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CLAIMING FACE Self-Empowerment through Self-Portraiture

An Educator’s Guide to Building the Powerful Link Between Creavity and A Sense of Self © Copyrighted Material

Maya Chrisna Gonzalez


CONTENTS Foreword ....................................................................... 1 Begin with Yourself ..................................................3

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PART 1 : INSIDE

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Origin & Intent of Claiming Face ......................7 Inside, Outside, Process .................................................10 Who is the curriculum for? .............................................11 How to use this book ..................................................... 12 USNG T N TE CLASSRM ............................................... 13 I want to claim face and make the curriculum my own ......................... 13 I want to follow along with my students ....................................... 13 I want to support my students ................................................ 13 I want to use it right this minute.............................................. 13 E BK FRMAT ..........................................................14 The Layout .................................................................14 Project Pages Explained

The Symbols ................................................................ 17

Process: Building the ink Between Creavity and a ense of

elf .............................................................................. 18 On eaching rt kills ..................................................... 19 Imagine & eect ......................................................... 20 eys to emember ........................................................22 v

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C II F C CU

ICU U | DUC O ’ UID

Through Creativity and

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Deep Into Reflection .........................23 he Power of Creavity ................................................. 24 he Importance of eecon ........................................25 Coming Face-to-Face with yself ................................... 26 Insight into ayered and Complex eecon.....................27

eecon and the Witness ect ................................... 28 Universal eecon ...................................................... 30 Imagine & eect .......................................................... 31 eys to emember ....................................................... 34

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Energy and Presence .............................................35

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Presence in Practice:............................................. 47

Chaos, Control, and he Flow of nergy ...........................35 E B RK...............................................................36

EEL! ........................................................................37

omemes We Flow and omemes ot .........................38 PAYNG TTENTN T NERGY FL ..................................... 40 Begin by Being ourself ..................................................41 he Origin of Change .................................................... 42 Imagine & eect ......................................................... 44 eys to emember ....................................................... 46

with Yourself, with Your Students, In the Classroom he ewards of Presence .............................................. 47 What Does Being Present ean ..................................... 48 BEGN T RSEL ..................................................... 49 BENG PRESENT WT R TENTS ....................................52 PRESENE T HAR FEELNGS ...........................................53 ryone i sa "Eve n

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rtist."


Presence In he Classroom .............................................55 CLREN T ER ON RT ..........................................55 ATR T RT ........................................................55

EVERENE/ ESET ........................................................56

LE TREE S R REATNG ART D SARNG ART ....................57 Creang pace to now elf ...........................................59 Imagine & eect ......................................................... 60 eys to emember ....................................................... 62

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Expression, Standards, and Artistic Development .........63 Freeing xpression ........................................................63 ENER TERETYES/ DEERNG TE PRNESS .................... 64 H D I ET  AN XRESS Y MTNS N Y RT .............65

tandards, Competence, Condence and Peace ............... 66 rsc Development .................................................... 67 I DN’T CARE  A CAR ................................................... 68 WEN MENE VES RT .............................................. 68 Imagine & eect ......................................................... 70 eys to emember ........................................................72

The 3 Rules ..................................................................73

ule #1: veryone is an arst. .........................................75 PLKA DT ERY .........................................................75

ule #2: here is never a right or wrong way to make art. ..75 I M E BSS  E ..................................................... 76

ule #3: rt is always an act of courage. .......................... 76 STAKES ARE MENTS  CRAGE .................................. 76 xploring he 3 ules symbol..........................................77 Imagine & eect ..........................................................78 eys to emember ....................................................... 80

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PART 2 : OUTSIDE

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Materials, Display, & Stora g e ........................83

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Using the aterials ..................................................... 84

EAL RT ATERALS ....................................................... 84 CLR ....................................................................... 84

TANARS ................................................................. 84 BREAKAGE AN ETTNG DRTY! ...........................................85 T TE ATERALS ( LAETALLY STE) ........................85 AKE TE ATERALS FRTER ............................................ 94 ATERAL ARATNS R PRJETS .................................... 94 ATERALS CST NEY! ................................................. 94 RT ATERALS CEKLSTS ................................................95 Working with Photographs ............................................ 96 WY PTS? .............................................................. 96 H  CREATE PTS .................................................. 96 Classroom etup .......................................................... 97 CLASSRM FL ......................................................... 97 WRKSAE ................................................................. 98 CLEAN U ................................................................... 99 Displaying rsts’ Work ................................................ 99

torage ..................................................................... 100 PRTL-RESET AT Y’VE MAE .............................. 101 eys to emember ......................................................102

Books: Behind the Story ......................................103 nthologies ............................................................... 104 ST KE E ............................................................. 104 HNRNG OR NESTRS ............................................ 104 ON Y BLK .............................................................105 Wrien By aya .........................................................105 Y CLRS, Y WRL..................................................105 I N TE VER VES E ............................................106

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Books with Francisco larcĂłn ........................................106 AGNG MATES .....................................................106 FRM TE BELLYTTN  TE N ................................107 NGELS E BKES ........................................................107 IGANAS N TE N....................................................108 NMAL PEMS  TE IGAZĂş ..........................................108 Books with mada Irma PĂŠrez.......................................109 Y ERY ON M ....................................................109 Y DARY FRM HERE T ERE ........................................109 ANA’S BG RRSE ..................................................... 110 Books with Others ........................................................ 111 PRETTA AN A LRNA ................................................. 111 FESTA FEMNNA ........................................................... 111 eys to emember .......................................................112

Imagine & Reflect on Parts One and Two ..113 A Pause before the Process ............................... 116 he hape of the Curriculum/Inside Outside ................. 116

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PART 3 : PROCESS

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Claiming Face Projects ........................................121 Overview of Projects.................................................... 122 ME AN ELE ...................................................... 123 PRGRESSN .............................................................. 123

YMLS EGEN .........................................................124 Project Categories .......................................................124 Planning ools .............................................................124 PRJETS Y CATEGRY ................................................... 125 PRJETS Y SSATE BKS ........................................ 126 FNAMENTALS PRJET ELE ..................................... 127 CLAMNG FAE FLL ELE .......................................... 127 ix

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he 26 Projects ........................................................... 129 1. AKNG FAE PZZLE (ANT) ....................................130 2. I M HERE FLAGS/HAN PRTRATS .................................. 132 3. WLEST EL CLLAGE ................................................ 134 4. NMAL EL-PRTRAT ................................................ 136 5. FRA RRR (ANT) ............................................ 138 6. PT EL-PRTRAT (T) ...................................... 140 7. VERYNE IS AN RTST GN (ANT) ............................142 8. PLKA DT PRTRAT ................................................. 144 9. CEAT PLEASE! (T)................................................146 10. MTNS  CLR .................................................148 11. YML  YSEL LE .........................................150 12. ERE S EVER A GT R WRNG WAY T AKE RT GN (ANT) ................................................................ 152 13. BSS  E PRTRAT ...............................................154 14. A  E ........................................................... 156 15. YSEL AS NESTR (T) ...................................... 158 16. ON Y BLK .........................................................160 17. RT IS LAYS AN T  CRAGE (ANT) .................. 162 18. CRAGE PRTRAT (T) ........................................164 19. I FRAME YSEL WR WN (T) ........................166 20.  R FAE PRTRAT.........................................168 21. EL-PRTRAT AS AE R PLAE ..................................170 22. WAT  ONE CAN EE PRTRAT .................................. 172 23. ELL A ALE WTT WRS .......................................174 24. I N TE VER VES E (T) ............................. 176 25. EENG RG WRS (T) ................................. 178 26. LL  E PRTRAT/PRTRAT/PRTRAT/PRTRAT(T)....180

eys to emember ...................................................... 182

Final Imagine & Reflect ..................................... 183 Afterword.................................................................. 187 iving the Curriculum ................................................... 187 NGAGNG MY BGGER, MARTER CREATVE BRAN .....................188 x

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RESOURCES

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The Claiming Face Cheat (Please!) Sheet .... 192 The Claiming Face Glossary .............................198 Resources by Topic ................................................201 rsts ........................................................................201 rt aterials.............................................................. 202 rt kills .................................................................... 203 Creavity................................................................... 204 ducaon & ducators ................................................ 205 Presence ................................................................... 206

tascs .................................................................... 207 Witnessing & Quantum Physics ......................................211

Handouts ................................................................... 212 aking Face #1 ........................................................... 212 aking Face #2 ........................................................... 213 Frida irror Handout...................................................214

ule #1 Handout ......................................................... 215

ule #2 Handout ......................................................... 216

ule #3 Handout ......................................................... 217

About the Author .................................................. 219 About Reflection Press....................................... 220 is alwa "Art ys an

act of co ur ag e. " xi

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oreword “You made me believe in art.” - Jazmin, Age 9 The goal of the CLAIMING FACE curriculum is to build the powerful link between creativity and a sense of self. Art is the tool. Why is this important? We are born creative beings. This is evident by the immense creative power we see in children. Every day children must find their way through new experiences, new feelings and come to their own sense of knowing. But it is conjectured that our natural creativity is progressively hindered by the perspectives and systems in our current culture. By being physically and monetarily focused, we have lost sight of one of our fundamental birthrights. We are born creative beings for a reason. It makes us flexible, resilient, adaptable and more. My definition of creativity is: the personal teacher within each of us. As our birthright it is the inherent ability and energy, we as humans are born with, to transcend current ideas, forms and patterns and to create meaningful new ones that are relevant to the moment and our deepest selves. Using art as a means of engaging with the creative process, CLAIMING FACE curriculum hopes to reclaim, retain and sustain such an important aspect of our humanity. While I see the far reaching benefits of this, my first concern is attending to those most in need in the here and now. Our children, and primarily our children who are the most marginalized. After a lifetime of practice, I trust the power and wisdom of creativity. And in trusting creativity, I trust her greatest harbinger, children. CLAIMING FACE curriculum is designed to support all of us but especially children, to engage with creativity in order to know ourselves and be empowered to live our best lives. It is not about art, although art is made. It is Y (n.) about process. It is about self. IVIT

I do not believe Jazmin, the girl who wrote “You made me believe in art,” is talking about art in the traditional sense. Since all of my curriculum is based on self-portraiture as a tool to know and empower self, I believe it can be faithfully translated to mean “You made me believe in myself.” In empowering those who hold the least amount of power and influence in our society, I believe we can create a gently expanding trend of balance that may one day tip us back to deeply cherish one of our most basic tools. Creativity.

AT CRE

Creativity is the personal teacher within each of us. As our birthright it is the inherent ability and energy, we as humans are born with, to transcend current ideas, forms and patterns and to create meaningful new ones that are relevant to the moment and our deepest selves. This allows us to connect with, maintain and perpetuate ow and integrity with who we are at core.

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CHAPTER

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Origin & Intent of Claiming Face

IN THIS CHAPTER: Inside, Outside, Process .....................10 Who is the curriculum for? ...............11 How to use this book ..........................12 Using it in the Classroom .....................13

I want to claim face and make the curriculum my own I want to follow along with my students I want to support my students I want to use it right this minute The Book Format .................................14

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can consciously trace the origin of the CLAIMING FACE curriculum back to my childhood. Like most children I loved playing and creating everything. However, at some point making art specifically took on a deeper purpose for me. I don’t know if it was born out of a deep need or was simply inherent in the wisdom and fluidity of childhood, but I began using art as a tool to affirm my existence. This set a pattern that has followed me through life.

The Layout The Symbols Process: Building the ink Between Creavity and a ense of elf ............18

As young as 4, I remember drawing my round, Chicana, girl face onto the blank pages in the backs of books. On some level I knew I belonged there, despite the fact that I did not see myself in any of the books I came into contact with. On eaching rt kills ..........................19 When I was still very young, I didn’t know who Imagine & eect ................................20 I was or my place in the world, but I knew there eys to emember ..............................22 was something about my face. I knew it was me because it was mine and no other’s. As I got older and moved farther out into the world, my face became a problem to me. It felt so big, so very round, so impossible to hide. I became convinced that I had the biggest face of anyone I knew and there was nothing I could do about it. It stood out and constantly broadcast something I didn’t understand; something about who I was that I could not fathom nor silence. When I moved from California to Oregon at 13, it got worse. Amidst nearly exclusively white faces, none of which were round like mine, I felt as though my face stood out even more. 7

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CH P 1: O II & I OF C II F C

On eaching Art Skills The curriculum is specifically not tied to teaching art skills. It is also not connected to other school subjects so that it can remain free and focused on the goal of connecting the creative process with a sense rom of self for the students. This allows the students to claim es f about t o N ers : the curriculum as their own. However, many of the rad FACE g d G projects can and have been blended with other subjects 3r g hin here MIN I c a A by educators over the years. Reading, Math, Social r te CL at t u fo and th g. o Science, History, Science, Geography, Spanish, y rt nk ron English, and more. My concern is not whether it is Tha bout a ht or w a me no rig berto combined with other subjects or not, but that it support lf is e se - Ro h students in feeling a stronger sense of self which in t as e rt w wed m turn helps students learn everything with greater ease a e rit sho art and confidence. favo s. You of my y M rait aid os t por be afr - Marc I believe through my own experience and what I have to . not be bad to witnessed in others that the stronger we feel in ourselves, ow o h t e rt the stronger we are in every aspect of our lives. When ed m astic a w o t we have a strong sense of self it helps us to learn, make n sh l You most fa - Abe personally supportive choices, respect ourselves and . ne he u do t ever do those around us, and care about our lives and ultimately e yo s e u v I’ ca ed our world. CLAIMING FACE and claiming creativity u be it. I us e o y e ’v will resource us as a people to create a world in which ir ciat art sp it! You e r p e we are made stronger through genuine reflection, I ap nto th I like rt. through knowing that we all belong here now, and ei ow oa ot m t but n e key t g r through understanding our creative potential. te a me th en a now h n d This is our world. b w to u n o ta sh -R a lo rgesha t r a a I have made art with hundreds and hundreds of into e. - C e m m o t children over the years. Some of them stand out y go art at h l l a e because they have taught me specific lessons, but r g You be doin I have been affected and changed by all of them. I Our children are generous and brave. They are resilient and searching. Many of them are longing and don’t even know it. One of my favorite projects is the I Am Here Flags. The students create hand portraits using oil pastels on a square of black cloth. Hands are the most basic and ancient form of self-portraiture. On the cloth there is an outline of their hand with drawing added and the words I AM HERE written along the bottom with their names. Once finished, the squares of cloth are gathered and connected to a long cord or ribbon and hung like small flags. The cord is then tied in the trees outside of their class where the students can see it. The flags are visually striking and as the wind catches them, they dance and shiver against the sky. Their beauty and intent riding the vibrations of the wind, sending out a message for each student: I am here, I am here, I am here‌ Imagine‌ 19

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CLAIMING FACE CURRICULUM | EDUCATOR’S GUIDE

Classroom Notes:

I AM HERE Step-by-Step

hat I learned from doing the project myself:

Fig. 1

hat did or didn’t work in the classroom:

Fig. 2

How I would change or modify the project:

Fig. 3

Inspirations, new ideas & directions, other projects: Fig. 4

Fig. 5 132

©2010 Reection Press | “a people should not long for their own image” | www.reectionpress.com

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CHAPTER 9  CLAIMING FACE PROJECTS

2.I AM HERE Flags/Hand Portraits

REFLECTION

Purpose of Project: Hands are one of the oldest and immediate forms of artistic expression that says “I am here.” Creating and displaying these pieces is a beautiful and powerful statement of presence for our artists to see every day in the classroom or outside the window. They are simple to create and absolutely stunning. Visual beauty is vital to see in our world and ourselves. It is a reection of our inner being. By stating clearly that “I am here” it promotes that each artist belongs here and is seen.

PREP

Process:

1.

Tape all the way around edge of the cloth onto desk or board to make it the most secure. It is easier to draw with pastels if the cloth is stabilized.

GUIDE ARTISTS IN THE FOLLOWING STEPS:

2. 3. 4. 5. 6. 7.

Place hand in center of square and trace closely around it with oil pastel. (Fig. 2) Decorate your hand portrait as desired. Use favorite colors, decorations, and images of things you love. When portrait is complete, draw a border and write “I am here” and your name. (Fig. 3) Remove tape. Staple the tops of the cloth squares along the ribbon like ags hanging down. (Fig. 4) Hang in classroom or outside of a window in view of classroom. This can be done as a class or solely by the educator. Teacher Tips: Pastels can get on desks if project is taped to desk. It cleans off, but to avoid more work use an Art Board or piece of cardboard for a work space. Refer to Ch. 7, pg. 98 for more about Art Boards. Rip the cloth instead of cutting as this often ensures a straight line. Measure the 9x9 grid and make a small cut with scissors at the top then grab either side of cut and rip cloth, shown in Fig. 1.

• Purchase 2 yards of black cloth • Measure out a 9x9 grid • Cut/rip cloth into 32-9x9 squares (Fig. 1) • 30 -10 x 12 Art boards to tape cloth down to (if you choose)

MATERIALS • Black cotton cloth, ripped or cut into approx. 9x9 inch squares, (at least one per artist) • Scissors (only for your prep) • Heavy cotton ribbon • Stapler & Staples • Masking tape • Desk top or art board (per artist) • Oil pastels

BOOKS No specic book for this project. Recommend downloading images from the internet to show students: Pre-historic hands painted on rocks and in caves.

©2010 Reection Press | “a people should not long for their own image” | www.reectionpress.com

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What Educators and Students are Saying: “I feel so good, inspired, calm. It encouraged me because it gave me a creative space to put myself into when I was feeling like I couldn’t get there. Useful! Informative! Inspiring! -Educator “Still blown away with how the art (the act of making art) can be so effective on so many levels. Also the rules were great.” -Educator “Moving, Cathartic, Beautiful, Delightful.”

he CLAIMING FACE curriculum is designed to support all of us, but especially children, to engage with creativity in order to know ourselves and be empowered to live our best lives. It is not about art, although art is made. It is about process. It is about life. Through exploration of the philosophy and its development, imagination exercises and questions, resource materials for art and literacy, as well as a vast and diverse sense of self-portraiture projects, the CLAIMING FACE curriculum lays out a feast of creative involvement to support ‡ rst ‡ you, the educator and then the student in the classroom. This is an excellent tool to encourage higher thinking, strong self esteem, life skills, cultural diversity, ESL education and a lifelong connection to creativity.

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hrough your empowered model of presence in the classroom and the CLAIMING FACE projects you will support your students to use creativity to:

 create their own re‡ ‡ection  re‡ ‡ect on and know their selves  empower and trust in their own knowing  explore and expand their sense of self  be free to be all that they are

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The stronger we feel in ourselves, the stronger we are in every aspect of our lives. When we have a strong sense of self it helps us to learn, make supportive choices, respect ourselves and those around us, and to care about our lives and ultimately our world. CLAIMING FACE and claiming creativity will resource us as a people to create a world in which we are made stronger through genuine reflection, through knowing that we all belong here now, and through understanding our creative potential. This is our world.

-Educator

“You showed me how to do the most fantastic art I’ve ever done”-Abel, age 9

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ING FACE I G S ABO UT CLAIMIN

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bout he Auor:

Searching for reecon in her world since she was a child, Maya Gonzalez has been using art to arm and claim herself, her life, and her experience. Now as an adult she is honored to have made art for nearly 20 bilingual children’s books, two of which she has also authored, including the 2008 Pura Belpré Honor Award winner, My Colors, My World. She has been going into schools and universies since 1996 teaching the CLAIMING FACE lessons of using creavity as a tool for self-empowerment. The Educator’s Guide serves to encapsulate these lessons into a comprehensive and transformave guide for educators to implement in their lives and classrooms.

“You made me believe in Art”-Jazmin, age 9

US $39.95

IM A L

L SE

CURRICULUM/PERSONAL GROWTH/CREATIVITY

Published by Reection Press “a people should not long for their own image”

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Front cover art by Zai Velvet

Claiming Face  

Self-Empowerment through Self-Portraiture, An Educator's Guide to Building the Powerful Link Between Creativity and a Sense of Self. Sample...

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