Archive for the ‘Curriculum and Instruction’ Category

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Spring Choral Concert

May 12, 2022

Camden Hills Regional High School

The Camden Hills Regional HS Chorale, Chamber Singers and Treble Choir will present their Spring Choral Concert on Tuesday, May 17th at 7:00 PM in the Strom auditorium. The ensembles, directed by Kimberly Murphy and accompanied by Matthew Mainster will perform a variety of selections, featuring many soloists and guest artists.

Kim Murphy

Of special note will be BSO percussionist Nancy Rowe accompanying the Treble Choir on xylophone in their performance of Mark Patterson’s “Edges of the Night” – a song that highlights the plight of refugees. Ms. Rowe will also play the djembe to accompany two selections by the Chorale and Chamber Singers. A guest string quartet: Sarah Glenn (violin), Heidi Karod (violin), Linda Vaillancourt (viola) and April Reed-Cox (cello) will accompany the Chamber Singers’ performance of “Deep Peace” written by Elaine Hagenberg and Ola Gjeilo’s “The Ground.” Both selections incorporate the theme of peace, with Ola Gjeilo’s composition ending with the lyrics “Dona Nobis Pacem” (grant us peace).

Nancy Rowe

Additional themes concurrent in many of the selections are that of youth, and hope through music. Young singers in grades 3 – 8 will join the high school Chorale in a stirring rendition of “Rise Up” – a song made popular by Andra Day.  The performance will feature many soloists including Sara Ackley, Alyssa Lewis, Lenigha White, Noelle Delano and young singers Rowan McWilliams and Nathan Gomez. The string quartet will return to accompany the Treble Choir in a selection which highlights the beauty and hope of music in “Alway Something Sings.” With text by Ralph Waldo Emerson and music by Dan Forrest, this selection also highlights guest singer, Lydia Day. The theme of hope for our youth continues with the Kyle Pederson composition of “Remember the Children.” This song will feature four soloists: Audrey Leavitt, Aly Shook, Lucas Marriner-Ward and Daniel McGregor.

Seniors Audrey Leavitt and Aly Shook will return to the stage as they lead the student a cappella ensemble: Fortissima in three selections. This extra-curricular student-led ensemble has been rejuvenated under their direction and is flourishing in dedication and musicality. Of special note will be a Fortissima performance of Tom Petty’s “Wildflowers,” arranged by Junior, Grace Yanz.

Throughout the evening many soloists will be featured, including Joshua Kohlstrom, Iselin Bratz, Nora Finck, Abigail Kohlstrom, Trey Freeman, Grace Yanz, Jocelyn Serrie, Charlotte Thackeray, Charlotte Nelson, Sophie Ryan, George Bickham, Maren Kinney, Alyssa Bland, Isabella Kinney and flautist Cabot Adams.

During this joyful concert student achievements in the MMEA District III and All State music festivals will be recognized, along with a tribute to our outstanding senior musicians. The concert is free to the public. As of this writing, masks, for both performers and audience members, are optional. For more information, contact director Kimberly Murphy at kim.murphy@fivetowns.net  See you at the show!

I’m certain this is going to be a spectacular concert since Kim is retiring at the end of this school year.

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World Collage Day

April 26, 2022

Plan to participate – May 14

World Collage Day is an international celebration of the fine art of collage being recognized this year on on Saturday, May 14th, 2022! Celebrate with enthusiasts around the globe. If you google ‘world collage day’ you can see what some others are doing to recognize the day. And right here in Maine, the Bangor Public Library has put a call out for collages that will be included in a display at the library. The details are below with hopes of having your students participate or, if the library is not a convenient location for your students, create something similar and get some energy going around World Collage Day! This is a great way to celebrate spring and to help turn the corner from the pandemic. Using the theme “Hopeful” because we know that there are many reasons to focus on what gives us hope.

Bangor Public Library Plans – your invited or use this idea to adapt for your community!

Join in the fun and make a collage to be on display at the Bangor Public Library!

You are invited to submit a collage if you are preK-grade 12 students. 

Collages must be no larger than 9”x12” and must be made of paper (no 3-D objects). You can use magazines, colored paper, newspaper, paper bags, tissue paper, wrapping paper, etc. and mount your collage on thin cardboard (cereal box thickness is sturdy enough to use for the backing of the collage). 

Created by Kal Elmore

What is a collage? 

Usually a collage is an art work made up of photos, clippings, or found items that are attached to a sturdy surface. An example is a picture of a tree made up of pictures of things that are green. You can search on the internet for many interesting examples of collage, if you would like to get ideas. 

The theme is ‘Hopeful

There are many reasons why this is a good time to focus on the things that give us hope. Brainstorm some ideas with a friend or family member and think about these ideas as you make your collage. 

Collages are mostly made up of scraps of paper so you can also think of this as a recycle/reuse project. (Do not use special pictures or papers without permission).

All you will need is some paper scraps, some glue, scissors (if you need to cut things), and your imagination! 

If you don’t have scrap materials at home you can go to the Bangor Public Library Children’s room and pick up a paper bag with paper scraps inside. You still need your own glue and backing material and scissors. These bags will be available at the library from May 2 – May 12, during library hours. 

Submit collages

Your finished collage needs to be submitted to the Children’s Room in the Bangor library on May 12-14, during library hours. (There will be a box for submissions.) 

Before submitting your collage you might want to take a picture of it or a picture of you and your collage. The library is not responsible for lost or damaged work, and sometimes things happen. If you want your collage, back you need to pick it up at the library on May 31 during library hours. 

If you want, you can post the picture of you and your collage on Instagram with the hashtag #meworldcollageday2022.

On the back of your collage please put your name, the title of your work, and a parent or guardian signature that shows you have their permission to submit the work. 

If you have any questions, please contact one of the librarians or Candis Joyce, Reference Department, Adult Program Coordinator, Bangor Public Library, 145 Harlow Street, Bangor, ME 04401, (207) 947-8336 ext. 127, (207) 922-6054 direct.

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MAEA Conference and Awards

April 12, 2022

What a day for art education!

The Maine Art Education Association (MAEA) concluded an outstanding spring conference by presenting three, no four, awards to deserving educators. But first a word about the conference. I’ve been around long enough to see institutions transform, some for the third and fourth time. I had the pleasure of working on the planning committee for the MAEA spring conference that was held on Saturday, April 2 in Rockland at the Farnsworth Art Museum and CMCA. I’m not just talking about a conference that was held in both facilities but what took place was magical. It was delightful to see the two institutions partner with MAEA to put together a very worthwhile day for art educators.

Presentation by Daniel Salomon

The conference entitled Radical Reuse was planned and implemented by a group of people who had never worked together before, some new to their positions, and everyone went above and beyond. Over a two month period every Thursday the education staffs of both institutions and the MAEA conference planners came together on zoom to plan the annual spring conference. THANK YOU to everyone for a job well done! From CMCA: Mia Bogyo, and representing the Farnsworth: Gwendolyn Loomis Smith, Katherine Karlik, and Alexis Saba. MAEA president, Lynda Leonas, coordinated the effort with board members Iva Damon and Christine Del Rossi supporting. From the Rockland school district Richard Wehnke helped.

Printmaking with Sherrie York – Lynda Leonas and Iva Damon

The keynote was provided by Krisanne Baker, Medomak Valley High School art and ecology teacher and artist. She is committed to advocating for the ocean and inspires her students to learn about water quality, availability and rights, and ocean stewardship. Guest speaker Daniel Salomon who teaches in The Hatchery at Camden Hills Regional High School provided background information on the work he is doing with students utilizing and reusing materials and the role we each can play.

Gallery tour, Farnsworth

After the opening speakers, conference participants attended sessions on printmaking with Sherrie York, art making around ‘place’ with Alexis Iammarino, toured the Farnsworth Museum, and toured CMCA. Several merchants from Downtown Rockland supported the conference goers with discounts. During the middle of the day Daniel’s students from the Hatchery, set up outside CMCA, shared several of the projects they have been involved in this year.

Alexis Iammarino demonstrating, CMCA

AWARDS PROGRAM

The day concluded with honoring the work of four educators with an amazing backdrop of quilts at CMCA. The educators are outstanding in and out of the classroom, engaged in work at the local, regional, and state level. They work (and play) tirelessly, sometimes alone and often collaborating with others. Every day they exhibit all that is right about education. In their respective institutions they have a place at the table where they continuously advocate for students and art education. We know that an excellent education in the arts is essential, and these educators strive for every student to experience just that. 

The awards committee was led by Belfast Area High School art teacher Heidi O’Donnell. Members of the committee included Hope Lord, Maranacook Middle School art teacher and Suzanne Goulet, Waterville High School art teacher, and myself. The awards, clay vessels, were created by Carolyn Brown, Camden Hills Regional High School art teacher. In addition each educator received a plaque for their classroom and a pineapple.

The 2022 Administration/Supervision Art Educator of the Year was presented to Dr. Rachel Somerville who is at Maine College of Art & Design and Westbrook Schools. She was introduced by Melissa Perkins, Congin Elementary School art teacher, Westbrook.

Melissa presenting Rachel

The 2022 Secondary Art Educator of the year was presented to Iva Damon, art teacher at Leavitt Area High School in Turner. She was introduced by Lynda Leonas, president of MAEA and an art teacher at Walton and Washburn Elementary Schools in Auburn.

Lynda presenting Iva

The 2023 Maine Art Educator of the Year was presented to Matthew Johnson, art teacher at Westbrook High School. He was introduced by Deb Bickford who also teaches art at Westbrook High School.

Lynda Leonas presented a surprise pineapple award to Heidi for outstanding leadership and contributions to the MAEA board. She is stepping down from the board as she takes on a leadership position with the National Art Education Association.

Heidi O’Donnell, right with her Belfast colleagues Linda Nicholas, middle and Kathie Gass, left

As we move away from the challenges of the pandemic I urge you to consider:

  • Become a member of MAEA, if you are not already one
  • Volunteer to become a board member and take on a leadership role
  • Nominate a colleague who is worthy of recognition

For more information please go to the MAEA website.

Photos taken by Heidi O’Donnell and myself.

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Insect Lab

March 22, 2022

Learning opportunity for teachers

Below is an invitation from Maine artist Mike Libby! Mike is a graduate of Bangor High School and is an amazing artist who established INSECT LAB. Now, he’s sharing his ideas with teachers. I encourage you to respond to Mike and join him on zoom during one or all of the sessions. What a super opportunity to consider how Insect Lab could be part of a lesson or perhaps your school curriculum.

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MAEA Spring Conference

March 19, 2022

Don’t delay – register today!

With a few spaces left to attend the spring conference, the Maine Art Education Association (MAEA) is extending the deadline – don’t delay. How wonderful it is to know that teachers can come together IN PERSON for professional development once again. Join colleagues from across the state on April 2, 9:00 a.m.-3:30 p.m. MAEA is partnering with the Center for Maine Contemporary Art and the Farnsworth Art Museum in Rockland to offer this learning opportunity for Maine teachers who are *members of MAEA. Register at THIS LINK.

Keynote will be given by Medomak Valley High School teacher and artist Krisanne Baker. Daniel Salomon from Camden Hills Regional High School is a guest speaker. Several members of the Downtown Rockland Association are offering a discount during the conference including restaurant.

**You can become a member at the same time you register. Ignore the registration deadline below.

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Nicholas Parker’s Story

February 26, 2022

Musical journey and it’s impact on something larger

This is a story about Nicholas Parker but his story is especially poignant at this time with the invasion by Russia of Ukraine earlier this week. Samantha Smith was a 10 year old girl living in Manchester, Maine when, in 1982, she wrote to the General Secretary of the Communist Party of the Soviet Union, Yuri AndropovI. She was seeking to understand why the relations between the Soviet Union and the United States were so tense. Her question and bravery prompted a response and made a huge difference. She received an invitation to the Soviet Union and became a Goodwill Ambassador. Sadly, Samantha, at the age of 13, and her father, died in a plane crash. Her spirit and commitment to peace lives on. I pray for peace for the people of Ukraine.

If we could be friends by just getting to know each other better, then what are our countries really arguing about? Nothing could be more important than not having a war if a war could kill everything.” ~Samantha Smith

NICHOLAS PARKER’S STORY

As many young children do when there is a piano in the house Nicholas started ‘playing’ random notes for fun at an early age. At age 9 he started taking piano lessons from Amy Irish. At the time, he knew how to play “Do-Re-Mifrom The Sound of Music using solely his pointer finger. Amy taught him to develop his piano abilities and he fell in love with the instrument over the next decade.

PLEASE NOTE: All of the indented bold and italic sections below are quotes from Nicholas Parker.

“Plunking around on the piano and coming up with my own melodies has been one of my favorite activities since the beginning, though I never really put my efforts into writing a complete piece until the eighth grade.”

Nicholas playing Do-Re-Mi

In 2014 while in grade 8 at Reeds Brook School in Hampden Nicholas had Karyn Field for a teacher. Students were engaged in project based learning using Meridian Stories. Along with teaching Karyn was the Civil Rights Advisor so she decided to reach out to Rob Shetterly and Americans Who Tell the Truth (AWTT) to enrich the opportunities for student learning. Rob brought some of his large portraits to school to hang in the library. Students selected a portrait from Rob’s collection and were assigned to do some sort of creative project on that person. Nicholas chose Samantha Smith.

I chose Samantha Smith, a girl from Maine who, in the ‘80s, was known as America’s Youngest Ambassador, and who traveled to the Soviet Union as a peace activist at the height of the Cold War. For my project, I wrote a piano piece about Samantha’s life.

Piano recital with Amy Irish

For several days Nicholas worked independently in the music room while writing the piece about Samantha Smith. Karyn remembers checking in with him periodically to hear what he was accomplishing. Nick used his musical abilities and combined them with Samantha Smith; an ideal project in many ways.

When Rob and AWTT staff saw and heard what Nicholas had accomplished they were very impressed. A conversation followed and out of this grew the ongoing AWTT project offered each year to middle students. The Samantha Smith Challenge (SSC) is a dynamic educational program for middle and high school students that uses the creative arts to build a bridge between the classroom and the world as students become compassionate, courageous, and engaged citizens. SSC projects teach students that, no matter what age, they can be part of solving the challenges and problems they see around them and work for the common good.

“Looking back, I would have written the piece a bit differently now (on account of my skills having developed significantly since I was 13), but the music nevertheless managed to elicit a response from Mr. Shetterly, who was present when we displayed our projects.”

Playing on a street piano

Karyn shared that Nicholas was a confident and very humble student. He was provided an amazing opportunity to take what someone did that created change and through Rob’s painting of Samantha, together they elevated her voice. Nicholas was invited, while in high school, to speak at the New England League of Middle Schools annual dinner. Karyn said: “Through his passion and intelligence and his gifts he opened doors for others students and served as a good role model.”

“Seeing the impact my project had on Mr. Shetterly and the creation of the Samantha Smith Challenge was wonderful. Since then, I’ve loved staying in touch with AWTT when I’m able, and have enjoyed learning much more in the fields of piano performance and composition.”

Nicholas returned at Christmas from a semester studying in Italy. He took time to provide an update what he’s doing and some of his thinking.

“Today, I am headed into my senior year at Wesleyan University in Middletown, CT, where I am majoring in Music and Italian Studies. While I have grown a lot in my abilities, I must admit that I’m still trying to figure out what it is that I want to write (and how to write it). George Winston, whose CDs my parents used to play when I was growing up, is a source of much inspiration. His seasonal albums are some of my favorites, and the way in which he captures natural settings through the piano is exceptional. 

Working on music while in Italy last fall

The opportunity to teach music to others has presented itself in recent years as well, and I have found myself working with a few students—albeit largely in a virtual format—on the fundamentals of music and piano-playing. To introduce people to the piano has been an immense joy, and quite often has made me think of the importance of the arts and music in education. I personally have learned at least as much from studying music as I have from any science or math course, and in fact have found that the subjects of music and science are not quite so different. And yet, when it comes to many schools (especially those in less-privileged areas or with less funding), the arts and music programs are all too often the first on the chopping block. The benefits of music in education are plentiful, but inclusion and accessibility are indispensable when it comes to having an impact on students’ development.

Nick performing the Samantha Smith piece he wrote:

As was stated by Stanford University professor Eliot Eisner (quoted previously on this blog), “The arts make vivid the fact that neither words in their literal form nor numbers exhaust what we can know. The limits of our language do not define the limits of our cognition.” Whether by aiding in telling the story of Samantha Smith, or by helping me explore the natural world around us in a way that words and numbers cannot, music has occupied a space in my life that nothing else could. It’s impact on me has in turn given me the potential to impact a little bit of my corner of the world, and I couldn’t be more grateful.

AWTT Education Director Connie Carter has valued her time working with Nicholas and said the following: “Besides being the catalyst for AWTT’s education program the Samantha Smith Challenge, Nick has continued to be a strong voice for courageous student activism.  He has spoken at conferences about AWTT and was a critical voice in our strategic planning process.  Listening to Nick talk about the importance of finding and using one’s voice is like listening to a beautiful musical composition  — full of meaning, compassion, and inspiration.”

It was such a gift to converse with Nicholas and hear his story. His journey in many ways is just beginning, especially to those of us who have been around for many years. But, his musical journey started many years ago as a small child. I’m grateful Nicholas shared his story and I’m sure it will inspire and remind us how important it is to provide learning opportunities in the arts for all.

If you have a student or a former student whose story will inspire please contact me at meartsed@gmail.com!

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We’ve Lost a Giant

February 6, 2022

Touched so many

Sadly, we lost a giant in the arts on Friday, February 4. Ashley Bryan was 98 years old and lived everyday joyfully! His face in the photo below is how I will remember this amazing artist, advocate, storyteller, poet, and humanitarian.

Just a couple of weeks ago I read an interesting story in the Maine Sunday Telegram about a family in Virginia who purchased a home where their great grandparents lived as slaves on a plantation. I thought of Ashley Bryan and his book, Freedom Over Me. I cut the article out of the paper and sent it to him. As Ashley has done in so many books it is a beautiful collection of words and pictures. On the mainland near Ashley’s home on Little Cranberry Island he heard there was to be an auction that included paperwork from a plantation where slaves were held. Interestingly enough, the paperwork was from an auction that was selling 11 slaves. The paperwork described only the necessary items to buy and sell slaves; name, age, height, price, and little else. Ashley imagined much more about these individuals and gave them lives; describing their skills, their hopes and dreams, in poetry and images. Each are alive for the reader on the pages of the book.

Freedom Over Me is one of over 50 books that Ashley has written and illustrated. For years his children’s books have been steady and gently forceful educating on issues of color and racial diversity. He has used song, poetry, spirituals, folktales and much more to share Black culture. He received awards and recognition for many of his books including including two Coretta Scott King awards and the Laura Ingalls Wilder Award. He found joy in telling his stories with people of all ages through singing, tapping and moving. Ashley’s presentations started with a Langston Hughes poem My People. The youtube video below will help you understand why Ashley shared this poem and you’ll hear him reciting.

My People

The night is beautiful,
So the faces of my people.

The stars are beautiful,
So the eyes of my people.

Beautiful, also, is the sun.
Beautiful, also, are the souls of my people.

In 2013 the Ashley Bryan Center was created to  to “preserve, celebrate and share broadly artist Ashley Bryan’s work and his joy of discovery, invention, learning and community. The Ashley Bryan Center will promote opportunities for people to come together in the creation and appreciation of visual art, literature, music, and the oral and written traditions of poetry. The Center is fiercely committed to fostering cultural understanding and personal pride through scholarship, exhibitions and opportunities in the Arts.” The center has been doing impactful work since its inception. One component is the distribution of Ashley’s book Beautiful Blackbird. Each year copies are given to schools, libraries, and organizations serving underserved children. To date, over 20,000 books have been distributed in Maine, New York City, Atlanta, and Philadelphia.

I was fortunate in August of 2018 to travel with Central Elementary music teacher Kate Smith to Islesford to meet and visit with Ashley in his home. We were touched by his energy, joy and childlike view of the world. What a gift! We visited the Storytelling Pavilion where we viewed his amazing puppets and stained glass windows. Yesterday I shared the sad news of Ashley’s passing with friend and colleague, Catherine Ring. We agreed that there are some people that should live forever, they enrich every life they touch and make the world a better place. Ashley was one of those people, and fortunately as he reminds us in the video (linked above), that what we create will last. The art he created during his 98 years on this earth will last and there’s no doubt in my mind that it will continue to impact people of all ages in a positive and thoughtful way. At some level his message lives on in each of us touched by Ashley and his work (and play) so he’s not really gone.

If you ‘d like to learn more about Ashley visit the Ashley Bryan Center website. To contribute and to learn what a donation could support visit the donate page on the center’s website.

Earlier blog posts on “Argy’s Point of View” blog are linked below. They are filled with photos, ideas, resources, links, and so much more. One of my favorites is the story of a former student, Aaron Robinson, who collaborated with Ashley to write an African-American requiem for chamber orchestra, choir and spoken voice called A Tender Bridge.

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Watershed Center for Ceramic Arts

January 27, 2022

What a gift the glacier left

The word watershed (noun) means a time when an important change takes place. Over the years Watershed Center for Ceramic Arts, located in Newcastle, Maine has shifted and grown as changes were needed and I’d say most, if not all, were important to the organization. At its inception the focus was on bringing artists together to learn and create. And, for many years Watershed has offered professional development for educators, many of them Maine K-12 visual art teachers.

Watershed Center for Ceramic Arts story started thousands of years ago. There is an abundance of glacial marine clay from the mountains to the sea because at one point Maine was covered by a giant glacier. Watershed is located in Newcastle, a place that has an abundance of clay with a blue-green tinge. Clay can be found throughout our state along banks of rivers and streams and also in fields. Sometimes it takes time to locate; it can be very pure or filled with other components that need to be picked and sifted out. Fortunately, one of the resources that Watershed provides for teachers is a video depicting the exploration to find clay.

This blog post tells the story of Watershed with several topics; history, philosophy, educational opportunities, audience, pandemic – ups and downs, changes underway, and supporting Watershed. Some of the blog content is taken directly from Watershed’s website; some is provided by the founders, teachers who have taken workshops, artist working at the center, and some from staff. A great big thanks to Claire Brassil, Watershed’s Outreach & Communications Director for her assistance with this post.

Original studio space

HISTORY

The history of Watershed begins with the geological gift of clay found along the banks of local rivers in midcoast Maine. For much of the 19th century, the local community relied on vital income from the manufacturing of waterstruck brick (so called because it was made from a wet mixture of clay and water). Waterstruck brick had lasting historical appeal, and in the 1970s an attempt was made to re-establish its manufacture on the site that is now the Watershed campus in Newcastle. While the brick business folded after a year, a group of artists became inspired to make use of the abandoned factory and the tons of local marine clay left at the site.

In 1986, Margaret Griggs, George Mason, Lynn Duryea and Chris Gustin collaborated on a new vision for the brick-making factory—as a place for clay artists to live and work in community. The open layout of the facility encouraged the artists to approach their work with a new vigor and awareness, and the seeds for what would become Watershed Center for the Ceramic Arts took hold.

Founders George Mason, Lynn Duryea and Chris Gustin

During Watershed’s early years, small groups of 10-12 artists would spend the summer living and working together on the campus. The first residents formed connections and friendships in a space that provided opportunities to create without hierarchy. Artists developed their personal work and envisioned new possibilities for a creative community. Watershed soon began to attract artists from far corners of the world who sought a creative environment in which to engage and explore. Today, more than 100 artists a year come to Watershed to create and connect with like-minded makers.

I’ve been fortunate to know Ceramic Artist George Mason for many years. In 1987 he created a Percent for Art Project at the new school building where I was teaching in Union. He is an amazing, thoughtful and kind artist. When I asked George what his vision was when he first came together with his colleagues, this was his response:

You know, this all started among friends inviting friends. We sensed a creative opportunity to find out what might unfold by just living and working together with no aesthetic agenda or expectation of result. Even before the name Watershed Center for the Ceramic Arts came into being after the first season, this place was already a refuge apart from career; where the magic of relationship and creativity had the space to spark the unexpected.

PHILOSOPHY

Central to Watershed’s philosophy is a belief that the unexpected sparks creativity and that new people, ideas and spaces nurture the evolution of artistic practice. Our dual mission is to provide artists with time and space to explore ideas with clay; and to promote public awareness of the ceramic arts. Through residencies, workshops, public events, talks and exhibitions, Watershed supports the process and work of clay artists from around the country and world.

This video on youtube is very informative.

EDUCATIONAL OPPORTUNITIES, YES FOR TEACHERS

Watershed offers educational programs and resources for grades K-12 art teachers and students of all ages. From workshops and classroom-based experiences, to professional development and online tutorials, Watershed works to support ceramic art educators and the next generation of ceramists.

Watershed provides professional development opportunities; workshops, residencies, and resources. Teachers hone their clay education skills, develop curricula, and connect with other educators from around the state. Watershed provides newly created online tutorials, Digging & Processing Wild Clay and Raku Firing, developed by Teaching Artist Malley Weber.

Teaching Artist Malley Weber who created educational videos for Watershed

Upcoming workshops
Mold Making & Slip-Casting, March 3 – 4, 2022
Sgraffito Technique, March 25, 2022

Long time Teaching Artist and Maine Arts Leadership Initiative Leader, phase 6, Tim Christensen is teaching the Sgraffito Technique workshop. Tim’s thoughts on Watershed:

“Watershed has been so important to my development as an artist and teacher. We’re incredibly fortunate to have this facility here, in Maine. It serves as a gathering and sharing place for all of the acquired knowledge of the American, and to some extent the international, ceramic scene, at the same time as providing world class studio facilities and learning opportunities. If we think of art as a language, and the different techniques and styles available to us as our vocabulary,  working through Watershed allows me to say an entire range of things that I would be otherwise unable to express through my artwork. Having Watershed available to me in Maine means I have the opportunity to say anything I can conceive with clay.”

Winthrop Middle School Art Teacher Lisa Gilman commented after the workshop she attended:

“Watershed nourishes the whole artist. They provide space and time for an artist to grow. They support the artist’s mind, body and soul. Watershed is a rare gem in today’s world. Not once all week did I miss technology or really even think of it. I was able to truly connect and grow as an artist and engage in deep thoughtful art making. Pure magic!” 

Vinalhaven’s K-12 art teacher, Heather White, comment:

“I’ve participated in countless professional development opportunities over the years, and my time spent at Watershed ranks at the very top of the list. The instructor and everyone on the Watershed staff was knowledgeable and encouraging, I got a lot accomplished in a short time, I’m going back to my classroom with new and fresh ideas, everyone I met was fun and friendly, and the food was amazing! Hopefully every art teacher in the state has an opportunity to go at some point!”

Teaching Artist Malley Weber demonstrates to a session with art teachers

AUDIENCE

Watershed’s audience is wide and varied. From artists who have different focus to teachers looking for learning opportunities to communities members who appreciate and wish immerse themselves and support ceramic programming. Some of listed below.

  • Artists who can work independently in a clay studio and come from Maine, around the country, or abroad take part in our residency program. We aim to foster community and connection among practicing artists at all stages of their careers, from students and recent graduates to established professionals looking for an opportunity to connect with other ceramists. Scholarships are available for all populations. For example in 2017 The Zenobia Fund was established for BIPOC artists, Black, Indigenous, and People of Color (BIPOC)
  • Artists with some experience in clay who are looking to further their skills and knowledge. Guest artist and kiln firing workshops are available.  
  • Maine K-12 educators and students. The teacher education program prioritizes skill-building and technique-sharing in clay for Maine’s art educators. Teachers know their students best and can tailor what they learn at Watershed to suit their particular needs and interests. The teacher sessions also provide an opportunity for art educators who usually work solo to connect and collaborate. 

Watershed offers some programs for student groups as well. Art classes come to campus to learn about Raku firing. 

  • Ceramic art lovers & appreciators. While the bulk of our programs prioritize hands-on learning for artists, Watershed offers opportunities for the public to learn more about and appreciate ceramic work via exhibitions, artist talks, special events, and Salad Days, our annual fundraiser and celebration of ceramic work. 

PANDEMIC – UPS and DOWNS

In person Watershed programming was on hold during the summer of 2020 due to the pandemic. However, the timeline for the building of the new studio (see more under ‘changes underway’ below) was pushed forward and completed more quickly since the campus was quiet.

New ways for artists to create and connect became a priority and the following are some of the programs developed:

  • Online gatherings for artists around topics that mattered to them. For example a partnership was formed with The Color Network and Ayumi Hori to facilitate online conversations for artists who focused on racial equity, economic parity, and creativity during Covid-19.
  • Kiln firing opportunities for Maine artists during the summer were available since because they’re usually in constant use by artists-in-residence.
  • An outdoor sculpture exhibition called “Outstanding in the Field” (details under “past exhibitions”) supported clay artists and offered the public an opportunity to safely view work outdoors.  
  • A series of video tutorials for K-12 teachers and students (and others), created by teaching artist Malley Weber, on digging wild clay, processing wild clay, and raku firing.

CHANGES UNDERWAY and NEXT STEPS

During the last 20 years or so Watershed has been able to maintain and upgrade some of the facilities on the property. They built and fully insulated artist cabins, built a kiln shed, and updated Thompson Hall to name a few changes.

Phase 1, 2015-17: Included project planning, a feasibility student and conceptual facility designs. From this first phase action has taken place and so many wonderful and much needed changes have occurred.

Phase 2, 2018-19: A beautiful historic building, the Joan Pearson Watkins House is located about a quarter mile down the road from the main campus. Watershed purchased the house and the accompanying 20 acres, which abut the land that leads to the studio. It was renovated and restored and holds Watershed’s Barkan Gallery, which offers year-round exhibition, lecture, and event space. Watershed’s administrative offices and retail shop are also located in the house.

Phase 3, 2020: Studio Annex provides climatized, flexible space for adjunct programming and material and equipment storage.

Phase 4, 2021-21: Windgate Studio is a 7,500 square foot studio, weatherized and ADA-compliant, supporting an expanded residency and workshop season. Features include a state-of-the-art filtration and ventilation system, spacious glaze area, custom spray booth, plaster room, and a single-level floor plan offering a seamless transition between studio and kilns. 

  • Supports artists working on commissions or large scale projects.
  • Brings (inter)nationally-known guest artists to lead workshops.
  • Provides opportunities for student groups to make and fire work.
  • Enables Watershed to collaborate with partner organizations.
  • Offers space for artists to create and connect throughout the year.
  • Tap into limitless potential!
Recently opened Windgate Studio

Phase 5: Campus Commons design and construction2022-2023. The Commons will replace the existing Thompson Hall. The plan includes comfortable dining facilities, a commercial kitchen, and weatherized housing for staff.

SUPPORTING WATERSHED

After reading about Watershed you might be wondering how they’ve been able to accomplish so much. Like anything successful they’ve had a vision, commitment from amazing staff and supportive board of directors and advisors. And, they’ve had donors (small and large contributions) who have contributed generously to the mission and success of Watershed. Their Capital Campaign called ‘Watershed NOW’ is creating spaces that inspire bold artistic practice and community. LEARN MORE.

There are opportunities to support Watershed with donations to the scholarship fund, the capital campaign, and the annual fund. Occasionally, Watershed seeks volunteers for specific events and projects. 

Watershed is well-known in the national ceramics community but has perhaps less name recognition in Maine. As capacity for year-round programming grows, Watershed plans to offer more ways for Mainers to connect. 

Co-founder Lynn Duryea shared her remembrance and thoughts on Watershed:

It really was Peg’s vision that got Watershed going. She was a long-time seasonal resident of the area and an investor in the brick factory. When it ceased to be financially viable, she really wanted to see artists use the space, did a lot of outreach and research to see how that might happen, contacting clay programs as well as individual artists. She knew George and ultimately convinced him to try the pilot program in 1986.
George invited artists he knew and who had been recommended to him. He invited me because I was working on large-scale planters for a Percent for Art installation that couldn’t be executed in my Congress St. Portland studio. He knew Chris and invited him to come with his students at Swain School of Design early in the fall. 
I was still working at Watershed when Chris came with his students. It was conversations that came out of that week that moved us forward. I don’t recall that we were looking too far down the road – as it were. I don’t know that we were thinking we were laying the groundwork for what would become a major institution in our field. We definitely saw the potential of a group of people coming together to work in what was then a very raw space, just to see what might happen collectively and individually. Watershed has always been about community – people working together on an equal footing regardless of their reputation, status, age, etc.
Watershed in its early years was about as grass roots as you could get: a group of artists and a small board of directors figuring it all out.
And it has worked. The growth has been organic, uneven and amazing, particularly amazing in the last decade. Fran (Rudoff, executive director) has worked wonders – along with a very dedicated staff and board. In no way did we envision the specifics of Watershed’s programming today in the fall of 1986, but we knew something significant could happen. And it has, by putting one collective foot in front of the other for all these years, never giving up on the ideas and potential.”

NEXT STEPS

Hopefully you’ve read to the end of this long blog post. And either learned about a new place in Maine or reminisced about your own experience(s) at Watershed. It’s a beautiful gem where thousands have traveled to, learned, and left with a full heart. When I think about the co-founders (in their 30’s at the time) who were brave enough to take a chance, I am reminded of Vincent van Gogh’s words: “What would life be if we had no courage to attempt anything…”

I am grateful for the help Watershed’s Outreach & Communication Director, Claire Brassil provided in putting together this blog post. As for the future of Watershed, Claire’s thoughts below:

In the spring, we celebrated the building’s completion and collectively reoriented after such a rapid metamorphosis. The studio can contain any program we dream up. But … how will Watershed’s limitless future take shape? As an organization known for its scrappy rough edges, what will it mean to nurture the best parts of our original identity while making the most of our shiny new vessel? These coming-of-age throes find us wrestling with invigorating yet challenging questions of who we’ve been and who we want to become.

The shape and scope of Watershed’s next chapter will begin to emerge over the coming year. I feel confident that my colleagues, the board, and our greater community share a collective passion for refining and growing this unique place. Watershed is a quantifiable physical space: 54 acres, 7,500 square feet of studio space, 31 dining room chairs, 15 bedrooms, 11 kilns, and one gallery. But in an equally real sense, we are an experience, an idea, and a respite during an era when few places affirm that creative practice and artists matter.”  

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Reflecting and Listening

January 15, 2022

Taking time to process and remember over time

A lot has been said about education and educators since the pandemic started in March of 2020. During the earlier months educators were the heroes. People began to realize the value of teachers. I read on a facebook post by a teacher this week that she wished to return to the early days of the pandemic when teachers were appreciated. When parents, especially parents, realized how challenging teaching is and how critical the teacher was to their child. We all know that doesn’t just refer to the ‘teaching’ part of a teachers day but the support teachers give to social and emotional learning, and so many other pieces that teachers teach individual students.

This morning I listened to a 6th grade student from Georgia on public radio say that her mother gave her a journal recently to document her stories of the pandemic. She only wished she had started writing at the beginning of the pandemic because she’s forgetting how she felt and what happened during those earlier days.

As we know time seems to race faster as the years go by. I’m sure some of you can relate to the 6th grader. Those of you that wear both hats – juggling teaching and parenting, in many cases, handled even more than usual.

What did you try during the early days of remoteness that you felt was a disaster and what actually turned into a success? In the spring of 2020 I remember gathering on zoom each morning with my middle schoolers for ‘breakfast club’. Students had a chance to connect with each other and their teachers. They ate, laughed, and connected in ways unmeasurable. It was optional but almost every student was there almost every day. It helped them to remember the importance of connecting and communicating in a ‘non-learning’ way. Let’s face it, we know how important it is for many to connect, not because we have to but because we want to.

Here are a few questions to help you sort your role as teachers during the pandemic. Answer the questions by writing or an art creation (movement, acting, musically, visual art, poetry):

  • What have you learned earlier in the pandemic that you continue to apply?
  • As things got turned on their head, what did you try that you found was successful or a complete failure?
  • What were the points in time that caused you to pivot?
  • Name what you felt when teachers were being referred to on a daily basis as ‘heroes’?
  • Make a list of what you want to remember from the pandemic as a teacher; the positives, and the challenges?
  • Select a quote that you can identify with in your role as a teacher. Make it large and post it (at home or at school) and use it as motivation and a remembrance that what you’re doing is amazing, every day!

Compile a list of quotes from the amazing work teachers are doing that are helpful in keeping your spirits up and remembering: whatever you’re doing is enough!! I can’t say that enough.

bell hooks, September 25, 1952 – December 15, 2021

As we start another calendar year and head towards two full years of living in a world-wide pandemic here are thoughts and what’s been learned from teacher leaders; on teaching, adapting, pivoting, and noticing students to help them do their best at learning.

A HUGE THANK YOU to Rob Westerberg, Anthony Lufkin, and Iva Damon for going above and beyond and sending their thoughts. Valuable information from Maine Arts Educators. You’re invited to share your thoughts. Please post at the bottom or email them to me at meartsed@gmail.com and I will update this post.

What are your ah-ha moments in teaching this year? What’s most important to you?

  • Two things have helped me pretty profoundly. The first is staying hyper organized. I tend to lean that way ordinarily, but by always staying a step or two ahead of everything that needs to be done, it has helped to relieve a LOT of stress and peripheral distractions from my school day and my interactions with classes/students. The other thing is treating each individual school day as its own mountain climb… I climb a different mountain every day. Consequently at the end of the day I feel a genuine sense of accomplishment. Some climbs are easy, others hard. But either way I leave school feeling very proud and, honestly, very happy. It has helped me keep my focus off of what I cannot control, and instead on the most important things in my professional life: the students. In some ways I already feel like 2021-2022 is the best professional self I have ever been. ~Rob
  • Students are so excited to be back in the classroom. It is why I love teaching. The privilege to provide the space to have students learn and explore what they are capable of doing is why I love going in every day. It’s also so important to remember to remember what is within one’s control and what isn’t. A new technique I learned was to think of oneself as a river, it’s okay to have things flow in, but allow them to continue to flow on and not hold onto what isn’t healthy or supportive to you.~Iva

Do you have any techniques/daily rituals/helpful hints for others that help you and your students focus?

  • Every start of every class, every day: I prompt the students to show me fingers, 5 means “I’m doing amazing”, 1 means “I shoulda stayed in bed…”. I look them over and it’s a conversation starter for me, reacting to what they are showing. If someone’s a 1 or a 2 I may ask, “School or stuff or both?” I certainly don’t need to know more than that, but even that response can lead to other discussions as a class (strategies for dealing with stress, compartmentalizing home stuff and school stuff, being a teenager in the 21st Century or even specific things). It also allows me to provide empathetic stories in my own experience if the situation fits. After we’ve done that, I have the class itinerary on the board, talk them through it, and off we go. The students have expressed directly to me how much they deeply appreciate this. They know it’s not just a quick tack on, that I truly care. EVERY teacher truly cares, but we don’t always have a platform to empathize in real time with our kids. This allows me to do so. It’s amazing how much this one piece – even over just a few minutes – centers and focuses my kids as we prepare to work together. For some the effect lasts the rest of their school day. It’s made a difference for me too. ~Rob
  • I have been using walks as a transition to class. We have been starting each class by doing a loop around the building outside. It has been a great opportunity to informally check-in with students, how their day is going, and makes for a more seamless transition for class to begin when we return inside. ~Iva
  • The structure of my art classes has changed a lot for me over time, significantly with the adaptations need to cope with the pandemic, but also as I develop a better understanding of learning processes, and gain more experience teaching art.  Creating a studio mindset is something that I have worked to achieve, while still maintaining the structural instructional practices needed to develop new skills and understanding.

Working at the elementary level, time is always an issue with one of the biggest inhibitors I have found being the way schedules are set up. Because of the limited time available, I have really had to focus on what is important, and what can be discarded. There are a few strategies that I have implemented that while I had concerns about them taking away from instructional or production time at first, I have found to be invaluable.  

One process that a colleague shared with me is something called a “silent doodle”. This is a little piece of paper on the student’s desk when them come it that they “warm up” with when they first some into class.  The primary reason for implementing this was to help them settle in after a transition, and give me time to get things ready (especially when I did have not time between classes). What I have found though, is that this becomes an amazing creative outlet, and a form of reflection where they often draw images using the skills we have worked on in class. We only spend 2-3 minutes on this, and so while it takes that time, when they are done, they are ready for instruction and creation.  

Another process I have implemented in many classes that I got from some of the collaborative projects I have done with the Farnsworth Art Museum Educational Program, is a quick noticing activity using visual thinking skills. We do what we call an I see…I think… I wonder critique of an artwork. A few times a week at the beginning of class I portray an artwork, sometimes relevant to our project but often not, that we spend a few minutes looking at. I have students raise their hands to tell me what they see in the picture, things like colors, shapes, objects, etc. I then ask for what they think the art work is supposed to show or mean, or why it was created based on those observations. Finally, I ask what else they wonder about the artwork based on what they have seen and what they think. I usually fill them in with a little information about the art and artist, but it is brief, intended to help them realize that there are not always answers to some of those questions. This again takes a few minutes, usually 5 minutes or so, but has created the framework for looking more critically at art, and developing ways to talk about one another’s work using effective constructive criticism. 

The speed of which  I go through instructions, and the modeling of techniques are also significant components to giving students adequate time to work on their projects. Having lots of examples including student examples in progress and completed are also key contributors to helping students understand the steps and processes we are working on. One of the areas I struggle with is giving students the opportunity to “complete” projects. I have the mind set of ‘process over product’, focusing on giving them as many opportunities to try new techniques and mediums as possible. I understand that this can be very frustrating for students who are more methodical in their approach so that balance between finishing and moving on is one I am constantly adjusting.  

While there are many other small factors in my teaching approach that contribute to my teaching “style”, one of the other structural features I have been trying to incorporate more is the use of choice for students. While some of them are adaptive choices, many of them are simply an alternative. For example, I have had a 3D printer donated to our program by the Perloff Family, and have been using some cad programming in my projects. Giving students the option of using 3D printing versus clay, allows those with tactile discomfort, the opportunity to express their ideas in a different form. I still make sure they experience the nature of clay in other projects, but by having some choice, even with miniscule differences, has made a big difference in student motivation. ~Anthony

Now that we’re in the second year of the pandemic; please share what you’ve noticed about students and how they’re adapting to the challenges?

  • My students have never been more grateful for the things we often took for granted pre-pandemic. There is an excitement around rehearsals and classes that is almost tangible, because the kids really missed it. They are struggling too… back in school full time, singing with masks on, social/emotional issues that continue from this past year, but their gratitude seems more overt and embedded in what they do in my classes. I think that gratitude has helped them to move forward even as it remains a challenge. ~Rob
  • They need space to talk through their concerns, hopes, and have adult models to help them establish healthy tools to cope with their new world they are a part of. Students are the most resilient and have been able to bounce with the extreme changes that keep coming their way, but time to stop and reflect is so very important. ~Iva

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Glassblowing in Belfast

December 1, 2021

Blowing glass is magic – ask anyone that’s done it!

Waterfall Arts in Belfast realized that they had a unique opportunity offered to them during the pandemic. But they faced many challenges just trying to get the idea off the ground. With a positive attitude and a new partnership their journey is already making a huge impact. This is the story of how that came about and a reminder of the importance of commitment, collaboration, and believing in an idea! Without these in place the dream would not reach fruition. And, it’s only at the beginning! I recognize and celebrate Waterfall Arts and their new partnership and what they’re providing for learners of all ages, especially local high school students.

PLEASE NOTE: At the end of this post I invite you to leave a comment and/or to use the questions for a local conversation.

BACKGROUND

Veteran glass blower David Jacobson realized his well established glass blowing business, Jacobson Glass Studio in Montville, was at a crossroads when the pandemic hit. In September 2020 David approached Waterfall Arts and spoke to Executive Director Kim Fleming about donating his glass studio equipment to Waterfall. Realizing what an opportunity this was Kim enthusiastically consulted with the Waterfall board. They agreed and collaborated with David and his glass blowing colleague Carmi Katsir to transform the Waterfall Arts basement into a glass studio.

David and Carmi demonstrating

THE STORY

When I listened to their story I was amazed how quickly things happened. David first communicated with Kim in the middle of September 2020 and during the first week in October the equipment was moved into the building. In the spirit of true artists they climbed over the logs in their pathway to problem solve, research, ask questions and learn, and find ways to attack the challenges. Combined with hours and hours of work, physical and mental, and financial support from funders and the greater community they opened the studio with a variety of purposes in mind.

Before they could open the studio there were many details to figure out besides just putting equipment in place. Investing money in this project was an enormous commitment. Kim secured funding from individuals and foundations including $10,000 to be used for disadvantaged students. The budget to run the program for two semesters is $25,000. One of the bigger hurdles was how to fuel the furnace that holds 100 pounds of clear, liquid glass and is kept at about 2,100 degrees. Plus the two forges that are used to heat up the glass as a piece is being formed and is kept at 2,300 degrees. Waterfall’s philosophy includes a commitment to be as green and as carbon-neutral as possible. So using natural gas or propane was not feasible. They researched to learn how they could build the system using discarded vegetable oil that is donated by a local donut shop. There are no models in Maine so it meant communicating with people outside of the state. They also learned that along with being the only community based glass studio in Maine they are only one of a handful of programs in the entire country that offer glass classes through the public school for students.

Miles opening the glass

WATERFALL ARTS STUDIOS

Waterfall Arts ceramics, printmaking, and photography studios are well established at the non-profit organization. Adding a glass studio was an easy decision but with filled with unknowns. Kim was able to acquire funding to purchase what they needed and build on the equipment and tools that David was providing to make a studio large enough for several people. David really wants to share his love for glass blowing with as many people as possible. So there are classes available to anyone from almost any age, no matter what their financial situation. David’s passion coupled with Waterfall’s goal of reaching others, who have not had this type of opportunity in the past, is a perfect marriage. It wasn’t long after the studio was set up that they began offering classes to individuals and groups. During the summer many people took advantage of the studio.

MAINE ART EDUCATION ASSOCIATION FALL CONFERENCE

I had the privilege in September to participate in the Maine Art Education Association (MAEA) conference. Hats off to this year’s conference planners Brooke Holland and Anthony Lufkin who shifted from the traditional conference at Haystack Mountain School of Crafts, due to the pandemic, and planned sessions in 12 studios across the state. I was in the glass studio at Waterfall Arts and it was a spectacular and fun experience. I was so impressed with the teaching of David and Carmi. I had only one previous glass blowing experience and this was quite different and extensive compared to that one. Our abilities varied greatly and yet the participants easily collaborated and supported each other making four pieces during the 2-day workshop.

Collaborating to open the top of the glass to form the shape

WATERFALL ARTS’ STORY, PURPOSE AND MISSION

To create community in harmony with nature through the transformative power of the arts. When the founding group of Waterfall Arts formed the idea in 2000 their shared goals for the future: to create aesthetic experiences that enhance and inspire people’s creative abilities and transform their lives. An equally important goal was to reach people who had not had such opportunities before.

Along with the studios used for classes and by individuals Waterfall has 16 private studios which are fully occupied at this time. During the pandemic it was difficult for some of the artists to pay rent. Waterfall was able to support these artists by waiving 2 months of rent. An amazing gesture to support individuals who needed it most.

In addition, Waterfall Arts has a variety of ongoing programs and events that are available year round. I suggest you spend some time on their WEBSITE.

Gathering glass

BELFAST AREA HIGH SCHOOL CLASS

In January 2021 the principal, Jeff Lovejoy, contacted Kim to learn what might be available for Belfast Area High School students to take for a semester long elective class. The high school building is a stone’s throw, across the road from Waterfall, so the outreach from school is a no-brainer. Mr. Lovejoy visited Waterfall for a walk through and discuss possibilities. He got excited about the glass lab. Kim put together a budget proposal to run a semester long class, twice a year. Kim scurried to secure funding in time to promote the class for the fall semester.

Jonah rolling the glass on the marver

PROCESS

There are not a lot of tools needed for the process of glass blowing. Steel rods are kept warm and dipped into the molten glass which sticks to the metal when ‘gathered’. The ‘gather’ is rolled on a thick steel table called a ‘marver’. Color can be added by rolling the clear glass in pieces of colored glass on the marver and put into the forge to keep it hot enough to manipulate. The entire time the rod is being rotated. The next step includes sitting at a wooden bench where the liquid can be shaped sometimes with a wooden paddle, a wooden cup with a handle, shears and/or tweezers. Several times in between forming the piece it is put back into the forge to maintain the heat. When completed it is taken off the rod with a bit of water to break the seal and a tap on the rod. The entire process is magical to do and to watch.  

CLASS BENEFICIARIES

I had the chance to visit the high school class, watch David and Carmi teach, and have conversations with some of the six students enrolled for the weekly semester class. In a word the entire experience for me was IMPRESSIVE. I’m sure some of my response is based on my 2-day class in September. Part of it is based on the ease with which the seniors handled the glass and navigated the tools and space. And, a lot of it comes from the teaching and collaborative spirit of the classroom/studio culture. We know that a teacher sets the tone and David and Carmi are TOP NOTCH! The students were serious about their work while having fun. I could see their confidence growing as they went through the process. Mr. Lovejoy said: “I am thrilled that Waterfall Arts, Carmi and David have been so accommodating to make this work for Belfast Area High School. I am excited to bring students from the Belfast Community Outreach Program in Education (BCOPE, the school districts community based alternative educational program) and underclassmen into the spring semester starting in February”.

Paddling the base to flatten it

STUDENTS COMMENTS

Ronin: “I was surprised on day 1 how we jumped right into the process even without any previous experience.”

Anna: “There is so much collaboration, that is a surprise. Each class has a different goal but we’re learning techniques that I didn’t realize I would use again and again. Like the ‘starter bulb’ we learned our first week while making pumpkins. I use it every class.”

Miles: “Everybody should do glassblowing – it’s awesome. It’s less scary than I thought it would be.” Miles is only applying at colleges that offer glassblowing.

The workspace with tools

DAVID AND CARMI

I’m impressed with the level of teaching. Many successful artists are not good at teaching. David and Carmi are successful at both. Watching them in action with the high schoolers is magic. They’ve been pleased and/or surprised about the following:

  • every week the students are enthusiastic about learning
  • student team work is amazing – they’re very generous and helpful to each other
  • very dedicated
  • we communicate with them like we would with adults
  • thought they would be more ‘product’ oriented, instead they are ‘process’ focused
  • 2 hours is not enough, extended class time to 3 hours for those who can stay longer and they all do
  • students are fearless

David and Carmi will make some changes for the next semester based on what they’re learning this first semester with and from the six seniors. Like any good teacher this information will help them build and expand on the program for the future. Between the dedicated staff and the establishment of this new program I’m certain we’re going to hear about this fantastic Waterfall program for many years. Kim is working to make Waterfall Arts everybody’s place, a destination. Not just through programs but also taking care of the maintenance on the building. The capital campaign has raised funding to replace the roof, re-surface the parking lot, and plans to replace 72 of the buildings windows. The glass studio expands Waterfall’s creative involvement. Kim said: “People want to be part of something successful. Our future is bright.”

Glass with a pinched handle

ARE YOU CURIOUS?

Perhaps you’re one of those people who would like to become part of something successful or you’re curious. If so, be sure and plan a trip to Waterfall Arts. If you’re interested in learning more about how you can get involved, take a class or perhaps give someone a unique gift of a 2-hour class for the holiday please go to Waterfall’s website at THIS LINK. If you’re interested in supporting the program please contact Kim Fleming at kim@waterfallarts.org.

FOLLOW-UP QUESTIONS for you to ponder, discuss with your own community, use as a starting place for a conversation to start doing work (or play) differently or by responding to the blog below in the section called ‘Leave a comment‘ or Like this post.

  • Why are the Belfast High School seniors so successful?
  • What makes this collaboration with Waterfall Arts, Belfast High School, and the glass studio so beneficial?
  • What are some ideas to make this into an interdisciplinary unit in the school curriculum with perhaps Art, Science, Writing?
  • Is there a potential partnership brewing in your community? What can you learn from the glass studio at Waterfall that might help in your partnership?
  • What are you already doing in your own work (or play) that mirror success?

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