| Oct. 14th, 2009 @ 05:04 pm A Few More Notes from the Crossing Point |
|---|
Use for MC paper and craft paper:
Thoughts on Writing and Handcraft
"All forms are language, and communication flows between all of them, nonverbal and verbal alike." 15
"These beads and those bowls are the words. It is no wonder that it is so difficult to tanslate them into other words; no wonder they are so expressive, so compelling, so self-declared. The living language of the crafts - this is quite different from a view of language as an intellectual or esthetic dsicpline, verbal in nature. Speech is common to men, and so are objects and sensations and perceptions. We are all both silent and sounding. Crafrts are a languauge, langue is a crft. They are not two worlds: they are ONE."
AND
"The materials we use appeal to us because of some inner sense they carry. Colors, textures, shapes; gloss and shadow, weight, sound - rhythm of movement in time and space - these speak to our hearts. If they didn't, we wouldn't *care* about them. And we do care. We do care. We are warmed and noursihed, chilled and disquieted - we are affected. There is an innerness implicit in all sensory and motor experience. We can come into life from the inside and flow in this stream which binds together." 17
"To have the touch. To be touched. A sure touch. A warm touch. A sensitive touch - shy, delicate, tender to the touch. All of it - let all of it in." 24
"This doesn't mean that our troubles are over if we surround ourselves with hand-made objects, or if we devote ourselves exclusively to handwork. the craft object, like any other, can become a status symbol. And we can be seduced into isolation by the life of imagination and making, as easily as by any other." 24
*MC acknowledges that some folks do not believe art should be used in a therapy situation. But she disagrees.
The Crossing Point: Nine Easter Letters on the Art of Education
"I want to talk to you about
art education and the art of education (RED)
about
the relationship of art to education as a whole (RED all below)
education of the whole person
to extend the feeling for art to include
all the arts:"
42
"doesn't art education have to do with the way you
plant flowers or pick flowers or give them to people or recieve them
and not just he way you see them or paint them or look at paintings
of them or read poems about them and go all moony
doesn't art education have something to do with knowing that autumn
is really a form of spring, when the plants sow their seeds, and winter
is part of it too, everything is hatching underground and getting
ready for the ascent into the visible world, and itsn't it too about
remembering what we know very well, namely, that things are going
a long time before they're visible, and a long time after
there is somethign important in art education about light and shadow" 44
"BUT ARTISTS KNOW, ART EDUCATORS KNOW,
BEACUSE THEY TEND TO LOOK AROUND AND SEE HOW THINGS REALLY
ARE AND WHAT THEY REALLY LOOK LIKE, INSTEAD OF WORRYING
SO MUCH. Mostly, it seems to me, artists and art educators
KNOW IT IS VERY HARD TO DO SO BECAUSE IT IS ALWAYS CHANGING
SHAPE AS THE LIGHT MOVES. Art educators know that pictures
are subtle, like life, full of PLAY - it is very hard to
make verbal formulas about them fortunately." 45
"WHOLENESS
what is wholeness? ah a good question . . . (this and above in red)
it isn't half persons (underlined in red with line below)
it isn't half truths
IT IS A GOOD QUESTION the question is the quest." (second part in red.)
Some Thoughts about Art and Wholeness in Learning
"My values as a teacher and artist are my values as a person: 136
"One part of wholeness is initiative, a trust in oneself as source. " 137
"The spirit of learning has become so bodiless that teachers tend to mistrust epxiernece that acknowledges body as source. Poor ol' body has been made the enemy rather than the firdnd of inner development." 144 |
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