Principals of schools have vitally important roles to exercise if school art instruction is to be successful and if children's experiences in art are to be meaningful and of value.  Indeed, if principals do not perform their appropriate roles, the experiences which children have in 'art' classes may be undesirable, and even destructive.  Inappropriate "art" activities can be quite damaging and can undermine children's self-confidence, diminish their self-esteem, foster their learning dependence, impede or destroy their creative impulses, and cause them to fear to risk.  That is not what should be happening in schools.  Hence, it is imperative that principals exercise very active and dynamic roles regarding art instruction.

 Probably the most important role that principals have to exercise regarding school art is to supervise actual instruction-in-the-raw.  This does not mean that principals should exercise a "snoopervisory" function, but it does mean that principals have to exercise instructional supervision in a professional manner.  This includes, but is certainly not limited to, visits to classrooms when art activities are in progress.  In the process of exercising the supervisory function the principal will focus on a number of specific issues, if defensible art instruction is to be fostered and supported.  Some of the most important of these issues are discussed below.
 

ISSUE 1:  Dittoed Colouring Sheets

 Probably the single most destructive and unjustified activity that takes place in any classroom is the provision of dittoed sheets to children for colouring or for cut-and-paste projects.  All these identical Easter bunnies, those unimaginative witches, those cliche Santas, and those humdrum "I Love You Mommy" valentines, are numbing children's minds!  All these cutest little cut-out baskets and clowns made from toilet paper rolls are similarly destructive.  There is absolutely no room for any of this "skitche" in classrooms, in any subject area.

 I have heard teachers say "But, I don't use dittoed sheets in Art anymore." That's good, as far as it goes.  However, if such sheets are used in any other curriculum area, the damage is still being done.  Such materials are of little educational value in any subject area and, hence, cannot be justified on any pedagogical grounds.  They are all destructive to children and should be kept out of classrooms.  Similarly, children should not be permitted to bring colouring books to school to colour "during free time"; such colouring work should not receive praise; and parents should be discouraged from purchasing such pap for their children.

 Some teachers argue that they give children such colouring work to assist them in developing their fine motor skills.  They do not, however, explain where they got the idea that this particular activity does, in fact, assist uniquely in this regard.  In fact, there is no research evidence to support their contention.  Physiologists tell us that practically any hand motion will be just as effective as colouring dittoed sheets.  In fact the insistence that children "stay within the lines!' may be counterproductive!  Children may simply not have the physiological readiness for such confined hand movements, and teacher insistence that they utilize such cramped movements may not assist fine motor development at all.  In fact, such activity may cause frustration to such an extent that children will develop a dislike for anything resembling art activity, and may rapidly begin to perceive themselves as failures.  If teachers feel that children must have such mindless experiences, rather than give children adult stereotypes, such as those sickening bunnies and teddy bears that will blind childrens' visual perception, children may be given geometric figures to colour, or patterns based on geometric figures.  At least, then, children may learn about triangles, circles, squares and other regular and irregular shapes.

 Some teachers will still argue "But, children love to colour!" That, in fact, may be the case.  Some children "like" to colour simply because they have received praise - from Mommy and Daddy, and from teachers, and from Great Aunt Agatha who regularly gives children colouring books for Christmas and birthdays.  Children have to obtain their approbation and recognition somewhere.  Kids aren't stupid!  They have learned that they receive approval and acceptance by being diligent colourers in colouring books.  If teachers do not praise such activity but, rather, praise independent creative effort, then children will quickly lose their liking for "colouring" and will begin to like creating.

 However, it could be quite defensible, and enhancing of the art program, to provide idea sheets, or motivation sheets, or inspiration sheets, in an art center or art corner.  Children can access them for independent art activity, if they have time on their hands, or (Glory be!) if the teacher is sufficiently enlightened to provide a bit of free time in children's regular schedules.  The caution, though, is that such independent art activity is valid only if such sheets foster creativity, if child learning independence is enhanced, and if child self-confidence and self-esteem is supported.
 

ISSUE 2:  Use Appropriate Colours!

 Another practice that is destructive of children's creativity and selfesteem is insisting on certain "proper colours." There is no basis for such insistence!  Children should be permitted to use whatever colours they choose from the palette!  Their colour choices are not wrong!

 However, a teacher may decide to limit the range of colours that children are given for a particular project.  In general, smaller children will not have colour preferences and will be quite as happy with a palette of three colours as they will be with eight or more colours.  In fact, if children are provided with just blue, yellow and red, they will make all sorts of interesting discoveries for themselves.  They will soon discover that when blue is mixed with yellow green results, and that when yellow and red are combined orange appears.  Let children make their own discoveries.  They should have such a range of experiences with colour mixing that happy accidents will teach them all sorts of things about how colours combine.  Rarely should it be necessary to tell a child which colours to mix. (But, of course, if a child asks, the teacher may suggest colours with which the child might experiment).

 If a child chooses to paint Mom green, be pleased.  Green may be the child's favourite colour, in which case green would be the most appropriate colour to use to represent the person that the child loves most.  If the grass is purple, enjoy it; if elephants are pink, appreciate them; if bears are red and yellow and blue, be thankful for the fresh view that the child has provided.

 But, some teachers will respond with an exasperated and pained 'But everybody knows that elephants are grey!"

 My response is "Does everybody, indeed?  And, what colour, pray tell, is the size of elephants in comparison with a child?  And, what colour is that bristly touch?  And, what colour is that awful stench?  And, what colour is the fact that elephants are an endangered species?  And, what colour is the neglect of some circus elephants?  And, what colour is the fear that some children have of such large creatures?  And, what colours are the pleasures and excitements of riding on an elephant at the travelling fair?" The child tries to convey all of that information, all of that cognition and mix of emotions, with colour.  If pink does that for the child, so be it!  Besides, which colours would you use to represent the stench and the fear?  Besides, elephants are not grey, or gray!
 

ISSUE 3:  Visual Education

 Art is a means to educate the children's sight.  Without educated sight, children are likely to have more learning problems than otherwise.  Children's sight is educated, their visual perception powers are enhanced, and their learning potential and ease is increased if teachers engage children in particular carefully-orchestrated, cognition-focused, multi-sensory experiences.  Two activities which will contribute to educating sight are (a) Looking at pictures and (b) looking at paintings and other works of art.

 Teachers should, at the beginning of the year, schedule 10 or 15 minutes every week specifically to lead children in a discussion about a specially selected picture.  Children should be led through a series of critical thinking exercises in an atmosphere of free and open, visually-focused, cognitive and affective oriented investigation.  This activity will be conversation-discussion in nature and should not be undermined by the teacher imposing 'superior" premature closure.  If a child supports his/her opinion with evidence from the picture, then such an expressed view is valid, regardless if the teacher 'knows" that it is not 'right".  The objective is not to determine "rightness"; the objective is to help children look and see and make decisions based on the information in the picture.  The teacher has no right to bring in exterior (i.e., superior, i.e., smug) information.  Children, in contrast, are engaging in detective work and should be encouraged to bring all of their investigative powers to bear.  If children can enlighten other children because of personal experiences or insight, then such behaviour should be encouraged.  The teacher has no opinion about the picture!  His function is to facilitate children's investigations.  She does not judge the rightness or wrongness of children's opinions.  Children will be complimented for their visual and perceptual acuity and will be praised for drawing valid conclusions based on the available information.  Again, notice that "valid" is the operative word; considerations of "right" are out of place (Interested teachers may wish to read my paper "Using pictures in teaching art").*

 At least once a week, teachers should lead children in another 10-15 minute discussion, this time about a work of art.  After students have had several such experiences, they may wish to take turns leading the discussion.  This could happen as early as the first or second grade and should, in any case, be well established by the elementary level.  Intermediate and secondary students are probably able to lead such discussions as well as the teachers can. (Children don't always need us to spoon-feed them as much as we educators are, sometimes, prone to think!) The focus of such discussions are the elements of design (colour, shape/form, space, line, texture) and principles pf design (emphasis, unity, variety, movement, balance, contrast, rhythm).

 Students should also be given the opportunity to interpret the work of art being analyzed.  They will, no doubt, readily recognize Winslow Homers "Snap the Whip" as expressing the joys of childhood, will readily see the fun in Norman Rockwell's "Swatter's Rights", will enjoy the ambiguity of Joan Miro's "Composition, 1963" and will happily compare that composition with Wassily Kandinsky's "Layers" - or practically any of Kandinsky's work, for that matter.  They will identify the parental-child affection in Georges de la Tours "St.  Joseph the Carpenter," and may even identify the allegorical significance of the Child "bringing the light." They will also try to express some of the dark and foreboding qualities of the work of Lawren Harris (e.g., "Clouds, Lake Superior') and Emily Carr (e.g., "Forest, British Columbia", now depicted on a Canadian stamp, issue date 1991.05.07).

 Children will particularly enjoy the child-like qualities of much of the work of Matisse (e.g., "Harmony in Red" (Red Room)) and Gauguin (e.g., "The Yellow Christ') and will likely be inspired by their work.  Besides, children will have their own confidence boosted after viewing and discussing the work of Paul Klee (e.g., "Park near L") and Jackson Pollock (e.g., "One") and will not hesitate to attempt to better Roy Liechtenstein's comic book style (e.g., "Girl at Piano') and challenge Alexander Calder's mobiles (e.g., "Lobster Trap" and "Fish Tail").

 Children will enjoy comparing "Harvest" by the Ukranian artist Moisey Kogan with "The Harvesters" by the 16th century Flemish artist Pieter Bruegel the Elder.  They will not be hesitant to comment on the droll tongue-in-cheek qualities of Andy Warhol's "Cans", and will be able to compare and relate their own experiences with those of the children depicted in Carmen Lomas Garza's "La Feria en Reynosa" (The fair in Reynosa).  The children will also be able to appreciate the sweaty work in Vincent Van Gogh's 'The Road Menders' and will remember similar experiences to that suggested in Martin Johnson Heade's "The Coming Storm".

 Children's interpretations should be accepted.  Teachers do not have superior knowledge in this respect!  There is even the view that artists themselves do not know what the "messages" of their work are, only that they felt that they had to paint and that they felt some kind of relief or carthesis after the paintings were completed.  Teachers should make no effort to provide closure.  That way, the next time that children see the work of art, they will still have their old questions and will examine the work anew.  If the teacher "tells" the meaning of a work of art (Heaven forbid that they should be so presumptuous!), then children will be blinded to the work of art.  Teachers have no right to arrogantly and cavalierly impose their self-righteous "view" on impressionable children.  To tell children "the' meaning of a work of art is to effectively destroy the work of art for them. (Art critics take note!)

 Students should also be given the opportunity to evaluate the work of art in terms of whether they like the work or not, and to try to explain why they like or dislike it.  Such decisions about liking or disliking a work of art is a separate dimension from analyzing and appreciating the elements and principles of design utilized.  It is also not the same as attempting to interpret a work of art.  Many people appreciate Picasso's Guernica; few "like" it.  Similarly, many Canadians appreciate the technical aspects and the artistic and creative qualities of the work of David Blackwood; fewer of them would want one of his paintings in their living room. (Incidently, if teachers have difficulty finding works of art, purchase a subscription to Scholastic's INSTRUCTOR for them.  Many of the compositions mentioned above appeared in recent issues of that teachers' journal).
 

ISSUE 4:  The Art Gallery

 Every school should have one or more "art galleries," preferably one or more free spaces on corridor walls.  The works of 'famous' artists should be hung with the work of student 'artiste.  Art is not meant to be hidden away in massive and snobbishly aloof museums; it is meant to be lived with.  If art is to have a meaningful role in students' lives, then it has to be available to them in their environment.  Artsy snobs will turn up their noses at the thought of tightjeaned, spiked-and-multi-colourhaired, cola-guzzling, and gauche-languaged students making rude comments about artsy snobs' favourite, Seurat.  But, if children are to appreciate art, then art has to be available where they live!  If art is displayed in school corridors, student art activities will have much more meaning in art class.

 Maybe, a teacher might be prevailed upon to take on the job of curator of the school's "art gallery" or, maybe, some of the students would be happy to take on the job.  In any case, each work of art should have a card identifying the artist and providing a little bit of personal information.  This should be also done for student artists! ("Mary Sullivan is a Grade Seven student and is a fan of the pop rock group 'Travelling Gangsters'.  She is currently working on a new work called 'My Pink Sneaker."')

 The works in the school's art gallery should not be displayed for too long a time.  If fish and house guests stink after three days, works of art in the school corridor will probably be similarly perceived after two weeks.  Change the scenery frequently. Students will enjoy the change of pace!
 

ISSUE 5:  Art Collections

 If schools are to have art galleries, then they will need art collections.  If you can afford it, buy good reproductions; if you are rotten with money, purchase originals.  However, a great many prints of works of art are available inexpensively or at almost no cost.  Scholastic's INSTRUCTOR and ART AND MAN have monthly good-quality reproductions, and numerous calendars have reproductions of works of art.  The works of many artists are available in specially-published calendars.  The cost of these reproductions may be as little as $1.00 each.  And, of course, there are numerous art magazines which have fairly large reproductions.  If you can afford $20.00 $35.00 per print, there are several mail order companies which would be happy to supply your needs.  Maybe, you can put aside a small budget of $100.00 a year for purchasing prints.  You will be amazed at how quickly your art collection will grow.

 One source that should not be ignored is local artists (who may even wish to donate some of their works!) and another source is the students themselves.  Why not put aside $50.00 - $100.00 a year to purchase works of art from your school's student artists?  Five dollars for a student painting or drawing will give students an absolutely tremendous ego boost, not to mention the good will that the school will develop with parents.  Besides that, just think of the profile that Art will then have in your school; just think of the conversation in the canteen and in the washrooms when students discuss the fact that Frank and Kelly got five bucks each for their art!  Also, we raise money for everything else.  What could be more deserving and rewarding than a little fund raising to purchase a quantity of art prints?

 Since no art program is complete without the "discussion of pictures" component, it is essential that schools have an extensive picture collection.  Such a collection can be filed in the resource center, appropriately categorized, so that this resource can be used in all curricular areas.  Pictures are easily obtainable from numerous sources and children will normally respond enthusiastically to attempts to enlist them in building up the school picture file.  You don't really have to ask people whom you visit for the calendars off their walls (as I do, sometimes.  I haven't been refused, yet.  But I recall that they looked at me strangely as they were taking the calendars down!).  Visit your local travel agency; write embassies; talk to local businesses; ask for donations of pictures.  You will be pleased at how quickly you will have an extensive and valuable picture file.
 

ISSUE 6:  The Instructional Sequence

 In my discussions with concerned principals, they tell me, frequently, that they do not know the characteristics of appropriate instructional sequences for school art instruction.  Undoubtedly, there are several equally valid instructional sequences that will serve quite admirably for art.  I'd like to discuss, briefly, three such instructional sequences, each supportive of good child art experiences.

 Many teachers are now utilizing "whole language" techniques in language arts instruction.  Before student writing takes place, students engage in discussion, reading, and all sorts of other pre-writing activities.  Astute teachers have recognized that once they have children ready to be creatively verbal, they have also prepared them to be creatively visual.  Since the work has already been done for the language arts, simply use the same theme and all of that motivational activity as preparation for the art activity.  However, the art activity will be better if it comes after the writing activity since a great deal of cognitive organization, synthesis, and affective response will already have occurred within the child.  Likewise, the writing will be enhanced if the visual form of expression occurs prior to it...and for the same reasons.  Thus, the creative teacher will alternate, having children paint the story before writing it, on one occasion, and writing the story before painting it, the next time.

 An alternate instructional sequence for creative art production has to do with utilizing the experiences in other curricular areas.  If a discussion, and some reading, and some research, and some writing, and some group work has just been completed, or is still ongoing, on the exploration of Canada's north, or on the process of erosion and possible ecological damage, or on community helpers, then the preparatory work for art has been done!  It is only necessary, now, to decide with the class which media and materials to use and, then, let the children create.

 The third instructional sequence to be discussed may be a little more formal.  This is the "Never-Fail Art Instruction Sequence" (I said so, that's who!)  In this case, the teacher and students have decided that they would like to explore some specific theme for their art experiences.  Maybe they have chosen "Space Flight".  An appropriate sequence would be as follows:  (a) Discussions for planning purposes, deciding whether to explore as a class, as small groups, as individuals, or some combination of all three.  (b) Research:  library books, topical magazines (e.g., National Geographic), news magazines, encyclopedia.  Notes are taken, thumbnail sketches are made, reports are written.  (c) Whole class and small group discussions are engaged in.  Information is shared.  Questions are answered.  Probing questions are raised.  Some have no answers.  (d) Decisions are made about media, methods, materials.  (e) Students engage in creative visual activity.
 

ISSUE 7:  Time

 Students must have time to work on their art.  A twenty to forty minute period may be sufficient for primary children; it may not be sufficient for elementary children.  It is likely to be unsatisfactory for intermediate children, and positively frustrating for secondary students.  Two issues have to be addressed: the frequency of art experiences, and the duration of each experience.

 For primary children, there should be some art activity on almost a daily basis.  For elementary to secondary students art activities should be engaged in at least several times a week.  However, at the upper intermediate and secondary levels, one weekly two-hour art period will likely be far superior to two one-hour periods, especially for senior and visually mature students.  Try to achieve some schedule flexibility, either through specific time-scheduling, or through some flex-time or swap-time arrangements.  For "self contained" and "academic core" classes, scheduling may not be a problem.  However, it needs to be examined to ensure that the schedule is not unnecessarily interfering with instruction.  A clich : the schedule is to facilitate instruction, not versa visa.
 

ISSUE 8:  Curriculum Supervision

 The principal should have formal meetings with teachers, periodically, specifically to discuss planning for art, just as planning for instruction would be the subject of supervisory discussions and consultations in any other curricular area.  Of course, such discussions might be delegated to a vice-principal or to a teacher designated as visual art chairperson.  But, that does not remove responsibility from the principal to ensure that long term and short term planning for instruction in art takes place in a professional manner.
 

ISSUE 9:  Safety

 It is only relatively recently that teachers and administrators have been sensitized to the possible hazards associated with materials used in schools. The asbestos scare is, no doubt, well remembered.  The developing tragedy may be that we still utilize, in school art activity, as well as in other curricular areas, other materials which may cause much more damage than asbestos ever would have.  This is, now, not only a matter of safety; it is also a matter of legal responsibility.

 Very briefly, oil paints have no place in school art programs.  They contain such noxious components as cadmium, arsenic, antimony, cobalt, lead, mercury, and manganese.  Use acrylic paints.  They are inexpensive, generally safe (but that needs to be determined for specific brands), easy to use, quick drying, and maintain their fresh colour.  Powdered tempera should be mixed with water by an adult in a well ventilated area.  The adult should use a dust mask!  Likewise with powdered clay, which usually contains a hearty proportion of silica (remember silicosis?).  Photographic developers should be used only by, or under the supervision of, an adult who understands the nature of the chemicals that are used, and should not be used at all by or with elementary children (For example, do you know the potential health hazards if children ingest pyrogallic acid (a photographic developer), mercuric iodide or potassium cyanide (intensifiers) or Thiourea (a toner - which has been shown to cause cancer in rats and is suspected of being carcinogenic to humans)?) In fact, most chemicals used for photographic developing are highly toxic and should be used only under the supervision of exceptionally knowledgeable people!

 Many glazes used in ceramic projects contain lead, arsenic, zinc, and other equally dangerous components; many dyes, used in various art projects have components (such as benzidine congener) which are suspected of being carcinogens, and other components which can cause severe allergic reactions.  One ubiquitous feature of many classrooms is the permanent marker.  There is enough solvent in one small permanent marker to cause permanent ,brain damage to a child or adult!  They have no place in schools.  Other types of markers are available (generally water or alcohol based, such as the CRAYOLA brand) which can, usually, be used quite safely.  Did you know that some of the commercial wall-paper pastes, which teachers like to use for paper mache projects, contain a preservative that is the same as that used in rat-poison?  It causes internal bleeding when ingested!

 Much school-related litigation hinges on whether the now-obvious danger could reasonably have been foreseen.  No school administrator can claim ignorance of the dangers of products, such as those listed above, if they have not even bothered to determine which products are in use in classrooms and whether these products can be safely used by and around children.

 Principals should ensure that all products in schools are safe for children's use.  They should also ensure that children with particular sensitivities are not exposed to allergy-causing materials.  Furthermore, some border-line products can be safely used only under controlled and safety-conscious conditions.  Principals should ensure that such conditions exist before such products are utilized.

 The principal is the key to successful art instruction in schools.  If the principal takes his/her instructional and curriculum supervision functioning seriously, then art instruction will likely be of a variety that will not only provide children with positive and enjoyable aesthetic experiences, but will also enhance student self-esteem and boost student self-confidence.  Our students deserve the best possible instruction in all subject areas; the injunction is no less valid for instruction in visual art. 

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