EDUCATIONAL PACKET: FOR K-12 TEACHERS

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1 EDUCATIONAL PACKET: FOR K-12 TEACHERS UNIVERSITY OF WYOMING ART MUSEUM 2014 Ancestral Spirits: Easter Island Sculpture from the Art Museum Collection PURPOSE OF THIS PACKET: To provide K-12 teachers with background information on the UW Art Museum (UAM) exhibition and suggested age appropriate applications for exploring the concepts, meaning, and artistic intent of the work exhibited, before, during, and after the museum visit. CURRICULAR UNIT TOPIC: What do we know about the mysterious sculptures of Rapa Nui (known as Easter Island)? How do these contemporary works relate to those created hundreds of years ago? Teachers and students will explore the exhibited artwork and consider the motives and means behind this collection. Then they will consider the work, the artists and their ideas. The focus of this educational packet and curricular unit is to observe, question, explore, create and reflect. OBSERVE: Students will observe the carvings found in this exhibition. They will look closely at craftsmanship, with specific attention placed on the subject matter, patterns and textures of the pieces. QUESTION: Students will have an opportunity to read, write, sketch, and listen to teachers and museum educators, and then, to come up with questions about the work they see and the people who created them. Students will question the materials and techniques used and their own responses to the art work in the exhibition. Why were these works created? How were they made? Why was this specific subject matter important to the artist? EXPLORE: Students will be able to explore the cultural, social and political history of the Polynesians who inhabited Rapa Nui. They will investigate what the sculptures created by the artists of this island tell us about the people and their history. CREATE: Students will be given time to practice sketching and drawing, and may create their own sculpture that reflects the artwork in the exhibit, paying specific attention to the subject matter, patterns and designs. Work on art projects may occur either in the UAM Shelton Studio or in their school art room. REFLECT: Students will evaluate their final art products with other students from their classes and with teachers and museum educators. They will receive feedback on the artwork and the concepts behind the making of the artwork. After this process, students may write an essay, poem, short story, artist statement, etc. about their art, the artist, or their museum experience.

2 INTRODUCTION Ancestral Spirits: Easter Island Sculpture from the Art Museum Collection presents small sculptures that reflect the culture and capture the artistry of this ancient island. Easter Island, known today as Rapa Nui, is best known for the large moai (pronounced mo-eye) sculptures that are found throughout the island. It is believed that they were created to represent a family or clan member. No two are exactly the same, and most moai are situated facing away from the sea with the belief that their supernatural powers would look over and protect the family. Similarly, the smaller sculptures included in Ancestral Spirits are representative of pieces created in honor of ancestors, or works used as items of personal protection, or objects associated with cultural and religious practices. Some animals, like the carved moko or lizards, were thought to be protection against illness and disease. Small moai and moai kavakava those figures with sunken bellies and protruding ribs represent individual ancestors and are intricately carved. All of the pieces included in this exhibition were created in the 20th century. Whether in stone or wood, these pieces reflect the artistry of Easter Island craftspeople, and are a way of preserving a culture that no longer exists as it did when the large moai were created hundreds of years ago. HISTORICAL BACKGROUND Easter Island (or Rapa Nui) is one of the world s great archaeological sites, and also one of the most remote. The nearest inhabited island is tiny Pitcairn, over 1,200 miles [1,931 kilometers] to the west. Rapa Nui is almost 2,500 miles [4,023 kilometers] from the coast of South America and, in the other direction, it is 2,000 miles [3,219 kilometers] to Mahimahi or Dorado, 20th Century, stone, 13-3/4 x 5-1/2 x 3-1/2 inches, gift of Mrs. William T. Mulloy, University of Wyoming Art Museum Collection, Tahiti. Isolation was a key factor affecting the culture that evolved on Easter Island. From what we know of the material culture, language, and customs, it seems that the original settlers came from either the Marquesas Islands or from Mangareva around CE. They may have stopped at other islands along the way. Finding this isolated island seems a miracle. The hardy Polynesians who found Rapa Nui came prepared to stay. They brought tools and food, and Page 2

3 plants and animals to begin a new life. But the island they found is not a typical Polynesian paradise: it is out of the tropics, and has neither rivers nor protective reefs. But, although small (Rapa Nui is a mere 66 square miles [171 square kilometers] in area), it had a forest of large palms and other trees, and volcanic craters held drinking water. Obsidian was available for tools and weapons. Lapilli tuff the perfect material for making statues was abundant in Rano Raraku. Easter Island s long isolation was ended on Easter Sunday, 1722, when a Dutch explorer, Jacob Roggeveen, discovered the island. He named it for the Holy day. One can only imagine the astonishment of the islanders as the first ships appeared on the horizon. The Dutch, in turn, were amazed by the great statues, which they thought were made from clay. try, in his or her own way, to create something new. Students and teachers may research and engage in conversations about various contemporary art movements before arriving at the art museum. They may investigate different aspects of Rapa Nui art and culture. While at UAM they will spend time in the Rotunda gallery closely observing the work, discussing it, writing about it, and sketching it. They will begin conversations about their ideas about the work, which will lay the groundwork for future opportunities to pursue these ideas in their home classrooms and schools. - From the website of the Easter Island Foundation Check this website for current information on the world s understanding of Rapa Nui s history. LESSON OVERVIEW Students will learn about the various types of sculptures in the exhibition, considering the people who crafted them and the cultural, social, and religious context of the imagery. Students will explore how the artists express ideas through sculptural representations of their cultural heritage. They will discuss the relationship between the work and the materials used to create it. In the Shelton Studio students will be given the opportunity to complete an artwork, choosing from a variety of materials: paint, drawing materials, clay, wire and more. While inspired by or responding to any of the artwork in the galleries, each student will Page 3 Birdman, 20th Century, stone, 11 x 8-1/2 x 3-1/4 inches, gift of Mrs. William T. Mulloy, University of Wyoming Art Museum Collection,

4 at the exhibition, Ancestral Spirits: Easter Island Sculpture from the Art Museum Collection. GRADES K-6 What is art? Why are there different kinds of art? When we speak of original art work, what does that mean? How do artists turn their ideas into art? Where do artists ideas come from? What stories can artists tell us? GRADES 7-12 Who are the people of Rapa Nui (Easter Island)? What do these sculptures mean to Rapa Nui? What words would you use to describe art in the Contemporary Easter Island Collection? What stories do these sculptures tell? If you were to create a sculpture based on your heritage, what would it look like? Why? What influenced the artists to create these works? Moko, 20th Century, wood, 24-1/8 x 4-1/8 x 4-1/8 inches, gift of Mrs. William T. Mulloy, University of Wyoming Art Museum Collection, ESSENTIAL QUESTIONS Here are some questions to consider when looking Page 4 ART QUESTIONS TO CONSIDER GRADES K-6 What do you see? Describe the kinds and types of marks the artists have made. What shapes and forms do you see? What colors do you see? What are the subjects of the artwork in this exhibit? What colors, shapes, patterns, and textures would you use to make art in this exhibit? If you were to choose a favorite piece from this collection, which would it be and why? GRADES 7-12 What techniques were used to create these

5 sculptures? Why are these important to the Rapa Nui people? To us? How would you use the same techniques to make something new in art? If you were to draw from your experiences to create a contemporary sculpture, what imagery and materials would you select? What story or idea from your heritage would it represent? PRE-VISIT ACTIVITIES In order to prepare students for their museum visit and extend learning possibilities, we suggest that teachers and students consider the following activities. Students will read and research the history and production of Rapa Nui (Easter Island). Students will explore the various techniques and materials used in creating artwork. PREREQUISITE SKILLS/KNOWLEDGE Museum educators will work with teachers to ensure that all projects are age and skills appropriate. Teachers may wish to review the following terms with students in grades K-6: Shapes Colors Texture Imagination Culture Teachers may select concepts, words or movements from the following lists for students in grades 6-12 to look up and discuss: Narrative style Design Craftsmanship Carving MUSEUM ACTIVITIES PART 1 TIME FRAME: 45 MINUTES Students will closely observe the Rapa Nui sculptures on exhibit in the art museum. They will identify lines, shapes, forms, patterns, repetition, color, and technique in the existing work. Students will discuss what they see with museum educators. They will explore the concepts behind the artwork in the exhibit. Students will respond in writing or drawing to the work they see by recording their observations and their own thoughts about the work. Students will answer questions that engage them in new thinking about the artwork, such as: if you were to write a new title for this piece, what would it be? Students will engage in discussions about their observations and their answers and sketches with one another and with the teachers. PART 2 TIME FRAME: 45 MINUTES (MINIMUM) The following projects may be considered individually, or combined, or museum staff will work with teachers to develop specific projects that support ongoing classroom work. Students will explore the concepts and techniques demonstrated in the exhibit by sculpting with different materials, such as, but not limited to, clay, wire, and found objects, which relates in some way or responds to the art and ideas discussed. Students will create new artwork using a style exhibited by the artists in the exhibit. Page 5

6 POST-VISIT ACTIVITIES We have found that students achieve maximum benefit from a museum visit when time is scheduled for post-visit activities. Here are some suggestions: Students discuss or write about their museum experiences, reviewing what they have learned, what has special meaning for them, and how they will use new information and skills (an essay, poem, short story, art work, research paper). Students continue to research Easter Island and the concepts presented during the museum visit. Students research other important historical events of Rapa Nui. Students create their own narrative sculptures, drawings, prints and paintings to explore new ideas, form, shape, color and more. Students create their own artwork focusing on an idea or event that has special significance for them. SUGGESTED USE IN THE CURRICULUM The study of the sculptures of Easter Island plus the historical context ties to multiple curricular areas including art, history, social studies, writing, reading, math, geography, and philosophy. Museum staff will work with teachers to address specific Wyoming Teaching Standards and to align museum projects and studies with ongoing classroom curricular units. RECOMMENDED RESOURCES These are a few of many resources available. We welcome other suggestions that teachers and students find helpful which can be added to this list. UW Art Museum website: artmuseum/visit/exhibitions/index.html. Page krulwich/2013/12/09/ /whathappened-on-easter-island-a-new-even-scarierscenario worldhistory/easter_island/ Ingrained Images: Woodcarvings from Easter Island, Joan T. Seaver and Georgia Lee, Cloud Mountain Pub, 1997 Rock Art of Easter Island: Symbols of Power, Prayers to the Gods (Monumenta Archaeologica (Univ of Calif-La, Inst of Archaeology)), Georgia Lee, Cotsen Institute of Archaeology, MATERIALS TO BE SUPPLIED TO EACH STUDENT Materials for selected Shelton Studio projects are provided by the art museum. ASSESSMENT AND DOCUMENTATION OF MUSEUM TOUR AND STUDIO EXPERIENCES In order to ensure that our museum tour program is meeting the needs of teachers and students, we may ask that participants help us assess the activities and learning that take place. Examples of evaluation tools include: 1. Students may self-assess using a quick survey that asks them to consider their response to the gallery discussions and explorations, and their studio experience. 2. Teachers may assess the overall visit by

7 completing a quick-survey that asks for their observation and assessment of students experiences, as well as assessment of the overall process of the museum visit. 3. Museum educators will record their observations and assessments. 4. When studio time permits, we will ask students to briefly discuss their art completed in the Shelton Studio. 5. Museum staff may take photographs of students and teachers to document the learning taking place and the work produced during a museum visit. These are available to teachers upon written request for use in teaching and student portfolios. Page 7

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