Froggy Jumps
this is chapters 1-15
1
The simple answer is that there is no one lesson and no one approach to instruction in visual art that will satisfy all the curiosities, interests, and ________ in a classroom of learners.
2
Students need time to explore materials, techniques, and concepts in meaningful ways, and teacher need to connect the art curriculum to the ____ _____ ______ of children.
3
Teachers encourage children to build ____________ as artists by acknowledging artistic behaviors and providing circumstances for their continued development.
4
The teacher sets the stage for ____________ when she respects the child as the artist.
5
Name one of the core principles of TAB
6
Every decision made by TAB teachers comes from the three sentence curriculum, with the intent to help students reach _________________.
7
The curriculum is flexible.
8
Artistic behaviors cannot be taught.
9
Scribbling is not allowed in a TAB classroom environment.
10
Students that maintain control over their work are ________ and have incentives to take risks.
11
Teaching for artistic behavior takes planning and practice from the teacher.
12
The classroom is organized around _____ .
13
The book states that students need to know that their teachers _______ them to make good choices and will support them through _______ attempts
14
TAB curriculum is intentionally generalized to allow for significant choice while meeting _____________.
15
With TAB, DIRECT teaching will cease altogether.
16
The art studio is a safe place for children to ________, make mistakes, reevaluate and continue their work with no fear.
17
The _________ is responsible for the organization and arrangement of the studio.
18
Build trust by sitting down and talking with artist about their work to learn about their _________, families, and values that inform their perspectives.
19
TAB teachers typically create studio centers by ____________.
20
It can be intimidating to start planning a curriculum, but a ________ can make the process easier.
21
In chapter 3 the author states that one of her friends compared a choice-based classroom to what?
22
People are constantly _______, getting information from various sources, coming from a variety of places and heading in a great many directions.
23
Without effective classroom management and organization, _____ would reign.
24
Younger children respond well to these basic rules:
1. Take care of people.
2. Take care of "stuff".
3 ________ like artists.
25
Talking about art ideas with classmates is also an artistic behavior, along with making sketches first or not making sketches first.
26
In TAB studios, the responsibility shifts from the _________ to the __________.
27
Expectations and __________ are the backdrop for successful classroom management.
28
Expectations become a _______ between students and teachers.
29
Whatever your beginning routine is, keep it ___________.
30
The whole-group structure at the start of class should be _________.
31
___________ is a very effective teaching strategy.
32
Observing and learning from a classmate builds confidence for the struggling student but can hinder the other student.
33
Housekeeping should happen in less than ______________.
34
Who is responsible for maintaining the studios where they work and are organized for the next group
35
The author compares TAB teachers to ____________ because they must think about the space, traffic flow, proximity to resources, and arrangement of supplies and lighting.
36
In a TAB classroom, each student is confined to one seat.
37
Each center contains one or more ______ highlighting site-specific information.
38
When structuring for independent work, remember the both first-time and frequent users need ready ________ to resources at each studio center.
39
Students can work on the floor if they would like to in a TAB setting?
40
A room without a _________, would put strict limits of the number of painters at one time.
41
Teachers often justify directed projects because they say students have no ideas.
42
They might not really think that their ______ are as valid as those of adult artists.
43
What is the first step in supporting students' authentic ideas?
44
In a TAB classroom, practice and _______ are honored.
45
Demonstrations of warmup and practice strategies are helpful to students who fear making mistakes.
What is NOT an idea of demonstration warmups listed in the book?
46
Teachers can assume that all children are equally interested in curricular topics.
47
Teachers should designate valuable studio time to the whole-class interdisciplinary activities.
48
The author suggest that, "do you like it?" really means _______________.
49
Children who are unsure about the quality of their own work seek _________ from adults or peers to evaluate their work.
50
The author states that high quality work can only happen if students feel ______ to do their best.
51
Extrinsic motivators, such as assignments and grades, can cause a child to work, but they do not insure ____________.
52
Which is NOT an intrinsic motivators?
53
Which is NOT an extrinsic motivators?
54
________ motivation can drive a child toward creative problem solving.
55
_________ motivators may deter a child from reaching a goal.
56
Reward systems are time consuming and teach children to work for the prize and not for the satisfaction in their own ___________.
57
Stickers are a good idea to let students know the teacher is pleased.
58
According to Hetland, as artists, kids have to learn to chase the _________ of their work.
59
Assessment practices are not different in the TAB classroom.
60
The real issue for teachers is not assessment but the management of ________ in the busy art room.
62
Students' thinking and understanding becomes evident when teachers _______ closely to children talking about their work.
63
Teachers can listen to all students and have evidence to document.
64
Student documentation _______ make documentation easy and the process simple.
65
The TAB classroom is rarely __________.
66
The most common art assessment is a _________.
67
Whether you take notes in your grade book, on your laptop, or reflect in a journal, these forms of documentation provide valuable testimony to the power of _________ learning.
68
Interpretive TAB exhibits emphasize _______ & _______ equally with finished products, reflecting the philosophy of teaching for artistic behavior.
69
Students help ______ the exhibit, deciding on the arrangement of words by grade, subject, theme, or media.
70
Most art shows involve planning and preparation because the exhibit will solely reflect the art program.
71
Student input gives children __________ of the exhibit and responsibilities, and invites fresh, new, child-centered themes.
72
Artists __________ are a window into the child's thinking and provide context to encourage prolonged viewing.
73
Prizes and competitions are a good ways to get student involved in the art exhibit.
74
Assessments support both the student and the teacher's growth.
75
Giving choices do not motivate students.
76
Bonnie Muir says she tells the parents that she values ______ as well as product, and that children's art does not need to look like adult work.
77
Parents are our best advocates for TAB.
78
_______ can be realistic abstract, nonobjective, or recordings of mark making on all sorts of surfaces.
79
Which center is usually the first center to open in a TAB classroom?
80
Although the drawing studio is popular, the painting center will likely get more use throughout the year than any other studio.
81
Pen and ink, pastels, graphite, and charcoal add ___________ to students' graphic possibilities.
82
Responsive teachers observe what students need and ________ accordingly.
83
Students teach themselves to draw.
84
Comic books are a marvelous source in the drawing center.
85
Developing a _________ is one way to know your student is learning while working together with classmates on comics.
86
Spacial understanding is developmental.
87
The author suggests that TAB teachers take note of ________ is being drawn more than how it is being drawn at the beginning of the year.
88
There is one way to paint for adult artists and one way to introduce painting to students.
89
_________ are posted permanently in the painting center for those who find them helpful.
90
All materials are carefully arranged near the ______________ for easy reach.
91
Children are proud to take ____________ for the painting center and it is a great bonus for their teacher too.
92
The painting menu in Chapter 11 has 7 items for the painters. What item is not included but would be a good item to have.
93
This _________ stage of painting involves lots of color investigation, mixing nearly every color imaginable.
94
Through _____________ of the results, students learn by using the paint in a way that is effective to them
95
Once watercolor painting is going smoothly, it is time to set out ___________.
96
The teacher will mix the paints for the students, but the students will blend their own colors.
97
______________ discoveries with their classmates show color theory in action.
98
By experimenting and playing with paint, young artists learn how saturated colors can evolve into ________________.
99
What phrase does the author suggest writing on the white board to demonstrate that mistakes can be fixed?
100
When fearful, students become freer with the brush and more experimental.
101
By sharing the work of artists such as ________________, teachers show that there is much more to painting than literal narratives.
102
Painters should visit another center while their painting dries.
103
It is encouraged to use more that one medium to complete a piece.
104
What is a solution to making a mess when splatter painting?
105
Students agree to spend at least _____ classes on when using acrylic paints.
106
Collage is the ______ between 2D and 3D art making.
107
Your can sculpt in the collage center.
108
Often students who can't sit still or get frustrated easily with other art forms gain _______ at the sculpture center.
109
The collage center opens after the drawing center but before the painting center.
110
What is a basic tool for the collage center
111
The collage center can be difficult to maintain.
112
The collage and ________ centers are good neighbors.
113
The ________ center is a popular center because it hallmarks the TAB art program and invites children to design and build all sorts of objects.
114
You need a lot of available materials in the 3D design center.
115
________ is the strongest building material that even young children can easily cut to get the sizes they need for their artwork.
116
Without _______, many creative opportunities are discarded because of the limitations of glue.
117
When does the author suggest that the teacher introduce hot glue?
118
What are the basic studio centers in TAB?
119
__________ is the art of second chances.
120
__________ printmaking is done in stages.
121
Which type of printmaking do many art teacher avoid due to safety?
122
Nothing in the art room matches the magic of ________ with its tactical qualities and mysterious transformations.
123
Anything that can be drawn can be stitched.
124
_______ is a great start to sewing.
125
Those who have difficulties with drawing or other 2D work often excel with _______.
126
The ideas and materials in mini centers can be folded into _______ centers, if space is a problem
127
Centers can also be assembled in a box if space is an issue.
128
The resources for ephemeral centers require additional time for the teacher.
129
The resources for ephemeral centers require additional time for the teacher.
130
______ appeals to children who like precision in their artwork.
131
Many students get frustrated if their results do not match the predictable outcome when making origami.
132
When making masks the word _______ encourages artists to go the extra mile.
133
The author suggests, to avoid multiple, quickly constructed puppets, the teacher should recommend that the student take time to develop their puppet's _____________.
134
In the _________ center, students design buildings using various styles of blocks.
135
With blocks, students can improvise and try out their ideas while learning concepts about __________________________.
136
What is temporary in one classroom may be a basic studio center in another.
137
Examples of ephemeral studio centers include paper making, marbling, mosaics, soapstone carving, printmaking, semi ink painting, paper mache and sand casting.
138
Teaching for Artistic Behavior _________ children to examine their lives and beliefs to discover personal meaning through art making.
139
Children's _________ are amplified through their art and their expressions provide windows into the things that matter most to them.
140
TAB teachers believe in their students as artists, and ______ for their rights to a authentic child centered art program.
141
It takes a lot of _____________ to make a change in your art program.
142
TAB practice necessitate a willingness on the part of the student to take risk, make mistakes, and rethink the program as it evolves.
143
The practice of TAB originated in public schools over 3 decades ago.
144
For teachers, choice-based teaching and learning challenges longstanding concepts of educational roles and responsibilities that they may have held since they were children.
145
If we wish for our students to the work of artists, we must offer them the opportunity to behave as artists, ______ as artists, and perform as artists.
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