Because I have admired the Spanish philosopher and art critic Jose Ortega y Gasset (1883 – 1955) for many years, I have been reluctant to review any of his books. His writing style offers a peculiar angle of vision about culture, philosophy, and art. As a result for years I’ve been a consumer, always taking from his work and never giving anything back.

But now it’s time to give something back. So, here are some very personal likes and dislikes.

Ortega’s title of the book -The Dehumanization of Art- is now a constant in music, literature, aesthetics, and philosophy, having come to mean that in post-modern times human-shaped mimesis (representation of the human) is irrelevant to art.

According to Ortega, the arts don’t have to tell a human story; art should be concerned with its own forms-and not with the human form. The essay, divided into 13 subsections, was originally published in 1925; in these brief sections Ortega discussed the newness of nonrepresentational art and sought to make it more understandable to a public much benumbed with the traditional forms of art.

A search for the substance of traditional art

In the first section entitled, “Unpopularity of the New Art,” Ortega draws from his political credo which one can say it is elitist, aristocratic, and anti-popular. His analysis concludes with the belief that some people are better than others; that some are superior to others: “Behind all contemporary life lurks the provoking and profound injustice of the assumption that men are actually created equal.”

That unbending political point of view colors his aestheticism.

The masses, he holds, will never understand the “new art” that was emerging with Debussy and Stravinsky (music), Pirandello (theater), and Mallarme (poetry). A lack of understanding will mobilize the masses -a term that Ortega uses frequently to refer to the common people- to dislike and reject the new art. Therefore, the new art will be the art for the illustrious, the educated, and the few.

To bring that kind of divisive tool -the few versus the many, aristocrats versus democrats- into the arts seems not only narrow minded, but also disingenuous. Yet my main objection to Ortega’s analysis and conclusions is more fundamental. In my estimation, ‘understanding’ in the arts is of secondary importance. The arts are created by humans to reach out and touch other humans by means of appeals to their passions and emotions-through their senses.

When I was 14 years old, by accident, I heard a musical composition that was so different and strange to my young ears that prompted me to call the radio station to find out about that piece. It was Appalachian Spring, a ballet composition by Aaron Copland. What 14-year old boy from the Andes (Peru) can be familiar with ballet or Aaron Copland to even begin to understand the composition? Yet, I liked it. And that is all that mattered to me.

Understanding that piece of music, or even knowing the name of the composer, was as far away from my mind as was Einstein’s theory of relativity, since I had no idea who Einstein was either. Delight, enjoyment, and rapture one feels without expressed understanding.

By extolling the new forms and promoting the vanguard artists and their efforts to produce non-traditional art, Ortega’s book had a significant influence in the rejection of realism and romanticism. So seductive and convincing was Ortega’s prose that many artists and critics began to equate both realism and romanticism with vulgarity.

To allow a brilliant writer to exert so much authority should be a sin. For years Ortega’s authority has bothered me. Yet, despite that inner annoyance, my respect for the man’s writings inhibited me from protesting. So, by stripping Ortega’s dazzling prose of its seduction -by “bracketing” and performing a phenomenologist reduction- we can see it in its own nakedness for what it is: an elitist and harmful point of view.

People should never be made ashamed of their taste, likes, and dislikes in art. We should enjoy that touch of aesthetic delight whether it comes from primitive, Greek, Gothic, Romanesque, Baroque, realism, or romanticism, surrealism, or any period or movement.

Ortega advocates the ‘objective purity’ of observed reality

Following Plato’s division of reality into the forms (universals) and their simulacra, Ortega invents his own corresponding terms: ‘observed reality’ and ‘lived reality.’

The representation of real things (lived reality) – man, house, mountain- Ortega calls “aesthetic frauds.” Ortega totally dislikes objects be they man-made or natural: “A good deal of what I have called dehumanization and disgust for living forms is inspired by just such an aversion against the traditional interpretation of realities.”

In contrast, the representation of ideas (observed reality) is what he views as the true art. Therefore, he praises the new art as the destroyer of semblance, resemblance, likeness, or mimesis. In that destruction of the old human forms of art lies Ortega’s “dehumanization.”

Yet one must recall that more that more than 2500 years ago, the pre-Socratic philosopher Protagoras said, “Man is the measure of all things: of things which are, that they are, and of things which are not, that they are not.” Ortega’s will to “dehumanize” art will always run head on against Protagoras’ wall. Art by definition – anything that is man-made- is profoundly human and cannot be otherwise, Ortega notwithstanding.

Even in the stark canvases of painters such as Mark Rothko one feels the artist’s humanity in search of the human soul through color and luminosity. Even in the random drippings of Jackson Pollock’s works one can sense man’s struggle for freedom. And what is freedom but a human aspiration?

Conclusion

Whenever I look at the shapes of primitive African art, the Paleolithic images of animals in the caves of Lascaux, or even the colorful and balanced grids of Mondrian-I’m in awe of the human spirit. And at such times I feel that labels, signs, markings, and explanations and descriptions (theories) are totally unnecessary.

What we need are theories of art that can unite people rather than divide them. Ortega’s “dehumanization” is a toxic theory not because it advocates a detestable elitism, but because it attempts to deny the pleasures of art to the common people.

If you’re still searching for that one perfect piece of modern art for your home but can’t find it in stores or galleries, consider a more direct route: commission a work yourself.

Commissioning a new work from an artist can bring your home’s level of beauty, sophistication and style up to never before seen standards. It’s your own unique work to keep and show off at your discretion.

But how does one go about commissioning a piece? And how can you be sure it’ll come out the way you want?

It comes down to two things: artist selection and communication.

To find the right artist, you’ll have to know what you’re looking for in the work of art. It’s a narrowing down process, and it’s not really as daunting as it may seem.

If you’ve got something in mind, ask yourself — where have you seen their work? At a museum? On the walls at a coffee shop? If you’ve seen something you like, you can always ask the owner if they have the contact info of that artist, and if you can contact them for a commission of your own.

But don’t limit yourself to your own small corner of the world. Embrace the Internet! There are tons of platforms to find a style you like, and usually a way to contact the artist. Try DeviantArt, Carbonmade, or even Pinterest and Instagram. Use the search functions to find what you’re looking for and the artist who creates it.

When it comes to communication and direction, that’s all up to you. Think about yourself and how particular you’re going to be. Some people will accept anything the artist hands over, and some have distinct ideas about what’s good or not. You know yourself, but chances are the artist doesn’t. So it’s on you to communicate your vision clearly.

It’s never to soon to start forming your overall vision. Artists require communication, and if your vision is not concrete enough, the artist might fill in all the blanks for you. And while this might sound attractive, it can be a dangerous thing. Once an art project is complete, it’s not easy (or cheap) to redo any or all of it. If you don’t like the artist’s vision, then chances are it’s because it didn’t line up with YOUR vision, and that’s because you didn’t communicate your vision well enough to the artist.

To make sure you get what you want, you should narrow the communication options down to their specialty. What medium does this artist typically work in? Is that the medium you want for your piece? Be honest with yourself and your artist: are you attracted to their own style, or is it just that their style happens to most closely match the vision you have in your head?

It’s also important to find out how many commissions the artist has performed previously. If they’ve done a lot, they likely will have their own set of questions to ask you, the client. Please answer all the questions honestly and completely. The more you collaborate and communicate, the happier you’ll be with your finished piece.

Keep in mind: “surprise me” works out well less than most people think. You can surprise your guests when they see the piece at first, but you don’t want to be surprised by your commissioned artist.

Whatever your tastes are, the more selective you are in finding an artist and the more communicative you are to that artist, the better your fine art commission is bound to come out.

Why is Cardboard Used in Artwork?

In the world of hyperlinked visual media, high tech, and digitized technology a small number of artists have been observed to start having an interest in the old, off-line and not so precious metals and papers whether it is hand dirtying ceramics or the sudden interest in using cardboard.

Artists have started using cardboard to create aesthetic, conceptual, vibrant and quirky works of painting, sculpture and environmental intervention.

Reasons for the use of the stiff brown paper in the making of precious artworks are as diverse as the works themselves. Since it does not have a specific format that states that it should be used in a particular way, so the artists find versatile ways to express themselves.

The important element of cardboard is its contemporary hipness. Cardboard art ascends, although slowly, in the society due to its economic and environmental advantages.

One prominent characteristic of cardboard is it recyclability if it is not coated with wax or any chemical. This ability to recycle provides several opportunities to reuse the cardboard again and again.

It is used in different forms and states depending on the need of the designer. Most of the times old cardboard that is rumpled often found on streets, is preferred. While some are off the view to use any kind of it in their work.

Different Ways To Use Cardboard In Creative Ways

• Homemade baby and toddler toys

• Cardboard flowers

• Cardboard shapes collage

• Stationary holder

• DIY cardboard hexagon floating shelves

• Jewelry box

• Picture frames

• Makeup box

• Abstract designs

• Hanging art

• Journal from a cereal box

You can use your creativity and come up anything you like there is not a hard and fast rule to only make crafts that are mentioned above.

Working With Cardboard

Here are some ways that you can use to master your skills in cardboard craft

1. Cutting a Cardboard

The first and foremost thing that should be given the most of the attention is that you should know what type of tool to use in order to cut the cardboard in the best possible way.

People often go for using a pair of scissors, well that’s where it goes all wrong, using scissors is undoubtedly not the best way and you end up with a not so clean cutting. X-Acto knives are the best in this field and can be used to cut out detailed designs in a clean and proper way.

For thicker cardboards using a hacksaw is a good option as it works very effectively and is a fast way to cut. Laser cutters are used when complex designs are concerned because they have a satisfying result, but do not end up burning it in the process.

2. How to Get Rid of Frayed Edges

When you cut out cardboard you often have to deal with frayed edges, the rough edges that are caused because of the saw or scissors.

There is a simple and easy trick that can be used to handle these rough edges and that is using a sandpaper. Sandpaper can be used to smooth out the rough edges and you can accomplish in giving your craft a professional look.

3. Painting the Cardboard in the Right Way

The plain old brown looking corrugated paper is not very attractive; paint it to showcase your creative, aesthetical and artistic skills. But people often find it difficult to paint and end up with not so attractive smudgy paint splotches. But there are ways to get rid of this problem.

The best way is to paint it with a base color and then paint it because by doing so the colors will pop up and give neat look. Using white or beige as a base color is a good option making the paint look vibrant and outstanding. Then comes another problem i.e. should one use a matte color or a glossy one.

Well, that is not of a very big trouble you can go with any texture you like but if you want to be on the safe side then mix both matte and gloss and use it. It will give a subtle look to the project. Do not use the same brush for different purposes; do not do the mistake of painting the small designs with a wide brush, the one that is used for the basic painting.

4. How to use a Glue

Glue often comes in different textures with different purposes we have hot glue, glue stick and Elmer’s glue in the market.

It is a common notion among people that almost any glue can be used for sticking things together, but people also always end up destroying their craft because of their blind faith in that notion.

Hot glue can be used almost everywhere with effective results. It best works when two corrugated papers are to be joined. A good joint can also be achieved with the help of hot glue.

Whereas on the other hand when small joints are concerned Elmer’s glue is a good option. As far as sticking glaze paper, cray paper and foil are concerned using a glue stick can be useful. But do not use it for sticking two thick cardboards because then you will end up with a craft that has all its parts scattered all around and you surely would not want that to happen.

Art is an area of study that is very broad. Generally, art is defined as a means of self-expression. There is not just one definition widely accepted for Art. Art lends itself to several definitions. Some of these definitions are:

• It is a means of expressing one’s ideas through painting, drawing, sculpting etc.

• It is any activity in which a person gives order and form to organized ideas to bring out a new creation.

• It is a way of life and forms an integral part of life.

• It is the production of items with visual tools such as lines, colour, textures, etc. guided by design principles to satisfy both the aesthetic and functional needs of the individual and the society.

• It refers to the products of human creativity.

•It is a means of self-expression.

Art is broadly divided into two. These are I) Liberal Arts and ii) Creative Arts

i) Liberal Arts refer to the studies intended to provide general knowledge and intellectual skills such as law, literature, government, etc. It is usually referred to as humanities since it is a humanistic discipline that addresses concerns of social living.

ii) Creative Arts refer to the arts that employ creative abilities in the production of artefacts that are useful in carrying out our day to day activities. Unlike the liberal arts, creative arts offer self-occupational or practical skills which are manual in nature to its learners. It is the focus as far as the study of Visual art is concerned.

It should be noted that when the term ‘art’ is mentioned in the realms of visual art education, we are in effect talking about the creative arts. It is divided into two main branches namely a) Visual arts and b) Performing Arts.

Visual Arts

This refers to all creative or artistic products that are perceived with the sense of sight (optical sense-eye), sense of touch (skin) and can arouse emotions. Therefore, any creative product you can see, touch and can arouse in you an emotional feeling can be said to be a visual art form. Let’s take a drawing done on a sheet of paper as an example. Since one can see the drawing with the eye and can touch it while this same drawing also arouses an emotional feeling in the person seeing it, we can say with conviction that drawing is a visual art form.

Visual arts is sometimes referred to as Plastic or solid arts because of their tangible nature. It is divided into two groups. These are Fine arts and Industrial arts.

• Fine Arts are produced to serve as a form of decoration in the interiors and exteriors of homes, offices etc. They are purposely produced to satisfy the aesthetic drive of the viewer. Owing to this, the aesthetic qualities of the works in this area is stressed or given much emphasis in their creation. Though these arts may play other roles, it should be noted that their main function is for decoration. Examples include Painting, Graphic design, Picture making and Sculpture.

• Industrial arts also known as applied arts are those that focus more on the functions or uses of the artistic product, not its aesthetic value. They are created to satisfy the utilitarian needs of the individual while carrying out duties in our everyday life. They are purely usable art forms. Examples include Textiles, Leatherwork, Ceramics, Pottery, and Jewellery.

Performing Arts

These are perceived by the sense of sight and sense of movement (kinesthetic sense). They are performed or played. They are seen in a stream of time. Examples include music, dance and drama. An aspect of performing arts is Verbal arts which are performances communicated with words and body gestures. They include poetry, incantations, recitations etc.

There are unique characteristics that differentiate visual arts from performing arts. First, let us discuss that of visual arts.

1. These are art that appeals to our sense of sight and can also be felt by our sense of touch.

2. Visual art is made.

3. Examples are painting, sculpture, textiles etc.

4. It can be seen and felt thus making it tangible.

5. It is not limited by time.

On the other hand, these are the distinct features of performing arts.

1. These are art forms perceived by our kinesthetic sense and sense of touch.

2. Performing art is performed /played.

3. Examples are music, dance, drama, poetry etc.

4. It cannot be touched, thus making it intangible.

5. It can be seen in streams of time.

Most people in the world experience stress at different stages of their lives. Stress arises due to such circumstances or situations which are perceived as obstacles by an individual. The belief of inability to cope with such obstacles leads to stress. Stress may be big or small depending upon the situation and how people perceive it. It can be classified according to the level of difficulty to tackle and the level of anxiety it produces in the particular individual facing it. Some people may feel helpless and hopeless in these types of stressful situations while there are others too, who learn the art of understanding situations and ways to manage stress.

The first thing one should think while in a stressful situation is the primary or actual reason behind the stress. Often there are surrounding similar obstacles which contribute to stress but it is important to find and focus on the main cause. Simplification and solution to this primary cause of stress can eventually release the stress and the other smaller contributing factors become easy to take care of. Once the chief stress causing reason is clear, the next task is to think of the immense amounts of pressures and stress which people are facing around the world. There are conditions where even simple livelihood becomes difficult. If one compares his reason for stress to such conditions, some amount of stress is sure to decrease in the initial step itself. The next step is to tell oneself that “you are NOT alone!”, because as someone thinks of the stress other people are facing, one should also think that nobody is facing a particular type of problem situation alone in this world. There are thousands of people who face similar stress causing issues. Finally the self-motivational part of thinking that if people with even lesser resources are confronting their stress, then it is surely possible for others too. Resources may include trustworthy people around us, things which can motivate us and things which can actually solve our problem.

Another reason to feel stress-free is the fact that nature does not differentiate between individuals. For example, usually when the sun shines, it provides heat and light energy to a particular region impartially, equal for all the individuals. People should learn to make use of the available resources positively so as to resolve their obstacles in the simplest of possible ways without causing much stress or anxiety. When such stress causing obstacles are resolved, an individual not only feels relaxed and free but also becomes experienced and mentally strong, to face such tough situations in the future. It becomes particularly important here, that not only should an individual seek help from close friends and relatives when in stressful situations, but should also share his experiences with them when one resolves these issues successfully. This can motivate them to clear their obstacles with patience and strength.

The world is full of various types of anxieties and stressors. It is the choice an individual has to make whether to think positive or negative about a situation. Stress can be in any smallest of things we try to do and there can be no stress in doing the biggest of things in life. It entirely depends on individual attitude, self-motivation and the use of available resources. There is a need to understand the art of managing stress with a positive approach of mind.

When you look up at the night sky, what do you see? Stars? The moon? That’s not all the dark night’s blanket carries around. The sky stores with it the secrets to all our lives and astrologers can help unveil their enigma.

Astrology is the art and science of studying the movement of celestial bodies to gain information about events that occur in the lives of people like you and me. It has been around as an indispensable part of our society since about the 2nd millennium BCE.

When you and I look up at night we can see the stars and join them to look like a tiger or a teddy bear. But when astrologers look up they see all our sun and moon signs and can draw patterns about any upswing or downswing that could occur in our lives.

When people are born it is not just their birthdate that is of significance; the position of certain celestial bodies at the time of birth are also very important. When you go to an astrologer to seek any advice they will first inquire about your birthdate and time. Based on this information they draw a chart which acts as a starting point for them to understand the effects of these celestial bodies in your life.

You can go to an astrologer and ask them questions about anything in your life; be it love, family, finance, education or your career. However, you must always keep in mind that astrologers, like you and me, are mere mortals. Many people take them to be fortune tellers and ask them to predict the future, however Astrology can only give you the road map you were born with and the pros and cons of those situations, however we as human beings have something known as free-will and if we take an action based on our free-will it will change the route on the map and thus at times you will see astrological readings for you going wrong or not matching with the chart you were born with.

Even the kind of questions you ask have an influence on how they can help you. As the saying goes, ask questions to which you wish to know the answer. Imagine if someone asked you something like “tell me about yourself”. Even if it sounds simple it is really difficult to just talk about yourself at the drop of a hat. But instead if they asked you to share some specific episodes from your life it would be easier. Similarly, asking astrologers open ended questions like, “how is my future going to be” is not going to get you anywhere. Instead if you asked for guidance in specific areas they could be of much better help.

Now let’s take a quick look at astrology in different cultures.

Western culture- astrology in the western world is studied under the larger discipline of divination. Astrologers study the sun, moon and stars and classify people into one of the 12 zodiac signs dominated by the movement of the sun.

Hindu culture- while the western world uses the sun as its main element, believers of Hinduism give greater importance to the moon. They classify people in a similar manner of horoscopes but the only difference is that these horoscopes are decided by the movement of the moon.

East-Asian culture- it can also be understood along the lines of Chinese astrology; East Asian astrologers adopted this practise primarily for political reasons. They charted their readings into 12 equal sections named after animals.

As a concluding remark it is important for us to understand that astrology is not magic, crystal ball reading or anything with some voodoo in it. It is a science that bases its beliefs and studies in celestial bodies. Ultimately it all boils down to your beliefs that can give planets or stars the power to guide you in your life.

We are always getting asked: What is the difference between contemporary art and old masters. In a nutshell, contemporary art is created by artists that are still alive. Old Masters are paintings painted by artists that are deceased. The good news is that if we purchase contemporary art now from well known, talented artists, then chances are that one day, either us or our children will be the proud owners of old masters. The bad news for the artists is that generally while they are alive, and painting, they seldom get to see the true value of what their paintings are truly worth.

Contemporary means “art that has been and continues to be created during our lifetimes.” In other words, contemporary to us. Contemporary art is art produced at the present period in time. Contemporary art includes, and develops from, post-modern art, which is itself a successor to modern art.

Strictly speaking, it refers to art made and produced by artists from the 1960’s or 70’s up until this very minute. 1970 is the cut-off point for two reasons. Firstly, because it was around 1970 that the terms “Post-modern” and “Post-modernism” popped up — meaning, we must assume, that the art world had had its fill of Modern Art. Secondly, 1970 seems to be the last bastion of easily classified artistic movements.

While it may be hard to classify emergent movements, Contemporary art is much more socially conscious than any previous era has been. A whole lot of art from the last 30 years has been connected with one issue or another: feminism, multiculturalism, globalization, bio-engineering and AIDS awareness all come readily to mind as subject matter. Today’s artists work in and respond to a global environment that is culturally diverse, technologically advancing, and multifaceted.

Working in a wide range of mediums, contemporary artists often reflect and comment on modern-day society. When engaging with contemporary art, viewers are challenged to set aside questions such as, “Is a work of art good?” or “Is the work aesthetically pleasing?” Instead, viewers consider whether art is “challenging” or “interesting.” Contemporary artists may question traditional ideas of how art is defined, what constitutes art, and how art is made, while creating a dialogue with-and in some cases rejecting-the styles and movements that came before them.

Since the early 20th century, some artists have turned away from realistic representation and the depiction of the human figure, and have moved increasingly towards abstraction.

Contemporary artists, like many artists that preceded them, may acknowledge and find inspiration in art works from previous time periods in both subject matter and formal elements.

Fine Arts is defined in the Encarta Dictionary as being, “any art form, for example, painting, sculpture, architecture, drawing, or engraving, that is considered to have purely aesthetic value” (Encarta, 2004). Though this definition is used in relationship with the arts in the regular world, in regards to teaching, fine arts is defined as a subject beneficial, not essential, to the learning process and is often phased out because of lack of time, little learning potential, and no money. Fine arts is simply seen as painting and drawing, not a subject studied by an academic scholar. Writer Victoria Jacobs explains, “Arts in elementary schools have often been separated from the core curriculum and instead, offered as enrichment activities that are considered beneficial but not essential” (Jacobs, 1999, p. 2).

What is missing in classrooms is the lack of teacher knowledge of the benefits of maintaining an art- based curriculum. Teachers “have very little understanding of the arts as disciplines of study. They think of the arts instruction as teacher-oriented projects used to entertain or teach other disciplines” (Berghoff, 2003, p. 12). Fine arts expand the boundaries of learning for the students and encourage creative thinking and a deeper understanding of the core subjects, which are language arts, math, science, and social studies. Teachers need to incorporate all genres of fine arts, which include, theater, visual art, dance, and music, into their lesson plans because the arts gives the students motivational tools to unlock a deeper understanding of their education. Teaching the arts is the most powerful tool that teachers can present in their classrooms because this enables the students to achieve their highest level of learning.

From 1977 to 1988 there were only three notable reports demonstrating the benefits of art education. These three reports are Coming to Our Senses, by the Arts, Education and Americans Panal (1977), Can we Rescue the Arts for American Children, sponsored by the American Council for the Arts (1988), and the most respected study, Toward Civilization, by the National Endowment for the Arts (1988). These three studies conjured that art education was very important in achieving a higher education for our students. While these studies proved the arts to be beneficial to the learning process, it was not until 2002 when the research analysis of Critical Links: Learning in the Arts and Student Academic and Social Development “provided evidence for enhancing learning and achievement as well as positive social outcomes when the arts were integral to students’ learning experiences” was taken seriously by lawmakers (Burns, 2003, p. 5). One study, in this analysis, was focused on the teaching of keyboard training to a classroom in order to see if student’s scores on spatial reasoning could be improved. It was then compared to those students who received computer training which involved no fine art components. This concluded that learning through the arts did improve the scores on other core curriculum subjects such as math and science where spatial reasoning is most used (Swan-Hudkins, 2003).

This study shows how one little change in the way students are taught through the arts can have a powerful impact on their learning achievements and understandings. Another study showed at-risk students who, for one year, participated in an art- based curriculum raised their standardized language arts test by an average of eight percentile points, 16 percentile points if enrolled for two years. Students not engaging in this form of activity did not show a change of percentile (Swan-Hudkins, 2003). Though this may not seem like a big increase, at- risk students were able to use this style of learning to better understand their learning style thus bettering their learning patterns. The most interesting case study in this analysis involved the schools of Sampson, North Carolina, where for two years in a row their standardized test scores rose only in the schools that implemented the arts education in their school district (Swan-Hudkins, 2003). Teaching the arts needs to be incorporated in every teachers daily lesson plans because, based on these studies, students who are taught through the arts raise their test and learning levels.

Due to the high volume of attention President Bush’s, No Child Left Behind Act, has required in schools, teaching the arts is left behind. Another reason for the lack of arts in the classroom author Victoria Jacobs explains, “Given the shrinking budgets of school districts around the country, art specialists and art programs have disappeared from many elementary schools” (Jacobs, 1999, p. 4). Fine arts are being seen as non-educational or an extra-curricular activity. Therefore, when there is a lack of money in school districts, this subject is easily being cut. Teachers need to find a way to incorporate the arts into the classroom rather than rely on outside activities and Jacobs suggests teaching “through the arts… with a means of using the arts successfully and in a way that it is not just “one more thing” they must include in the curriculum” (Jacobs, 1999, p. 4).

The arts can open the minds of students in ways mere reading and writing will never be able to accomplish. Yet, the point of teaching this subject is not to teach about the arts, but to teach through the arts. Jacobs explains,

Teaching though the arts requires students to engage in the act of creative art. For example they might draw a picture, write a poem, act in a drama, or compose music to further their understanding of concepts in content areas other than the arts. Teaching through the arts helps students experience concepts rather than simply discussing or reading them. This approach is consistent with educational theories that highlight the importance of reaching multiple learning styles or intelligences. (Jacobs, 1999, p. 2)

Teaching through the arts can be done in many different ways depending on the teacher’s interests, but truly is the only way to reinforce the students learning experience. In a time where budget cuts and new learning laws are being established, teachers need to be more informed and educated on the negative impacts of the loss of the fine arts programs.

Three, veteran teachers at a public elementary school did a case study which involved teaching through the arts. They believed “our students had to experience cycles of inquiry wherein they learned about the arts and through the arts, and that they needed to see teachers of different disciplines collaborate” (Berghoff, 2003, p. 2).

The study was based on teaching a history lesson unit on Freedom and Slavery through the arts. Ms. Bixler-Borgmann had her students listen to the song “Swing Low, Sweet Chariot” in many different styles of music, such as an African-American Quartet, Reggae, and Show Tunes. She then incorporated this lesson into the importance singing played to the slaves at that time. Ms. Berghoff had her students read samples of African-American folk literature and write down sentences that made an impact on them while they were reading. She then incorporated those sentences into group poems. Ms. Parr explored two art pieces entitled, “Swing Low, Sweet Chariot” and had the students talk about artwork by asking three questions: “What is going on in this picture? What do you see that makes you say that? What else can you find?” (Berghoff, 2003). She also had the students focus on the images, concepts, and meanings which the artists wanted to depict. Ms. Parr felt this would teach the students how to uncover the hidden meanings in other core curriculum subjects (Berghoff, 2003). After the study, the students were asked what and how they had learned from this style of teaching.

Many students wrote in their journals that working in multiple sign systems in parallel ways heightened their emotional involvement. They found themselves thinking about what they were learning in class when they were at home or at work. They noted that even though they had studied slavery at other times, they had never really imagined how it felt to be a slave or thought about the slaves’ perspectives and struggles. (Berghoff, 2003)

The students had learned more from this lesson because they were able to use all styles of learning and were taught from an angle which is rarely used, through the arts. “Studies indicate that a successful arts integrated program will use these components to guide student learning and assess growth and development (Swan-Hudkins, 2003). The students were able to learn based on abstract thinking and find the deeper meaning of the lessons prepared by the teachers.

“The study of the arts has the potential for providing other benefits traditionally associated with arts….arts has been linked to students’ increased critical and creative thinking skills, self-esteem, willingness to take risks, and ability to work with others” (Jacobs, 1999, p. 4). With these benefits, teachers can not afford to limit their teaching of the arts in the classroom. Teaching through the arts are the key elements of learning and the traits teachers strive to establish and reinforce in their students. By working through the arts, instead of about the arts, the students’ educational experience will be achieved in a different way than just teaching the standard style of learning. Former Governor of California, Gray Davis, noted, “Art education helps students develop creativity, self-expression, analytical skills, discipline, cross-cultural understandings, and a heightened appreciation for the arts” and that “students who develop artistic expression and creative problem solving skills are more like to succeed in school and will be better prepared for the jobs and careers of the future” (California Art Study, 2003, p. 1).

Exposing students to abstract learning will teach the students about logic and reasoning and help them grasp what might not be represented on the surface. Recent Reports from the National Art Education Association (NAEA) confirmed with Governor Davis when they reported “Students in art study score higher on both their Verbal and Math SAT tests than those who are not enrolled in arts courses (California Art Study, 2003, p. 5). Attached is a copy of the test scores of students in the arts and students with no arts coursework.

What is a better way to enhance a lesson plan than to add another dimension of learning than by incorporating different levels of teaching? A company that has the basis of focusing on different learning styles is Links for Learning, [http://www.links-for-learning.com]. This company understands the importance of incorporating arts into the classroom. Former Secretary of Education, William Bennet wrote, “The arts are essential elements of education just like reading, writing, and arithmetic…Music, dance, painting, and theater are keys to unlock profound human understanding and accomplishment” (Swann-Hudkins, 2002).

An example of the benefits of teaching the arts would be the study of a teacher who taught the water cycle lesson through movement and music. The students were introduced to the water cycle in the traditional style of teaching, reading and lecturing. Yet, in order for the students to fully understand the “experience” of being a snowflake, the students listened to Tchaikovsky’s Nutcracker Suite (The Waltz of the Snowflakes) and closed their eyes visualizing the adventure snowflakes encounter on there way to the ground. A great side effect of dance is that “exposure to dances foreign to them (the students) helps them to understand and appreciate differences in societies. Their minds become open to new ideas and a different perspective. This understanding helps to eliminate possible prejudice, enriching the student and our society” (Swan-Hudkins, 2003, p.17). While the music was playing the teacher asked them questions, such as, “How are they going to land” and “What do you see as you are falling”. The second time listening to the music the students were asked to act out the water cycle through movement and dance. Teachers should know “a class that includes dance can make students feel empowered and actively involved in their education. In creating their own dance, students develop conceptional thinking, which is not always expressed verbally” (Swan-Hudkins, 2003, p. 17).

With these activities, the students were able to become part of the water cycle instead of just using their listening skills and trying to mentally figure out this lesson. The teacher also had the students write a poem using words they felt while they, the snowflakes, were falling to the ground (Jacobs, 1999, p.2). “The motivational powers of the arts are significant as this teacher explained, “Hooking a kid is half, if not more than half, the battle of learning. If you can hook them, then you can get them to learn” (Jacobs, 1999, p. 6). Teachers need to gain access to all styles of learning which can only spark their motivational powers.

Harvard Project Researchers Winner and Hetland remarks, “The best hope for the arts in our school is to justify them by what they can do that other subjects can’t do as well” (Swan-Hudkins, 2003, p. 18). Teachers need to gain a better education of teaching their students through the arts. Without the arts, teachers are limiting their students’ ability to use their entire thinking process, providing less opportunity for complete comprehension. Teaching through the arts is the most powerful tool that teachers can give in their classrooms because it enables the students to achieve their highest level of learning.

With the lack of attention art is getting outside of the classroom, teachers cannot afford not to incorporate dance, theater, visual arts, or music in their lesson plans. Fine arts is the core curriculums constant and most important companion. No child should be left behind, and teaching through the arts will reinforce this idea.

Resources

Berghoff, B., Bixler-Borgmann, C., and Parr, C. (2003). Cycles of Inquiry with the Arts. Urbana, 17, 1-17.

Burns, M. (2003). Connecting Arts Education Policy and Research to Classroom Teaching. Presented at The Annual Meeting of the American Educational Research Association. Chicago, IL.

California Art Study. (2003). Retrieved on April 18 from [http://216.239.57.104/search?q=cache:IM_j8A3_whsJ:www.smc.edu/madison/about/draft_eir/appendix_f_purpose.pdf+benefits+California+art+study&hl=en&ie=UTF-8]

Encarta Online Dictionary. (2004). Retrieved on April 17 from http://encarta.msn.com/dictionary_/fine%20arts.html

Jacobs, V. and Goldberg, M. (1999). Teaching Core Curriculum Content through the Arts. Annual Meeting of the American Educational Research Association. Ontario, Canada.

Swan-Hudkins, B. (2002). The Effect of an Elementary Fine Arts Program on Students’. M.A.Thesis. Salem International University. Salem, West Virginia.

Networking is such an exceptional tool for establishing relationships, advancing in your career and academics and developing your business. One of the many ways to be successful in networking is to have strong, effective communication skills. Equally verbal and non verbal, savvy networkers can relay their personal brand, share their passions and demonstrate good business ethics. A unique component of this type of communication is storytelling. Being able to engage and connect with your counterpart can serve many useful benefits.

Listed below are ways that individuals and organizations can market and bring awareness to their initiatives.

Set the Scene

When sharing a story or interaction with someone, set up the background of the story. Talk about information that is relevant for them to understand and grasp the narrative. Spark their interest and curiosity to further the engagement. Highlight key factors which relate to your career, profession, business, academics etc. Be clear and concise while being creative.

Make the Connection

Do not tell a story just to tell a story. Have a purpose, meaning or lesson which reflects the narrative. Be sure to have an outline in mind and a method toward explaining details and other important aspects which can be memorable. Make links, comparisons and other correlations so that your story adds value and relevance. Make sure to tie it into your passions, endeavors, future goals etc.

Open Discussion

Once you have shared your story, give room to promote additional dialogue and conversation. Involve your counterpart with feedback, questions or another story. Deepen the interaction by reinforcing the morals, lessons or actions in the story and how they are applicable in business, academic or life in general.

Use these dynamic tips to build quality relationships and extend your personal or professional brand. Draw upon this form of communication to market, explain and bring awareness to your initiatives for networking or building quality networks.

Body art is an ancient but populous form of body enhancement. There are various reasons why people engage in body art such as coiffure, body painting, body markings and the like. Some are done for purely aesthetic or decorative purposes while others are for medicinal, spiritual, entertainment, identification or symbolic reasons.

A wide of tools can be used for body enhancement. These include dabbing tools, painting tools, incising tools, smearing tools, tattooing tools, etc. Materials used for body arts include tattooing dyes, special cleaning agents etc. Drawing and writing inks, such as Indian ink, Pelican ink and printer inks are popularly used for amateur tattoos. Other colourants that can be used include pigments and dyes. Other materials used include plant extracts, soot, carbon and ochre. Henna, which is a natural plant, is also used for the production of temporary tattoos.

There are several causes of health hazards in body arts. Majority of them are as a result of contamination of the instruments used. Examples of these are the skin penetrating tools such as lances, electrolysis needles and extractors. When these instruments are not effectively cleaned and sterilized before use on another person, or when single-use instruments are not discarded immediately after use.

There are also allergic and toxic reactions which are due to impurities from the production process of the pigments and dyes used for tattooing. Tattoo inks can contain aromatic amines with carcinogenic potential (can cause cancer). Some tattoo products have been seen to cause mild forms of skin cancer. Tattoo dyes especially red, green, yellow and blue dyes can cause allergic skin reactions, such as an itchy rash at the tattooed area. This can occur even years after you get the tattoo.

Moreover, skin problems such as bumps called granulomas form around tattoo ink. Tattooing also can lead to keloids or raised areas caused by an overgrowth of scar tissue. It may cause blood borne diseases. For instance, if the equipment used to create the tattoo is contaminated with infected blood, the person can contract various blood borne diseases including tetanus, hepatitis B, hepatitis C or even HIV/AIDS.

These health-related cases can be prevented by taking some practical steps. For instance, the tools and equipment used for the production of body arts must be sterilized. Washing hands is the single most important factor in preventing infection.

Also, chemicals used in body arts must be properly labeled so that there will not be any substitutions. The chemicals must be properly cared for. They must be kept in well secured containers etc. The instructions on how to use and care for them must be meticulously followed.

Moreover, all working surfaces used, for example, procedure couches/chairs, benches and tables, should be washed with warm water and detergent, rinsed and dried using a clean lint-free single-use cloth. Additionally, at the end of each working day, wash all visibly soiled surfaces with warm water and detergent. Rinse and dry the cleaned surfaces using a clean lint-free single-use cloth.

There are a lot of techniques that can be employed in body arts. The commonest technique is painting. It involves the application of the paint, dye or pigment by the use of brush. After drawing the sketch or layout of the design on the skin surface, brush is used to apply the paint on the body surface. Printing, whereby designs are sometimes printed on the body surface is also used. Sometimes papers with permissible ink are transferred onto the body surface. Laser printers are also used to transfer computerized designs onto the surfaces of skin. Paint can be dabbed on the body surface using sponge or foam to transfer designs onto skin surfaces. Sometimes, the ink or paint can be spread over the surface of the skin to create the design or impression on the surface of the skin.

Other techniques include incision, thus, cutting into the surface of the skin to create a design. This is used in scarification and some forms of tattooing. The interlocking of the hair strands to form decorative forms referred to as braiding or plaiting falls under body arts.

Body art is gaining much fame today in the art industry. Artists must be weary of the health hazards in the use of tools, materials and instruments. They must endeavor to keep healthy practices while engaging in this interesting form of artistic expression.