. Y ; - is ; y '- -.L ' : .: ----''r- i i \ -11 4.-•it44P---4/:---.--,'... '. -.x Iv 'I, \ '', ; l t 1 1t.,;.' ; [ - I I f - t \'.0 '1 V I - a I I \ \ y 11 , I l I '.!.:�:II- ` Y a.: _ :•'-; :. ... -•..__,I..H . . \ \ ,L _ - ,... i .wp La'.:rence Erlbaum Associates,Ir.C. Volume 5.Number.4,Winter 2007 ISSN 1541-1796 TEACHING ARTIST JOURNAL 5(4),260-268 'i . ' 26S 250 Copyright®2007•Lawrence Erlbaum Associates,Inc. r :`■' '''TEACHING ARTIST JOURNAL ABSTRACT _ T �:Il _ t p•, 6 with group�' • 1 ai or checks R r ,c`r•. •:�.p' _ The author 9 4 A writing Z I] project in �� .t a w"��'�'' z � the � rr• are•in <'d'�' `f � nts who •.rM�= .z �� sh stude 3 ��r 2 of.Welsh'"� �� r d ,a,- y., - • .,iv:'.. - •its - .. •welsh school '• ��' �., r^�•°e.• ,�'.; :I., _ , :+? �:� I, _ � ,. 'dst of ima inin rear �} x ,�, th 9 3 9 g r - r�� p m reignites i Bra_ es ? :: .. w'2 %�� �'Y�'a�•.����'�:,oEL[[ r H� .'r - g e. Yyr• writing. :•`[[ ..pper� '�• +"sr 'i• 9- 41:;;i'15:4410, 'v y� ri Y• 6• � 1� �Yi'�. •t r.,y.� 4. J ,l�r{I"I ::46':i +G!••;$0,h. 'I01-life:•4'I; :',Z.•`�i � --Yr.ir2%•• ':",• cS. •:�,Y,i [' 'u• .Par 'wi. ��. •. 4? I�_^,).x .i$?yt;��r�:�^r• ,. ti:: '•.� 53 r ,s. A d underrepresented?My guess is that fiction's lack of rules,directions,and outcomes make it messy and scary for most educators. ru I understood the teachers'situation better when I took an art class and had to create a l piece of visual art.I trembled with confusion looking at all materials I could choose.It § was almost impossible to get started;I wracked my brains for an idea.Then I went crazy "W,i:;i� N An alien with a skin suit that needs dry clean? •an electric E to re out how'to make my art object match the picture I had in my mind" ..v�''u``x , teacher who hides her secret; an old woman who knits clouds: Continually frustrated by technical difficulties,I was rarely pleased with my results. o � ''+'J r y. these are characters from just three of the hundreds of collate- Teachers have a lot more at risk I don't have to instruct children in something that o ,wn`:� orative stories S've written with children during sixteen years unnerves me or get them to perform in ways that might impact my performance record N °'" —�' of working in U.S.schools.Like most teaching artists,I have a or income. So I turned my inventive spirit to helping teachers understand writing, um- ' unique vantage point.Visiting many schools creates a montage meli"ng and poking at the creative process,and breaking down writing into manageable co LU of education practice,rather than theory.In over a decade and steps to build a complete story LL a half I've seen joy fade and stress flourish.Until a recent trip m to Wales,I wondered if I could keep working in the schools. Schools and Students Shift v o Bringing Stories to Schools - �ar five years I responded to successes and failures.]just when I felt it my teaching was 00 co working well I began to see a change in students.Almost overnight,they became harder When I started writing in schools in 1990,I savored stn- to engage and their desire to create evaporated. w dents'spirit and imagination.I relished showing them how to I asked educators that I respected what they thought was behind this shift.I was fore - 00 _ make sense of stories,how to create stories that made sense, er changed by a conversation I had with Nancy Margolin,a thoughtful elementary school tai .^°�s%.�'<: `, , g y car g $ iar9 h saw Y° and how to have fun doing both.Play was the best way to many my �day they co - �' y librarian, She asked me how mart books I'd read to children ev da when th o combat two problems I saw recurring in every classroom I vis- were young. Correspondence regarding iced,where I found children could neither think nor wonder. "A minimum of two or three,"I messed. o this article should go io: TD Children's urge to play is as innate their sense of wonder, "So,if you read two or three a day,you probably read five thousand books to your > Susie Wilde but by early elementary school,the sandbox and dress-up cor- children before they went to kindergarten.Does that sound right?"she asked. LTJ c Chap Ta ill, Way ner stories fade.Most language arts r0 Chaps:Hill,NC 27576 programs dedicate them- "Probably,"I agreed,remembering fifty some read-alouds of Goodnight Moon. (919)932-3300 selves to writing about personal experiences.This is great "Then think about children who have never been read to before they enter school who susiewilde@bellsotfich.net O practice for focusing and observation,but why is fiction so come to kindergarten five thousand books behind.How can we make up for that gap?" o 262 2007 VOLUME 5,NCum6ER 4 TEACHING ARTIST JOURNAL 263 I saw her point easily:how the transition to MTV culture has changed everything.How fourth/fifth grade) and we'd have a week to create stories to serve as illustrative prompts a..: our busy world has robbed many children of reading experiences and all the conversa- for Welsh artist Heloise Godfrey. 3` tions they need to feel secure enough to enter school ready to learn.A kindergarten = teacher told rue that four-and five-year olds came to her searching her face for the right Collaborative Fiction—Can Et Cross the Ocean? answer,lack of security and demand for success robbing them of a willingness to take The night before the residency started my friend advised tae about language differ- risks.As if things weren't bad enough,the trend for accountability hit the schools and enter."Say`trousers'because'pants'means underwear and'bum'not'fanny.'In Wales testing spread like a plague all over the United States,intensifying with No Child Left 'fanny'refers to the front part of a woman's lower parts." Behind. "Thank goodness you told me"I said."`Pant zs part of the 'Sill Willy'song I s' I entered a third-grade classroom one August to find children quietly bent over test g y p y y with children." papers."They're learning how to bubble,"the teacher whispered. "Don't say'Willy'?"she screamed.I could figure out what that meant.But I wondered "That's a fine way to begin the school year,"I muttered.She nodded sadly, what other surprises waited for me in the classroom. Teaching artists are nothing if they aren't adaptable.I responded to the testing envi- When I arrived at Radnor,I saw uniformed children scatter pell-mell over their con- ronment by spending the next several years developing techniques to help teachers meet crete playground much as they would in the States.The school's security system,incon- their difficult curriculum goals.I stopped teaching the imaginary fiction I loved and gruous with the cheerful mood of city and school,gave me an opportunity to meet staff worked to put a playful spin on writing tests,compare-contrast papers,and paragraphs members who greeted me warmly and didn't seem to mind leaving their work to buzz creation assignments.The teachers were pleased with my efforts.But the children were me in.I hoped things would go as well with students. IA bored and,frankly,so was I. The school day started as the children offered up a greeting in Welsh.Immediately I 4i Last year,the best writing I did with students came when I Lost a crown in the front felt their respect for custom,teachers,peers,and learning.These students were imnzedi- i'I of my mouth and couldn't get it fixed before I had to return to teach a fifth-grade class. ately intrigued.Was it my celebrated American accent?Could my process hold their inter- To quell my own insecurities,I had _ est? L. to do some quick and creative t q.h v . I began by reading aloud Deborah Wiles's Freedom Summer, a story that takes place ixx thinking. , Most language arts programs dedicate a small Southern town during the first days of desegregation and tells about a young "Notice anything new?"Tasked themselves to writing about personal white boy who comes to understand how much his black best friend longs for equality.I u my students,breaking in a huge discovered these well-informed students knew about se e anon in the America.Th lis- "� experiences. This is great practice for segregation ey grin that exposed my gaping hole. teased attentively to the story and then,in a discussion told me about their perceptions I" focusing and observation, but why is ' o I told them I was in a quandary of inequality in Wales.The students were convinced by the end of this activity that they f¢ w fiction so underrepresented?M ess is u> and asked for help."Would you y would enjoy picture books and begged for another. !ii please take five minutes to come that fiction's lack of rules, directions, and - --__, I moved us along to the next activity. 1'; Q up with an answer I can tell people outcomes make it messy and scary for _:�R.. - : : They were just as involved as They analyzed F'` w who ask me, 'What happened to most educators. I told them I was in a quandary the book I'd read aloud,relying on the ro your tooth?'" and asked for help. "Would you Story Skeleton model I've devised to ' o There was inventiveness in"rrn really a seven year-old pretending to be a grown-up" l,. m n and voice in"Let's just say that bungee jumping off the Empire State Building whe a taxi please take five minutes to come describe structure elements like'setting, o is passing below is never fun."One group crossed curriculum with a scientific slant:"I up with an answer I can tell character traits,motivation,conflict,climax, people who ask me, `What and resolution. ;: ✓ am really a shark and shed my teeth.".And there was reality in"I tried to eat my bus- ' "How many of you love to write?"I h m band's cooking."These children loved creating imaginative fiction! p. happened to your tooth?"' w " g a na asked.In American classrooms, often only I o .i. two eager hands wave in response,but in these classes I had only two negatives."How i ;, many of you like to play games?"As in America,all hands shot up.I promised that we'd A m The Cardiff Cure ;�, Q '+: play game after game and wind up with a story. PT We launched into writin b inventin a list of characters.Each class chose a °o Despite this one bright moment,I was despairing about my teaching future when I ;. writing by inventing �' S' i • spoke with Suzanne Greenslade,a college friend who had lived in Wales for almost Character,and we played a game I call"Wondering Questions,"In one minute,students o years and worked for the Washington Gallery in Penarth,South Wales.Part of her job was ? suggested a.slew of questions that would help us understand the character.We answered TD• to send artists into the community and after their residencies honor the participants' ' these and from all our gathered ideas composed our narrative structure with the help of �: _ w work with an exhibition.I imagined once guiding children as they developed im n' the Story Skeleton. i again gu g e3' p agi- � i;r� L Then we put"flesh"on our"story bones."In small groups,students focused on ES) nary characters and stories they cared about and impulsively told her that I'd already ,, p iy gro p , ,j_. in ,a. . scenes,making friends with the chaos of invention.They thought up images to stimulate I. c planned a trip to Europe and it wouldn't be difficult to add on a teaching adventure inI ^ o Wales.The Ian evolved quickly I would work with two Year 5/6 classes (equivalent to , the senses and imagined vivid verbs to move their tales along.A ruddy-cheeked girl 'i . TEACHING ARTIST JOURNAL 154 2007 VOLUME 5,NUMBER 4 265 '.�.w r- . .-,„ ,-- -;,• E I had twenty-five rhildren who were a mix of ethnicities;The largest number were o *' '�� 'T.' ` His attic students mostly fluent in En 3 ff p y English.Though I was working in a district and school The author helps students that were"low performing,"these were the children who were on the border of succeed analyze character,conflict, �; motivation,and resolution ing at testing.This program expected good behavior Three to four teachers would assist ' with her Story Skeleton.Later me at each session. ° they will use the same graphic ti model to compose their story The schools were different in more than geography Haw River students were from lower socioeconomic backgrounds than those at Radnor.The Welsh children represented a broader range of abilities.My Welsh workshop took place during school hours for five days in a row and the American program was an after-school situation that continued - twice a week for several months. Still,given these differences,I formed contrasting impressions that made the culturally curious. Often the differences offered proof that affirmed the techniques I used would b f work in a different school culture.Sometimes,I gained insights on how I could improve cmy work and make it more meaningful. a CD- Top-Down Support 1`1;I I ra In Wales,right from the beginning,I felt surrounded by support,most notably from x� f.' the Head of School. She toured me proudly around Radnor,introduced me to her secre- t tary,and asked that her secretary help me. Several times she visited class and asked me noticed,"You get really far when you work together"Another offered,"It's great to ask how the work was going and if she could be of any help. Once,when I needed a supply, other people for ideas." she volunteered to run the errand so the teacher I was working with could enjoy her Finally we used games to revise and edit a series of drafts,and we examined and changed words and ideas until they seemed just right.A boy with a huge smile admired break.The Head attended the final show at the gallery In North Carolina,the principal of the school seemed welcoming and eager on the "the way the story all fined together." By week's end we had finished two stories.One classroom wrote about Zacchaeus,an phone. She asked me to come '''._.s��. . ^ 3:t.'.::'''. for an ixrtmducto meetin with annoyed older sibling who has to find his own brand of magic to rescue his little sister ':.. ;:;r xr f ; rY g o from an enchanted globe.In the second class we composed the story of Storm,an inno- This was not the firstAmerican school in for marce a But when I arrived L.Li o cent grape who sunbathes too Tong,becomes a raisin,and briefly turns to a life of vio- which I've had to lead students into inner for that meeting e I waited a half c� hour until her meeting with the CNI fence as"his sweet side withers with his skin." landscapes and then struggle to keep them teachers finished and another Q The students'involvement led them to a deeper understanding than I usually see in producing.I wonder how much American ten minutes for those not w American classrooms.The play was important—winning free books by defining writing m curriculum, like much of the technological involved in the project to leave 1 LL terms and earning sweets by dreaming up dialogue—but ultimately it was the story that w world stresses learning in little bits and the room.Two minutes into o mattered.These children could see the bigger picture."We used games to create work g m without realizing r marveled one child.Another understood that"stones are fun to makes students unused to involving them- explaining the Project the prin- alixirxg't," o write as well as to read."My favorite comment came from aten-year old who said he'd selves in projects of any length. cipal asked,"Has this project v been approved by the district?" learned"working together has made us strong." co "I assume so,"I told her "The arts council has been quite thorough in organizing." co "Until I'm sure,you'll have to wait to speak to my teachers,"she told me, dismissing Back in the USA me. j coThis set the tone for the project.She was uninvolved,her secretary would not even .:c2 My experience gave me courage,and I decided I would take Welsh cheer with me run a few copies,and one day I was told at the last minute that I would have to move my li when I signed on to work in an after-school program sponsored the Almanance group of thirty into the cafeteria to work,as the school had a meeting scheduled for four 1; p r$ P �� P by g ;s m County Arts Commission in North Carolina.I made it clear before I started at Haw people in the library. mRiver School that this would be a program devoted to writing for writing's sake as we Taking care of self first is woven into American culture.Add to el is an.overwhelmingly M created a story that textile artist,Peg Gignoux,would turn into a Story Quilt with col : busy world and overcrowded curriculum.and you've got a set up for the"every man for Wlege students at Eton University the following January.This Story Quilt was to be sent i himself"philosophy.Wales seemed a culture that works together,and I saw this reflected g to a school in Metairie,Louisiana,whose lower school had been destroyed by the ': as the head in Wales was a team player who offered welcome to even a visiting artist.Top- r) waters of Katrina. down support made the project run more smoothly.The head's involvement made it �r o : ? j 0 Vi, 1;: 266 • 2007 VOLUME 5,NUMBER 4 TEACHING ARTIST JOURNAL 257 more significant to the school community.In the future,I will introduce myself to the American students need connected learning experiences to gain meaning and depth principal,involve that person in the excitement of the project,invite her/him to sessions, • in their thinking.The after-school teachers were pleased with fact that students were and ask for the office support I need. taking what they learned back to the classrooms and applying their new knowledge. When I told them that I had met an incredible drama teacher and wondered if they might let her lead the students into turning their story into a play,they told me that Motivation there wasn't enough time,for the students had to get back to prepping for the For the most part,the Welsh students were enthused with the project from beginning corning tests. to end.In Wales,I didn't have to convince the students to learn or woo them into the In'Wales,the students were fully involved with their characters from the beginning process. and their thoughts and questions deepened as we'developed the characters.I didn't have Prepared for American student ambivalence,I began at Haw River by showing the chi/ to convince the students to learn or support them as much.There were many more sug- then a quilt like the one their story would yield.Teachers and students found it beautiful, i gestions for the characters than we had time to discuss.They loved these discussions and and it inspired some initial excitement around the project. the lively debates about our characters and plot. Every day students ran into the room at 3:34,ready to bear the story I'd read,immedi Today American learning goes broad,not deep.We skim the surface and learn in ately engaged in and excited by sorting out the story of Lightning,the butterfly who sound bites and through rote,right-answer-based learning to test-based curriculum.It's wants to take revenge on the human that captured his family.To be certain they were no wonder American students are unused to pondering. much more involved than many children I work with. . Imaginative writing is a great vehicle for creative thinking and risk taking as The problems began when they had to produce and I felt I needed external rewards children.structure a reality in a story.But in my view American children are to keep the excitement going.I did more leading and saw them lose momentum as the untrained for this sort of work and progress is difficult.They need connected project proceeded. experiences.This insight irztenss&es my resolve to seek collaboration with artists I wonder much about the influence of television and how it affects learning and in other modalities to deepen learning experiences for children with whom inspires passivity:This was not the first American school in which I've had to lead stu- I work dents into inner landscapes and then struggle to keep them producing.I wonder how much American curriculum,like much of the technological world,stresses learning in lit- Collaboration tle bits and makes students unused to involving themselves in projects of any length. 1 I have no idea about how much Welsh children watch"telly,"but I did notice that their 1 Before I left for Wales,I had almost decided that collaboration was developmentally character and story ideas were not as influenced by TV.In Wales,the students seemed impossible for elementary school students.I watched children try to dominate in groups, complain about their ou members,disagree with each other at every opportunity as if o able to maintain their interest in a longer-term project and were actively involved from l? � P � gT �'Y Pp r5' obeginning to end. their individual ideas were more important.They had a hard time listening to each other, N As a writer,I realized that I must do a lot of work to create enthusiasm for a subject that's and our stories suffered,"Maybe they need to have their individual voices—maybe collab- i Q been rendered meaningless by prompt-based writing and doesn't have the visual aspect chill- ;, oration is impossible,"I thought. L dren are used to.My work succeeds best when paired with a secondary arts project.I stimu- Happily Wales disproved this theory.The children loved working in either small or w 0° late students'brains,activate their imaginations,and they just begin to identify with their large groups,and again I saw how working together and discussing a story as it pro- Li ;+ red could deepen the experience and broaden the l wo story as I leave,A.secondary art,particularly one that leaves a tangible product,turns my writ- P exP Learning. 09 ing experience into a meaningful arts adventure students never forget. My experience at Haw River was not as collaboratively difficult as other schools.Still, I noticed that when working in large and small groups,a few children did the work of d v :R: many Children would fade into the background and I'd have to draw certain children to Thinking k, out to garner their ideas. l co My American students didn't start out with great depth and wearied and floundered as ,k• Is working together a cultural value?Our American culture has been built on individu- ° the process went on.Most of the character traits they suggested for lightning the butter- ' alistn and I was so used to this surfacing in classrooms that I was astounded by the ease m fly,for example,were physical and obvious.I was intrigued one child's comment that fir'; $u by •, of Welsh collaboration.On return to the United States,I checked with a'Welsh woman Q Lightning y angry incredibly who had grown up in Wales,and she told me that that in contexts other than sports, � I.i the butterfly had"an an look on his face,"but students had an incredibl 4 °D difficult time coming up with reasons for his anger.I had to do a lot of leading an ques- personal competition is frowned vn. g get deeper Wales renewed my belief in the importance of collaboration,but my work might bene- Bonin to et them to dee er levels. o I saw this same lack of thought in analyzing stories.When i asked them why they liked }".. fit from discussions with teachers about setting up groups,before a residency.Such dis- li a story they would often answer,"the supporting details."When I asked them which sup- cussions would help establish groups that can collaborate easily and help to place stu- w porting details,they couldn't tell me.They knew the terminology but couldn't apply the !: dents who might have difficulty collaborating;in groups that the cooperating teacher and in concepts. � ;:: I can assist. o 't �!- o :; 268 2007 VOLUME 5,NUMBER 4 Fun and Creativity In both Wales and America,my most magical teaching element is fun!It is the element most appreciated by students.When I teach I play hard,and this unexpected teaching practice disarms and charms most children and adults. In the United States,I've seen schools become ever more serious since the advent of test-based curriculum,and I see fewer creative activities going on in classrooms.During my last session at Haw River, in response to the children's request, I did a costumed per- formance of the children's book I'd published.During that performance,one of the Haw River teachers worked with a child on homework It was as painful to see that child twist around to try and catch my performance as it was to hear the teacher plodding on in a normal tone of voice as if the performance wasn't happening. The Welsh teachers participated in the work They voted with the rhildren when a decision had to be made and voiced their opinions when they questioned a story ele- ment.They also asked me to provide them with more information and asked specific questions about the process after my sessions.They were enthralled,involved,excited, and open at every stage of work They were eager to bring more creativity into their class- rooms. Americans seem to me to take themselves pretty seriously,while the Welsh seem more playful in approach,more relaxed in manner.Has testing has robbed teachers of creative expression and crowded out fun?American school and classroom environments can feel depressing.In Wales,the general tone of the school seemed happy,hopeful,and full of life.The Welsh teachers were fully involved in the process,asked thoughtful questions after our sessions,and were eager to implement what they'd seen.In these times of seri- ousness,it might be up to teaching artists to remind teachers and students how play can enliven and enlighten learning!Schools need the arts more than ever! o I have finally unpacked my suitcase and the last of my European chocolates are gone, N but ten days of learning in a Welsh school has made its mark on my teaching.This is easi- l• y evidenced when I reflect on current projects.I turned down a job at a school that w wanted me to teach curriculum-based writing.I am now modeling writing for Duke • Co University education majors and giving them a chance to try playful reading and writing 'I w experiences for themselves.In a month,I will spend two weeks in a school that's eager m to embark on a fiction-writing adventure because they want their children to experience othe joy of writing.I am working on a grant that will take fiction writing into development a' of a Story Quilt,song writing,and dance,all of which will be revealed in an annual festi- • w val.I am going to work in a high school for the first time,helping teens see how the sto- •.`,•' ories they read can help them tell their own stories.No,it's not the fiction I love,it's • meaning and depth,and I'm ready to take a risk! ' co m co j Q Susie Wilde, MEd,is a teaching artist who has published thousands of articles as well as a o Write-A-Thon! a book for teachers. Her Web site[http://wildewritingworks.com)offers m reviews on 150 subjects for children.Susie has spent the last fifteen years teaching parents, • teachers,and students to think and write like writers, U 7 O 0 y:• iS• DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 1 Ch • ld r the journal of the Association for • • Library Service to Children 1 ii Volume 6 Number 1 Spring 2008 ISSN 1542-9806 11 , • • r . ,„; • ,ice - __ M' • • lam... 'cs f -,v.-_ if aFi S.. FILIK How a Guilt Tells a Story Association for Library Service to Children 50 East Hurorr 5l;eet,Chiciga,Ihrilob 60611 $torytiwes for One-Year-Olds • Bringing in the Boys f NONPROFIT ORG. 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An Artistic Story fludt Collaboration . _ _ -r p 77-.0 71-• , Virie-'2.4-7-i.• •,-•• S..- ',..,,,,t,:ec.-7—:5 LA_ •••-•;-I , •-•:-:.\•5_•_ SU SI EINILIIIVillili MAHUIRITE JAY"PH"SISMX AND JlillA GIGNOLIX - . . - _ . _ __. . . ,.. .... ....... - ----,.,.-_,-, --,,,- if.....--2-7-..-• 1 _.,„ _:_. ....„,1 ,, -,n,.;;'...-7.!,-;,,V,V.._:r!„.14.-:-.:-.7,-------71,7-='-'717-„;;FT1757•754V,..7 "'I.2:-. 7f411 -", ••• -•,...1-'-...r.--r--3",f7.,'41,1 ,..,;1_, 4--,II _ •".=•::_z:-,'::'''.:513,•:•'"*--•.-,Tik•-•"j•.,. : --.-,-.1: :...',"-'-':=.1.-•,,:•.3.e,-'- fTie,:ti .,,,%-:;:::::Z..? pr -'r; '-. ,17;-:-!-•.,c•• qi _ . ILic,.;,,,'' •LIL j i'- ,,,,..F._-_•:.E, j :: -.A:..._3 ,,q-4-4t-.--4-.0_ktv•A‘,4§- 1- r-r..-13:*,-,-.1,--, - Api,4]-..o.-.. 1,'• I - _ ____ _ 1,:pfeti„ --.40,4,-„ __efueio,, 4','hy;-4t•-.0 It, ' :,;01_,________---4::•••—:r•----- ,' -4-,.."4r! '11.--,,, ,.- .•,,,7,1', q.._',''.. 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At Hemphill Library in Greensboro, North -'i i r Carolina,patrons can participate in innovative art programs. £;:. -'rte` Partnering with Greensboro's Green Hill Center for North , ,- _-- 1 Carolina Art, the library has an active art studio located just off fj`' ;f- ;;:�- � .. i ir4; Yt -- the children's room. The studio is staffed by Green Hill a non .yam;�W profit art gallery that remotes visual artists of all media. ' ^�: it 1 = In 2006,Hemphill Library sponsored an eight-week writing and ; f. 'i :./t.;' ='` : z _ � '.� illustration residency with teaching artist Susie Wilde and Peg _,;`= 3 S -� Gignoux of Chapel Hill,North Carolina.Here's the inspiring tale / �` A '.. o their creative Story Quilt as told byWilde. nd the winner is—a storytelling chair!" ,Applause and --�-- - cheers erupt at the proclamation.In a previous session, :}3,q.--.0.- .--; F -:- ,g,. > �l _ -y°ry-.'IFS._: -?a2L a., .r'=13'' .7• Hemphill Library patrons have compiled a list of original _ ,�. -. ; characters, discussed the potential of each, and voted on their - = •; f-k='.}'•,.y f ,svi_;#� �. char P ., , _ _ , . s,;,1-.. e sessions, I talked with Peg, the textile artist ,;s 4-i"s~ �,,.- 1 :.z ' `. .;r`. -r. favozites. Between s s , g �` ?� `1-`,-541 x. .�` . - _ ...- ,,,.��; ;y.; �,�^LI_ who will lead them in illustrating their tale.She has weighed in L;:':-p'Q .• ;x4 r_,/+ .r furniture would be easy and fun .. --L,_,..,-,3.' '' .y °a'^ -: ,. .. :9-" �� on their choices."I think library Y :y. -7 _.:.��`•.�::- t?�;_ �',' -�� ,::- to illustrate. This should be a blast. That's how a storytelling --*: ,T1 9 �r =�= '�= _' "' L.,. 1.!•< .1 4,-`'-',4 ......:,, r - chair became the focal point of the library's Story ry Q wilt. _ i :z,' . ,. : _ N: In summer 2006, I initiated a writing residency at the library, - •°" .;._.-1-, _ _:.f•'fl`'= ' i r. ages four to s' z'; << , .ti' Est where I lead sixty-six energetic participants, g Y ,-. T-4 ? - — �..r r four,in creating an original story representing their multicultural .. - _; = library.Then Peg took over,leading the families in designing a '"v; `, "'` __,,2•:-' , - Story Quilt melding words and images in an illustration rest- ` -,:,i' : 2 -' - • dency.We then turned the project over to book designer Julia -_ __ _ , Gignoux,who transformed the work into a picture book. ▪ Peg and I formedTEXTile Partners in 2002,uniting our interests -u ={: r and experiences in leading collaborative adventures in the arts_ j ▪ In each of our previous seven Story Quilt projects,we've found f MI �I -3 -;_ij r � , x.�� rYVJ. - : that art and text make excellent partners.The story anchors 3i ' ''.';.. 1 l i :�; ;.�: -j the illustration process, providing novice artists with a focus 1 :, 1 ii -=:,-;-,!''-..'.,, - :Y_- -•• and structure that helps them select meaningful design ele- $ i ,'-':; ,_4i,.0 t ti ' =,;.' vx_," c es J •� �� - �... ,�x a e of _ whole range .: ''".�- �..;. ments.This storytelling chair would open up a wh g � ; __„;_;;�, . •�.; --_:j,f _ .;� ,,, t�- .t 7'r: - i.. e arvelousl 7 ��. characters that would x t .7.r� ' ��;=,^ , dramatic furniture chara, Y °•�:�`'Y - :,-'. 7 in fabric clarifies plot and further E.`,-I i_."_. ;� _, - :n ; �. :,�:: .. 1(:. <<; ,: in cloth. Creating pictures in P � .� ;.���5 _ _ • defines characters. �1 cters. J a es would give this = '' ti`F As in past projects, I knew the visual images ga i .. storytelling chair a personality stronger than words alone could , ,; ;1,__• . __ - provide.Peg and I have often noted how integrating text with = = '- T �' visual art helps participants discover their voices.In addition, -_ the experience builds their confidence as writers and visual - - = - '. picture,and 'Teaching artist and writer Susie Wilde has published a picture thinkers.We have seen how this merging of word,p' ,s book`Extraordinary Chester,and a book for teachers.Write- collaboration unlocks stories and sparks lively discussions, turning a group of people into a community. o Thon1 How lo Conduct.a Writing Marathon iri.Your Third to • Fifth-Grade-Class; :Wlide.is.a teaching artist who has spent the.:lost fifteen years read/rig.aloud poignant picture books. -and:using these.to teach.parents, teachers, and students. The Project lakes Root Ito.=th7rik:Qnd'ivrite tike:writers:Site has found;a:thong:.visual colfcibora-tor in Peg:Glgnoiix: Together'as;TEXfffe Partners,: per: - Thc Greensboro Public Library System helped us realise a they create Story Quilts for schools libraries,:and art canters: .. long-held dream.For years,Peg and 1 hoped to publish a pic- : , , ture book based on Story wilts. Familiar with our work, the Julia_Gignoux.is.a book designer with Freedom Hill Book ry Q ?Design and Production House in Cavendish,Vermont Greensboro Public Library System was intrigued and willing . Spring 2008•Children and Libraries 11 c DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 r 5:=,.- w...,. �7 Tom'_`°---. '`-^�. Tell ME"a pate ..� _ - - ;:_ z k _;1-_-,... :mac .. .:7rr. r e �w:fry. ; . �T'� I 0' , 0 ,_:_,,: . ...\i....\\:; „ it = �` :(.1-:'-1 A Patch F - ,T,...: _, .. . _ ...ice `/1 ,i, j. _ . ]�1;:; }'�t}': •=:'z. l2 '''`17' ,..' :1 3"1,' z 1_ ,? A STORY =�i F u f:•' } BY PATRONS of /1�� y>n_-:4, "= - =:f ._11 '1, HEMPHILL::,.,..„:_.v. •.1::-9:•.-is-Ji -•,, y 1-, arl ° A kL,"'?" ._ 5,,x3; PUBLIC A STORY BY PATRONS OF HOMPHILL POBLiC LIBRARY `�`-r•- OZ-MALL Q I �. LIBRARY IN GREENSBORO,NORTH CAROLINA _ •I -lr'-'-L1 },:, .• WRITTEN W1TH SOSIR WILDE r ; . 'i"=1 ".' :. •• Lj?�,-"..: i IJ II. Y r�:.� 1 I[[yy��,, Cc, ILLIISTRATEP WITH MANGl1ERITE JAY 50OI Ol X l'a-c9 f d %'4, 1' S - '.. "+ 9 ti - �,y ,tom ) .,_ WRITTEN W1YH 595/E WILDF 'r-L. .Y.. -�' Y:tpN . Y :Wf .•:,`•';$;:,,:p.,,4,,• :::: . IL LUSTRAT Rd WITH l 3'r ��" • c.�t�r_ .� L'':• `r ,. � x>:Raur:RlTe JAY cronosx - ry. Pr ■ ikla, .r}:'_:•=: ' ` .....,41,',21.. I to work with our book designer,Julia, at Freedom Hill Design "what's the chair's name?"asked an eight-year-old boy. in Vermont.They believed a picture book would reach a wider .s audience,honor the collective talents of all the project's partici- "Where does the chair live?"said a six-year-old girl. 1 pants,and create another bridge between art and literacy. "What does the chair want more than anything?"asked a dad. I Story always leads. I had ten two-hour writing sessions to 1 °i go from character creation to final story editing. I started by Answering these and other questions,we teased out the story of ji searching for compelling picture books that would captivate Mahogany, a threadbare storytelling chair, and her shy pillow, 1 listeners and help them think like writers as we examined the Zigzag,who felt uncomfortable in a new library. importance of character, motivation, conflict, and resolution. ;i After reading aloud and analysis,we applied the learning,start- "Tell me a patch," the nervous pillow would beg when library ing down a playful path of wondering. hours ended and the furniture erupted into wild antics.Zigzag s, s q 'Some'library furniture gets rambunctious at Minutes'later Shady's light snapped on.Skinny night when It has to be quiet during the day,' Midi I,If,III and IV chorused,"Ready,set,gT and Mahogany explained,ducking to miss a crossfire scampered around in a game of chair tag.Tables of books hurled by two shelves.'Don't worry,by leapfrogged through the aisles and the Pine Sisters morning,everything will be back to normal." squealed and cartwheeled between bookshelves, 3 4 • to do al do ido -4- .., • , . •.._ • 110 4I "What's going on?"Zigzag asked,trembling. r Zigzag shook like a library cart with wobbly wheels. - "Mahogany, °. = - make them step!" •t 12 Spring 2008•Children end Libraries DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Tell Mea Patch • knew that each patch ; .: symbolized a story from well-traveled . past and that these tales :: ,, - would lead to tranquility. ,, .d:F:i Once wed devised our plot, JI ..->== E,:;, I divided the group into �€�.";..-•' ''''''. - teams, each charged with " developing ideas into a writ- ten _story scene.The various =-- - _.-_ • ages proved a boon—with experience and youth fus ing for inventive descriptions.A senior high school student who - ' brought her young twin sisters came up with brilliant names (and later showed herself to be a wizard with textile patterns). A woman who brought her eight-year-old granddaughter con- tributed juicy verbs.Dynamic youngsters acted out characters to spawn sparkling dialogue.The humor of the rambunctious library furniture and the vulnerability of the fearful pillow gave the story whimsy and heart. Story complete, the Hemphill writers became illustrators. Peg Participants combined and refined their sketches,growing corn- led them in transforming acres of white cloth into gorgeous fortable with sharing the materials and expressing awe at the way lengths of color by dyeing cotton,linen,and silk in gallon-sized their collective energy moved the project forward.They formed bags. Peg provided picture books and art history references to friendships while ironing,cuffing,and designing,and overcame stimulate participants'imaginations.Inspired by the work of Eric language barriers as they sat together and sliced bright fabrics Carle,Faith Ringgold,and photographs of the painted houses of into rectangles that would become books for the quilt. They Ndebele women of South Africa, the group added simple geo laughed as they fused cloth for Mahogany's upholstered self and • metric patterns to the cloth with textile inks.They cut,fused,and debated what shade of green Zigzag should be.Grandmothers, collaged these fabrics, creating distinctive yardage from which aunts,and dads helped young hands with beading and embroi- they fashioned the Story Quilt setting,characters,and details. dery People used the library for research, thumbing through books and analyzing Hemphill's furniture while devising ideas Referring to the story text,Peg invited the group to consider the about how to make a particular shape or form.The room buzzed personalities of each of the characters in visual terms. Shady, with energy,enthusiasm,and happy determination. a bossy lamp,had a tilt to her shade,indicating her persuasive and bullying ways.Mahogany became a colorful patchwork of After the residency,Peg returned to her studio and integrated scraps. Patches embellished with patterns from many lands the digitally printed text into the body of the two quilt panels. reflected the multicultural themes of the story. Inspired by children's drawings,she mimicked their loose lines as she stitched down all the story elements. ,. tr ; �nr-,- Freedom hill Design transformed the Story Quilt into a twenty r•.: four-page picture book called Tell Me a Patch Book designer '•, ° Julia Gignoux, the newest member of TFXTile Partners,visited • _ _ `.: the quilt design,where _ _ • �� ,- _,=•_ =-r:' - [ Hemphill library in the early stages of th she and old daughter, Noelle, participated in $� ��',��i s�:�;.�'�� � _ -' d her seven-year-old several sessions. y E .:1- , .1-_-,,_,!_1e. ' 177---.'.i;�;.y`._;.:..'!'''',444-a, ''�, ti�3!• �.yl 1'� rs„ g. '' ve l ,.t . � ., .- ,.,.'� ':"•4_ Continuing the intergeneratianal collaboration that character-•u- --F--.fn i ,� \-----T--.7- _!•i- ,,,..A.,,,,: -,',3 ��I ized the Story Quilt project,mother and daughter read the story • ' �_: ;�1. ; where its might occur to ,"`-` 1•'4'�4',. aloud together,imagining page breaks mi ht oc—v. ,.,a;: create the kind of tension and suspense that makes readers turn f:._ ,r) ..r":._;i -y. ,C, •.:I':. -Si ate i a_H . � E_ ; :gat pages.They also discussed what images a reader might want to .i:". `i is I see on each page—which character, moment, and perspective °;: t' `' a '- a' would add rhythm and drama to the story. ..,•,;.:,: 12•::-,,:_._)41-r„ -,•.7.--,,i,,--;th,..,k-,t,.t,c,A, ..11; >,, ,: �•. `F��` -'' "I was armed with technical tools and skills to design and lay I'vi out Tell Me a Patch,but Noelle brought a pure sense of what was fun and engaging on the page,"Julia said. '-.. Spring 2008•childaen and Libraries DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 — Tell Ml a Patch As the book design progressed, Noelle called out directions; _ -!'-71' ;; _ "More lightning!" she said,responding to Julia's representation : 'x.:. , .0' - 3/4. 4( \ of a stormy night."Show the books flying!"she recommended, ?;-- T1 Y °. . When it was time for the book to be printed,Julia and Noelle . ; DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 ' -If fE CARRBORO CITIZEN THURSDAY, MARCI•'•i 2.6, 2009 The seas of at Carrooro Elementar y BY JASMINA NDGfl ` :e ir;. - Staff Waiter • . Th. he - - r �Il '-'1',-::-.'-- ': hallway to the cafeteria at Car-' s;,`. 2,;:144:1 j, �'°'-' =' rboro Elementary School had been:. .;. ,-transforrned into an Ocean tunnel full = = '' of blue -': ' . • l streamers and sea animals.Be- �;: _ ';: - .><!:y= ;_;-: . yond it, the school's ocean story quilt. :7'a;:;_;�'°=; - -r" "-, -- hu :�:_".;::. _ rig on display, as parcnrs,•teacheirs ::��'_=`" ��•� - : -arid students Celebrated `- tick. Jebrated the corn e- . ;� ;;v. . � don of the school's cultural diversity � � .:_- art project on March at ° ;? r -'"" "" '- `' P J '17 their Farin� � '��.;: ' :.: ily Boole Arts.Night. • � ..:,• .,�_ �'�0 "To build a sense.of community ; a -- ;' `3� 4 • among our students,". said Leslie �.x.:• -,..q.:.!,..... , Rountree, a 'parent ,volunteer, "we - _ - ' ?s _ _ ' have embarked on a'school-ride prof :�'' ^' ',+ _., .. i :ect called`Currents of Culture,'.which �= 1:" -- ,,:,.: blends story writing, fabric,design,•, :. •. - . quilting aud other skills to produce`_a• `' .• • ' Mural-sized fabric storybook quilt:" , "PI-3dj.D'B1 JPi5 TINA NOGG Students at Carrboro.Elementar.y School-worked with teachers to,write:.a..story and SEE QUILT PAGE 8 - create a story quilt as part of the school's year-long projet,Currents'in-Culture:'.; j - . .QUILT • , I.g , : signed to sections of the story. °'' -' �" "` ` FROM PAGE I �' ��' d � ,l.�'�- � - �_. � : Their task was to illustrate that ~ °' - ... . ,.14• . ., ;$: -'2 : ,.. .,§`.y U .,.:. :i s.. ,• :i ..4 ' ': "y'._: r 'particular part of the story; the - s ;,t,..... .. '� ' -.r' .,- t:: ::s;>F -• The quilt depicts an ocean . illustrations• will now be tom- V-.,-,.:"..'41.!:..x:g:�-•‘',� = .•=;;1���; :.J:' ,� .� •;,2�: ,, --:;. s-•N: . �::.. cl..r scene and has an intricate dis- sled in boolcfgrrn. :t` play of various sea creatures that Deborah Lederer, the school -'V° -s arc characters in the story the,• art- reacher, said the book will s a;; .. =: ° „nit( 3 :='. : ' A ;-'.:s '.:g'".. students composed. ."Searchin' ' be published .and available for IT-. ': ;. .3 e ; . t. •,.. - Urchin," is about Spike,a golden purchase O the.Internet for sal; �- M - ' - . `�' ,•_ ` • - sea urchin who hitchhikes across -de d their e • ' } '` -4'' "`` ' �,. V' �'•nts an h it famili s, • � .�:,�'�._:.� '� -"l�' ��s .:°�; ;., y. the oceans-lookin for someone' • the students`had a writing :m,Y= CO give him a hug.The sto 'itself coach who helped them write .Q "'. give g ry P ;�X,. �t,z�;sk 7: ' is sewn onto the quilt, in both the t t.helped - .; q x s ory��and an artist �, - _ _ .•, �' �� x. English and Spanish.-It will also. 'create the quilt, th uilt but the stud n'ts be translated into Karen, Chi- did all of the artwork alone,". 3=g :-, ;:.y:�:.�., : • :::_,:.,e;�.•..•� ��.�, ,:-..-:::1.=\ SA:-:v1/41--- -; . nese and French. I-,ederer said.' . : :. .lpp_:F:' :` - ;� 3'-i ' . "I'like Spike e because ht goes-.. She said.the ro ect'has taken • ;1--..:.,. _: 4 -..• . ,•, ? :. around trying to get hugs,"said' the`entire school ear..The.fifth •- `.-w'-.,: .'r <'' a PHoTo BY JASh11NJArla]OCO• Amber "Cotton, a fifth-grader' graders--began writing the.stor-y -• ,: who worked ;on,the.story-anti. in'the early.fall and the quilt was A student-points•out a'cha'racter,frorn;the:children's-story:"Searehin' ;:.':. _ " q Urchin,"as.Susie Wilde,the'.projeci's w-iting.coach,reads the,story:to'• on the quilt. •: started soon after.'Every student a group of kindergartners.at.Carrboro'Elementary_5chool.s Farnily.Book. The evening opened with a at the school helped with'the Arts Night. reading of"Searchin'Urchin"by ,project.in some way. - -Susie Wilde,a writer and teach- 'The diversity of students at Gignoux said that Rachel - started;"'Gignouxsaid. .- ing artist who helped the siu- Carrboro Elementary School in Beck, a Carrboro•parent,:invit• Gignoux. and .Wilde have- dents write the story. The quilt spired the story.• ed the;two'artist's-in-residence been;working on such -story hung behind her while she Lead, i We came up with the theme to-participate'in the`project:.'She : quilts-.'for' mare.:than 10_years.: and students pointed out various. out of:the'•-school itself,"-said Peg applied for an-N.C.Arts Coffin-: They have.:extegsive experience. characters on it as they appeared Gignoux, a textile artist.•who cilgrant,:which then:served as with .school based residencies in the story, helped the students create the seed money. and are designate-.teaching art-. After the reading, students quilt."I lie currents of culture•rep- ' '1 he art teacher jumped ists pn the NCAC Touring Artist and their Families divided them- resent the diversity of the school." • on the idea, and so the project Directory. tor_DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 htfp://www.ebscohost.corrdnavelisf/default.php?id=398#SusieWild Best Practices: Putting Story into an Art Quilt by Julie Corsaro This interview originally appeared in the October 2009 edition of NoveList School News. To sign up for this and other newsletters, click here. Susie Wilde is a writer,teacher and children's book reviewer who collaborates with textile artist Peg Gignoux on Story Quilts. Susie shares details of their partnership focusing on how she writes a collaborative story with children that will be illustrated with vibrant fabrics during Gignoux's art workshop. JC: How did you and Peg Gignoux come to work together on story quilts? SW: I had been doing writing residencies in schools for years when I came to feel that there needed to be a visual component to complement the writing. When Peg offered me an opportunity to teach with her at the Penland Crafts School in North Carolina, I was delighted. For four days, I worked with a group of women writing a story and then,with Peg's direction,they turned the story into a quilt. It was a great experience that still serves as our model for working with children and families during two consecutive in-depth residencies in schools and libraries. JC: How do you begin the process of writing a collaborative story that will be made into an art quilt? SW:Actually,the first thing Peg and I do is meet with as many people as possible who are going to be involved in the project.We really want to get a sense of what is special about them and their institution. For instance,this summer we worked at the Kill Devils Hill Branch Library on the Outer Banks of North Carolina near the location of the Wright Brothers'first flight.Together with the library staff,we decided that wind,flying, and libraries would be central elements in their Story Quilt. JC: Does the writing come first? SW:Yes. Ever since I began collaborating with Peg, I start by writing allegorical stories that represent the children and families.When I am in residency with older kids, for instance, I like to lead this work by reading Eve Bunting's Terrible Things.This parable about the Holocaust tells what happens when animals in a forest do not stand up for each other;in the end,they all lose their freedom. I explain that we are going to write a tale like Terrible Things that may seem simple on the surface but will also have a deeper meaning to older people who read it. JC: How do you structure the writing? SW: I have a visual model I call the"Story Skeleton"that begins with the"head"or central character because I believe that character drives story.The"trunk"is the character's motivation because once you know what the protagonist wants more than anything;the narrative begins to reveal itself.The conflict and climax along with the supporting details are the"ribs"that breathe excitement into the plot:All of these elements including the resolution are built on a setting that serves the main character.We start by"dissecting"a published book and then construct our Story Quilt based on the same model. JC:Since "character drives story,"how does the group decide on a protagonist? SW:After I read a story with a strong protagonist,we break into small groups to come up with original characters.One of the rules is that they cannot"steal"the character they already know from other stories or movies. Peg selects one character from among the children's suggestions, one that she thinks will work best when translating the story into art and that they can successfully illustrate.At the beach library,for instance, Peg chose a bird that makes a nest out of words, knowing that making fantastical birds would enliven both the quilt and the participants. JC: Do you have an editing process? SW: Once we have a first draft, i teach students the essential ingredients of editing.These include creating with a large, clean manuscript that has lots of space for us to make changes, reading aloud the story,and marking changes with a red pen so that they become visual evidence of the story's changes.The story may go through as many as 25 revisions. If the quilt is going to hang in their school or library for a very long time, I want the story to be as strong as possible. 2 of 3 10/15/2009 7:51 Plv DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Page 2 oft Home: Putting Story into an Art Quilt g with a large,clean manuscript that has lots of space for us to make changes, reading aloud the story,and marking changes with a red pen so that they become visual evidence of the story's changes.The story may go through as many as 25 revisions.If the quilt is going to hang in their school or library for a very long time, I want the story to be as strong as possible. NOVELIST CONNECTION:Are you looking for articles that connect composition with such literary elements as setting, characterization,plot,and style?In NoveList K-8,enter"writing"next to Find;then click on the"Curricular Connections"tab for Susie Wilde's outstanding Teaching Writing through Picture Books series. - The Vice-President/President-Elect of The Association for Library Service to Children,Julie Corsaro is = a writer,reviewer,and a children's literature consultant,as well as a NoveList contributor,and the editor a. `.-:r of NoveList School News. 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Privacy Policy http://www.ebseohost.pon-Yriovelist/default.php7id-398 11/3/2009 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Susie Wilde's Work Samples DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Tell Me A Patch (2007) Cover and sample pages from a collaborative book written and illustrated by the patrons of Hemphill Public Library with Peg Gignoux and Susie Wilde _._..__ -, ,. , , . DocuSi•n Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0. /V-- AFL- 0 mlifiril . • , L... .,J 111111111M,8111111rMr F -!.9•_,.-41.,4-1,.'IN. 40 -- t4,.'• Tell Me ,„.:.,...... . „ ... „.... ..,. ...,.,,, .. .. . ,,,.„..,.. , . , ... ,.., . , ...,......_„...., ..,.... .. .,,..,...„ , . L .:......i _. .,,„..,. ..... ,, ,: ... . , . .,. , ,,. , .. ,.. . . ... ...„ , . . . . . . .% ... . . . . . . .„.. ,,,,.• • • •••_ •. .:, iik Patch 1 '..',_- • .LZ-- -...'.'..t.i.S2.-'.'-.'. fi',A/a'TN'./OA'..',. , ) -- —11 - 11064,w-‘4:41.e4e„... .•:,',...,'.. 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': -..ter::..:.�' , ^:..i { N& K r - She flicked her switch twice in r :. =4= _._.__- disgust and rolled y = d away to where " �'-. fie ..- . rr ` �;` ' - two wastebaskets were tossing / ''-:;././.. ,-:;;: ' ':-.=,5:,,.';:1-,11- ---f- --w:�"``' _ 1-- I �r balled-up scraps of paper. 3 i=.1, '� - �',• rte} -m 1:,,-,p-,..--: 5/f-itw,..4.:::7,.--;74,-,.-.. i f IIIEt x >> 1-- -{ 1-I I {' _: ` y . _:s1 ;1t _,�� : Tellmea atch. is f:. : ,Sa;: N: — ~� I" 1 [ .,_, m :�;.:!$:'-:',.--,..s ,. - r Now• s� fir.:.-_�=.:. i., p:',.‘-;.: - il, . ,&4.-,-,,-:.-:,-„-- --L,„,.,.:_, r_,,,,67,,::., -,,.„.. ,,,,..--.., yr�.Y , I ^a _ _ _^�.J�. ys.:'.�.'•:.F'.-y�l_-,:=1 .sue.-.'1-- yx �/!nuI'I i-":'1:I i{� -- _ Ste_-_T- ..-.' ryl: "?T.�• � N,��'_ ` �-��' V �� y 9' l 441 I _ 1 1,. „t ;� }Y ;, ,•,tl it< J : ::fir.: ' ' �L' Mahogany could feel the pillow's '=: _ ' small heart p u g. j, i..-1-,;,,L1 Li ---r Lr--i- i..--;1 - ---,.-.,,,,;::::. . , -T-'--..--vi i '�:l;:-- _J.,__: ltrr—.„` �:�_.w':r Vii..::.:.; :. DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 • Before Mahogany could say a word, Shady `--• -; hopped over. "Don't get your feathers ruffled, you silly pillow! Look at those guys, they're having a great time." She pointed at two pillows . ‘...,,,_.,:,..=-:- whacking each other at the far end of the room. "I-I-I don't want to," Zigzag said. il Shady beamed her light right into the pillow's , , / ., , face. "Furniture that doesn't want to have fun?" (4......../... l ..' " ikr , Illik ./ ::ii, iE.;y \'••!,• . �dq.&'''ti'.'. f . -:ilk . __■a A' ,_ a�Mp� `r - - 4' A.•..`' 1 ` .._ _ r n �ti . - ��L� z •O • ,Vii r • y ..',M' 5• y. 'K` +'�+.r.L.w a 3 • . 1.k..,. ':':. E .„,(- _.,_,..#iiii ., \: 1 ivy r• , - ,,,,,,,,,,,....A ,,,,t, _ i do i -I . nilk. ri. : . • „tor- illilli .. .,,,„ ' ';-4,t.-...• . it' : 9.. .. -.,,, , ry. A _._� t •' it 'ri law ; „ At _ _ , .;; ), f ' _. ,..-. , .. „v. .-- 0.1 . N DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 What Can a Small Bird Do? (2011) Cover and sample pages from a collaborative book written and illustrated by the Character Education Teen Residency Project with Peg Gignoux and Susie Wilde (project funded and supported by the North Carolina Department of Public Instruction and the North Carolina Museum of Art) DocuSi•n Envelope.ID:883....A.....B84[?...77131-4D417gp741346A.,..;942.,.2 04.0._519.....,A;.,...„7. ::.:.;;,..;;17,:.:.•:,.::......,...,;.•:....L.0.,......:.,,'.!;.L.,.). 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'''''''..... .:'-:....-...-- .,,,...,...•.i.e .'"''.8,..:..:::71-Al.••....::::.. ..... 44...4. . ......;:-..'.Ei:...,::::,;:-.:.:....;:-.,,,,,,;1,,,:,...;.....,_-:.---.J., ..-.:.-•,• - '.• --- • • • • DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 • • . , ••• - f Hi•• d - cs �E • :,..:••;!.••••••••••••:':ii:i::-:•:::'•••":..••..•••••••••••••-..-#:t=:::::::::::::,..• %.":2•,..-:•ii•••:::k.:T.4 •-•.- • • 4 '1.. ..._..•• :. .. .k'''. . . ......•.. •. ......: '.:::.:.:?.......:::....,.17i!1:...,....t!........14J.1..i r!,.X.,..31..1..if...........,, .,...r.....*...,3„..,.., . ., . ...i : .. . .,,.. is • .. { •:'1.3.. e 7.'. i•-• :•: w . . g s • f• ' ° i -r{ . DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 "What could bring the river back?" asked Bird. "The magic moonstone from High Mountain has the power to fill the riverbed." "You have wings. Why don't you go get it?" Bird asked. "We're too weak and thirsty to fly that high," Hooley said. "Could you get it for us?" 1 -.=4- . Bird thought of his own parched throat '` and tired wins. Then he heard a nest of w `y9 , ;�, .a, owlets panting far water. Bird knew what ; -' : ? he needed to do. He took a deep breath,40 . 4":...i.:,,,,may: I.:.,::::�.., ,. stretched his weary wings, and with one flap . . . two flaps . . . three flaps ..1.•:a ai ' .r�V- he was off! i .r F zjz , '` t 1i At the mountain's peak, Bird ;., +t �_7,1:-...,:- saw a silvery stone that shone iP - - - - $,. j - "4 �P\r i w F like a river in moonlight. He 2 a f-,-- _ • ,, ',"14'"' " Vg . z,- ``_`` ,.' picked it up, and immediately 19 e,,,.4 ,: ,- �, I �'= �p : Aa his throat was no longer dry. ' ` ever b� �j ,�; . ;`.' r _,; _,' :9 ;- I f!keep this stone, l'il n ' .4 0 k '' ,. '' '',, -i, " `'m' thirsty again! he said to himsel . ,,, yg real. • l - • 4/if- , ,. .....-. , jr;:Ii,.., gioi,r,41,..\ , '.; _ • • • :_ DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Transplanting Traditions (2016) Sample pages from an in-progress collaborative book written and illustrated by the Karen Youth Art Project with writing direction from Susie Wilde book design by Steve Godwin C7 0 0 c Cn (a m — -- — .._....._._.-... , - — k'�' �__.Vii$ r•V�, ar.. � �� W ,. ,\. C G mot•..'s¢• A ' ' .,,Ist,--0.--sizt,:.- ,--w . :-, - i •' . i 7„ICUeN1NZ P2 03 (�DOC1CUClt1� [7� [] Z at]91 = a { g ;•;.%.' • Y: m`io9'61 -a:'IzimcsmicmcO`x`ofi oDfi3?rrr9,8`c8` �n51 o ` ...._ ; ` �,. __ .' ; W :ts e:. : v -.� .is`.. tl=a A -7'-. I cp`yficrna5co3rS r� -:' 11 13e!a1:�=:D3ccr93 CYLe �, :; . ,. 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'. 7._ _ - . :- Spring is a time for bees, butterflies, and flowers. di lik Partners are not the only ones working.Bees and butterflies fly from place to place collecting pollen from some brightly-colored blossoms and carrying it to others,helping all of the flowers grow. 20 21 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Transplanting Traditions (2015) Final draft of text by the Karen Youth Art Project with writing direction from Susie Wilde book design by Steve Godwin DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 Final Draft:Transplanting Traditions In the beginning, in Burma (Myanmar) and Thailand, people always farmed.There were three seasons—a cool winter, a dry summer and a rainy time that turned the soil a rich purple- black. Some tilled the land with mighty long-horned water buffalo and pounded the soil with hoes called bates. Children helped adults farm, carrying buckets of water from a narrow river. Families worked together to grow, harvest and gather many vegetables. Purple long beans hung from bamboo trellises and the farmers plucked leafy roselle greens from bushes with dark-red stems. Then came difficult times of war and many families had to flee their homes.They lived in refugee camps where houses of stripped bamboo were perched on stilts to prevent flooding in rainy times. Some carried water long distances to care for their small gardens. They always farmed. When some of these farmers came to North Carolina,they lived in small apartments with no gardens. The food they bought from grocery stores was expensive and strange to them. Then they found Transplanting Traditions,a community farm in Chapel Hill. The open spaces and fresh air made them feel as if they had come home. Over many years at Transplanting Traditions, the farmers have learned about kale, collards, chard and ways to plant. They introduced people in the United States to snake gourd, water spinach, bitter eggplant and so much more. And the farmers had to learn that the United States has four seasons, not three— winter, spring,summer and fall. Winter: Winter is a time for seedlings Transplanting Traditions-Final Draft-1 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 North Carolina winters are so much colder than in Burma and Thailand.The farmers feel as if they need three coats. But there are warm greenhouses where they plant and water seeds that shoot up in light-green sprouts. The sprouts grow bigger in size and darker in color until they are ready to plant in the ground. Winter is a time for hoop houses The farmers work together to build hoop houses for tender plants. They cover the aluminum poles, rounded like ribs, with plastic. This plastic will hold in moisture and protect warm- weather plants like tomatoes from cold temperatures, heavy rains and hungry birds. Spring: Spring is a time for bamboo and building In Burma and Thailand, bamboo was important to farmers. Luckily, it grows in North Carolina as well. Green,flexible bamboo makes sturdy seats and small shelters that will cool the farmers in the hot summer months ahead.Sundried bamboo is light-weight and easy to cut. It provides a place for beans, squash and water gourds to climb. Spring is a busy time Farmers break up clumps of soil with the batu and mix it with chicken poop until it is dark and rich. They water the sprouting seeds, but the fastest growing plants are weeds.The farmers spend many hours tugging and yanking weeds so carrots and daikon radishes have plenty of room. The farmers work in the gardens rio matter how rainy it is, or how muddy their boots get. The gardens must be tended every day and boots can always be cleaned and dried. Spring is a time for bees, butterflies, and flowers Farmers are not the only ones working. Bees and butterflies fly from place to place collecting pollen from brightly-colored blossoms and carrying it to others, helping yarrow, chrysanthemum, and mustard flowers grow. Spring is a time for hens Transplanting Traditions-Final Draft-2 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 In spring, hens are busy,too.They lay more eggs.They seem to call from their coops, "Let me out." Their coops do have open bottoms.They allow hens to feast on green grass and grubs. This helps the farmers control insects. It also turns the yolks of the hens' eggs a bright neon orange that means they have more protein. Summer Summer is a time for ripening. In early summer thin tendrils begin their curvy climb up trellises. A bell-shaped yellow flower appears. Hiding under it, a small squash waits. As the blossom wilts, the squash grows into its perfect shape. Tomatoes, okra and many other plants blossom, ripen, and begin to go to seed. Summer is a time for markets. Some farmers feed only their families, but others grow vegetables and flowers to sell. People from restaurants buy produce from the Transplanting Traditions farm, knowing it has been grown without chemicals. Families come weekly to pick up boxes of chard, ridge gourds and lemon grass. Some of the farmers take their produce to markets. The farmers harvest different crops, depending on the season, but they prepare them for selling in the same way. They pick ripened vegetables, then wash and dry them. There are bunches of garlic and radishes and bouquets of squash blossoms,tart roselle, Thai basil and zinnias. Cherry tomatoes gleam like jewels, potatoes shine in a rainbow of colors and there are tiny hot peppers that will make you want lots of water QUICK. The farmers make sure there is a lot of variety tucked into every box they sell. Fair Fall is a time for endings Transplanting Traditions-Final Draft-3 DocuSign Envelope ID:883AB84D-78B1-4D41-BOEF-BE6A942205E0 As the growing season ends, many plants end too. Leaves shrivel, dry, brown and curl, ready to fall. Some plants rot until they are hard to recognize. Other plants become food for the chickens, or compost that makes the soil richer. Farmers collect and dry seeds for the next year's planting just as they once did in Burma and Thailand. Fall is a time for a little rest. Winter will be coming again soon and It's time to think about new beginnings. Transplanting Traditions-Final Draft-4