friedl dicker-brandeis and ela weissberger at terezin · 2019-07-17 · only the inhabitants of...

Friedl Dicker-Brandeis and

Ela Weissberger at Terezin

Education Packet

April 8, 2013

Teacher Workshop

A Unique Generational Relationship of Art Teacher and Student

Sponsors Council on Culture & Arts, COCA

C-Palms Charter Florida State University Schools, FSUS

Holocaust Education Resource Council, HERCLeon County Schools, LCS

Mission San Luis Florida State University Museum of Fine Arts, FSUMoFA; Generations Project

Sunshine State Standards & Holocaust Education Mandate....................................................................................2-3

Biographies Friedl Dicker-Brandeis: Teaching More Than Art......................................................................................4 Ela Weissberger: Never Give Up................................................................................................................5

Ela Weissberger TheInfluenceofFriedlDicker-BrandeisatTerezin…………...................................................................6 Brundibar…………....................................................................................................................................7

ActivitiesforStudents TechniqueatTerezin...................................................................................................................................8-9 Draw and Paint What You See...................................................................................................................10-11 DescriptivePoetry…..................................................................................................................................12-13 DrawWhatYouSee:SomethingBeautiful................................................................................................14-15 DrawWhatYouSee:What’sYourLegacy?FamilyValues....………………………........................…...16-17 CapturingaSentiment:NotecardsWithaUniversalMessage………….....................................………..18-19

Rubrics General Activity Rubric..............................................................................................................................20 RubricforDrawWhatYouSee:SomethingBeautiful&What’sYourLegacy?FamilyValues................21 RubricsforCapturingaSentiment:NotecardswithaUniversalMessage….............................................22-23

Appendix Glossary.......................................................................................................................................................24 Content and Image Sources.........................................................................................................................25 Evaluation....................................................................................................................................................26 Resource Disk.............................................................................................................................................Attached

Table of Contents

*Allimagesinthispacketareforonetimeeducationaluseonly.Written and edited by Brooke Shaw and Valerie deLeonIn conjunction with the “Generations”exhibit,refertothebackofpacketfordetails.Cover Images: Ela Weissberger by Laura McNamara, 2011, photograph. Dita Polachová-Kraus, Building at Night,charcoal,ChildatTerezin.

Sunshine State Standards: Visual Arts

Big Idea: OrganizationalStructureEnduring Understanding: Thestructuralrulesandconventionsofanartformserveasbothafoundationanddepar-turepointforcreativity.VA.5.O.2.1Analyzeworksofartthatdocumentpeopleandeventsfromavarietyofplacesandtimestosynthesizeideasforcreatingartwork.

Big Idea: Skills, Techniques, and ProcessesEnduring Understanding:Theartsareinherentlyexperientialandactivelyengagelearnersintheprocessesofcreat-ing, interpreting, and responding to art.VA.68.S.1.5 Explore various subject matter, themes, and historical or cultural events to develop an image that com-municates artistic intent.

Big Idea:CriticalThinkingandReflectionEnduring Understanding: Assessing our own and others’ artistic work, using critical thinking, problem-solving, and decision-making skills, is central to artistic growth.VA.912.C.2.4 Classifyartworks,usingaccurateartvocabularyandknowledgeofarthistorytoidentifyandcategorizemovements, styles, techniques, and materials.

Big Idea: Historical and Global ConnectionsEnduring Understanding: Through study in the arts, we learn about and honor others and the worlds in which they live(d).VA.912.H.1.10Describeandanalyzethecharacteristicsofacultureanditspeopletocreatepersonalartreflectingdailylifeand/orthespecifiedenvironment.

Big Idea:CriticalThinkingandReflectionEnduring Understanding: Studyofhistoryandcultureisnecessarytogainunderstandingoftheworldthatweliveinandtoplanforthefuture.VA.3.C.1.1 Usetheart-makingprocesstodevelopideasforself-expression.VA.912.O.3.1 Createworksofartthatincludesymbolism,personalexperiences,orphilosophicalviewtocommuni-cate with an audience.

Big Idea: Historical and Global ConnectionsEnduring Understanding: Through study in the arts, we learn about and honor others and the worlds in which they live(d).VA.912.H.1.1Analyzetheimpactofsocial,ecological,economic,religious,and/orpoliticalissuesonthefunctionormeaningoftheartwork.VA.912.H.1.4 Apply background knowledge and personal interpretation to discuss cross-cultural connections among variousartworksandtheindividuals,groups,cultures,events,and/ortraditionstheyreflect.

Sunshine State Standards & Holocaust Education Mandate

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Big Idea: Skills, Techniques, and ProcessesEnduring Understanding:Throughpurposefulpractice,artistslearntomanage,master,andrefinesimple,thencom-plex, skills and techniques.VA.912.S.3.5 Createmultipleworksthatdemonstratethoroughexplorationofsubjectmatterandthemes.VA.912.S.3.6Developworkswithprominentpersonalvisionrevealedthroughmasteryofarttasksandtools.

Common Core State Standards

Secondary Level CCSS.English Language Arts & Literacy (ELA): Integrate and evaluate content presented in diversemediaandformats,includingvisuallyandquantitatively,aswellasinwords.

Holocaust Education Mandate Studentswillpursueaninvestigationofhumanbehavior,anunderstandingoftheramificationsofprejudice,racism,andstereotyping,andanexaminationofwhatitmeanstobearesponsibleandrespectfulperson,forthepurposesofencouragingtoleranceofdiversityinapluralisticsociety,andfornurturingandprotectingdemocraticvalueandinsti-tutions.

Sunshine State Standards & Holocaust Education Mandate

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Landscape,Watercolor,ChildatTerezin

FriedlDickerBrandeiswastrainedinthefineartsintextiledesign,printmaking,andmore.SheworkedattheBauhaus,afamousschoolinGermanythatcombinedinstructionincraftsandthefinearts.TheBauhausinfluenceddesign worldwide. Well-known artists like Joseph Albers, Piet Mondrian, and Wassily Kandinsky were associated with the school. Dicker-Brandeis own association with the Bauhaus gave her the authority to teach. She also worked inBerlin,Prague,andHronov(inthecurrentCzechRepublic),andthenwasdeportedtoTerezinin1942withherhusband.Uponarrivalatthecampshebecameateacherforgirls,butshedidsomuchmorethanteachacurriculum. From1943-1944shetaughtfineartclassesinsecretforchildrenandsomeadultsatthecamp.Througharteducation, she gave her students opportunities to contemplate subjects, understand their emotions, and the ability to communicate their experiences; in a way she was giving them art therapy. Friedl’s approach to art education at the campisconsideredahistoricalantecedenttothearttherapyprofession.Shewouldtellherstudentstoimaginetheoutside world and put it on paper, but she would also challenge them to document their surroundings. In addition the childrenwrotepoemsaboutwhattheymissed,whattheysaw,andtheirfears.Paintinginherartclassesgavethechil-drenmomentaryescapefromconcentrationcamprealities. Friedltaughtartisticfundamentalsinmanymediaandforms,offeringbothstructureandfreedominaplacewheretheywereprisoners.Shenevershowedthechildrenherownworkstocopy,butherartisticinfluencewasfelt.Friedldidmorethanjustteachart.Shecreatedexhibitionsofthestudents’workinthecellarofthebuilding,she“redesigned”theovercrowdedroomsinwhichgirlslived,andshedesignedcostumesandsceneryforsomeofthechildren’stheatricalperformances. OnsomedaysthatFriedlwenttoteach,halftheclasswouldbemissingbecausechildrenwereconstantlybe-ingsenttodeathcampsfromTerezin.Onlytheirartworkremains.Sheknewshecouldn’tbrightenthedarknessinthecamp,sosheignoredit.Shefocusedherattentiononthechildreninstead.Friedlhidherstudents’worksinsuitcasesbeforeshewassenttoAuschwitzin1944.Heractionsleftuswiththeopportunitytounderstandthepowerandhu-manityofartandtorealizetheinfluenceofanartteacheronthelivesofchildreninaworldtornbydailyoppressionand horror.

Friedl Dicker-Brandeis: Teaching More Than Art

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2Friedl Dicker-Brandeis

ElaWeissbergerwasbornandraisedinSudetenland,foundinthecurrentCzechRepublic,untilshewaseight.In1938theGestapotookherfather.Thismeantthelossofthefamilybusiness,sothefamilyleftwithEla’suncleandfledtoPrague.In1942,whenElawaseleven,shewithhergrandmother,mother,andsisterweresenttoTerezin,aconcentrationcampalsolocatedinthecurrentCzechRepublic.TheywerenotliberateduntiltheendofWorldWarIIin1945. Ela lived in a small “house” with other girls her age. The children surreptitiously continued their education, with theinclusionofvisualartsandmusicinthecurriculum.Theywereinstructedandschooledbydetainedteachersandart-ists.TheartsbecameanintegralpartofEla’simprisonmentatthecamp.Itseemedthechildrenwereabletomaintainabitofstabilitythroughtheproductionofartwork. From1942-1943,FriedlDicker-BrandeistaughtElaartistictechniques,andtouseherimaginationandthesur-roundingsasinspirationfordrawings,paintings,andcollageworks.Elaandotherstudentscreatedimagesoftheirfriendsandfamily,butalsodocumentedtheirlivesatTerezinthroughpoetryandmusic.TheirartwashiddeninwallsfromtheNazis;itwasillegaltodiscussthecamp’srealityamongstfellowprisonersortooutsiders. Through the lessons given by Friedl, Ela was able to better understand and articulate her emotions. Perhaps throughhergrowthofconfidenceviathearts,Elaparticipatedinthechildren’sopera,Brundibar,asoneofthemainchar-acters, the cat, (see section: Brundibar). Aftershewasliberatedin1945sheenrolledatanartschoolinPraguewhereshestudiedceramics.ShewasnotabletocontinueinherartstudiesbecauseshewasnotamemberoftheCommunistparty.SheinsteademigratedtoIsraeltoworkinceramics.Atage19shewascalledtojointheIsraeliDefenseForce.Afterayearsheenteredthenavy.Duetoherartistictalent,shebecameamapdrawer.Shefinishedhertwoyearsofservice,andthenmetherhusband,Leopold,asoldier.TheymovedtotheUStoescapethecontinualMiddleEasternconflict.Initiallyherhusbandworkedasabutcher,and she worked as a stay-at-home mother with her children, trying to save every penny she could. Eventually she was offeredhersister-in-law’sjob,inwhichsheformedmannequinsforstoredisplaywindows.Thisbeganhercommercialartcareer in New York. Ela was a protective and earnest mother. She did not want her children to experience intolerance. Ela told her childrentonevergiveuponliving,“Youshouldfightforyourrights.”Ela’sartisticlegacywaspasseddowntoherdaugh-terwhoenteredtheinteriordesignfield. Ela’sphilosophycentersonmutualsupportofeachother.ShetravelsacrosstheUnitedStatestalkingtoschoolsabouttheHolocaust,teachingchildrennottofear,buttobetolerantandopentoallpeople.

Ela Weissberger: Never Give Up

Friedl Dicker-Brandeis: Teaching More Than Art

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Ela Weissberger

Terezinwasportrayedtotheoutsideworldasapeacefulcommunitywheretheadultsworkeddiligentlyandthechildrenplayedalldaylong.OnlytheinhabitantsofTerezinandtheNazicommandersknewofitsharshreal-ity–executions,overcrowdedbarracks,stalefood,bedbugs,shortageofclothesandblankets,aswellasspreadingsickness.Despitetheseconditions,FriedlDicker-Brandeistriedtoprovideacreativeoutletforchildreninthecamp,tograntthemsomeformoffamiliaritywithnormallifethroughherartclasses.Inthecamps,artinstructionoranyculturalgatheringswereforbidden.Tomaintaintheirsecretclasses,studentswouldmeetintheatticsofthebarracksand Friedl would hide the artworks in her suitcases. Despite the limited materials, Friedl made it a point to “borrow” scrapsofpaperfromtheGermanofficerstoutilizeasthechildren’scanvases. ThesubjectmatterforthepiecesvariedfromactualeventsinthecamptocopiesoftheoldmastersfromFriedl’sarthistorybooks.Sincethecampwasthestudents’constantenvironment,somberscenesofthearchitecture,sickness and death prevailed. Cut paper collages were a popular medium used to portray the three-tiered bunks in whichpeoplehadtosleeportocreateinterpretationsofVermeer’spaintings.Watercolorandcharcoalwerelessprev-alent, yet some students used the media to illustrate the eerie landscapes that surrounded them, depicting silhouettes ofbuildings,ortoillustratememoriesoryearningsfortheirhomevillages.Othersusedtheartworkasasenseofrelieforhope.Somechildrensketchedoutcharactersthatwerefeaturedinthechildren’soperaBrundibar,anoperathatwasstagedatTerezinbytheprisoners.Otherscreatedbirthdaycardsorhomememoriestogiveasgiftstolovedones.Throughthefear,sicknessanddeath,FriedlDicker-Brandeisprovidedameansforexpressionoffeelings.Artallowedthechildren,throughthefreedomtodraw,thecreationofaworldwhereoppressionlessenedandhoperemained.

The Influence of Friedl Dicker-Brandeis at Terezin

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Prisoners Sleeping,Drawing,ChildatTerezin

The Influence of Friedl Dicker-Brandeis at Terezin

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Inthelate1930s,theGermanregimebegantogainpower.Tensionsincreasedanddisplacementoccurred,es-peciallyforthoseofJewishdescent.Manypeoplecreatedplays,artwork,orsongstodealwithfearoftheunknown.InPrague, two composers created a children’s opera that revolved around issues that pressured and oppressed the Jewish communitybeforeandduringWorldWarII. Theopera,Brundibar,wasthestoryoftwochildrenwhoneededtobuymilkfortheirsickmother.AnorganplayerbythenameofBrundibarplayedmusictoearnmoney,inspiringthechildrentodothesame.AninkaandPepicektriedtosinginthesquarebutfailedtocatchtheattentionofthosethatpassedby.Theydiscoveredtheyneededtosingloudertoattractthecrowd.Withthehelpofadog,cat,sparrowandsupportivechildrenofthetowntheybegantomakemoneybycreating a large choir. Envious that the children were doing so well, Brundibar stole the cap containing their earnings. His planturnedsourwhenhewassurroundedbythechildrenandanimals,creatingyetanothervictoryforthem.Thechil-dren’ssongsintheoperathusbecameasymbolofhopeandfriendship. AlthoughthisoperasymbolizedHitler’sabuseoftheJews,thechildrenattheTerezinconcentrationcampwereabletopresentit.Usuallyplays,songsorculturalgatheringswereforbiddentothoseinthecamps.Rehearsalsandper-formancesoccurredunderclandestinecircumstances.InterestinglywhenrumorsspreadacrosstheworldthattheNaziswerekillingJewsatthesecampsbythethousands,theNazissupportedaperformanceofBrundibarfortheRedCross.Tocounteracttherumors,theNazisputtogetherafilm/documentarytoshowthe“reallife”inaconcentrationcamp,falselymakingTerezinappearasapeacefulcommunitywherepeoplewerefreetoplay,work,andperforminconcertssuchasBrundibar.BrundibarbecamethecenterofthisNazipropagandabutmanyperformersweresenttodieatAuschwitzafterthis production. Totheoutsideworld,theoperawasasignifierthatallwaswellinthecampsbuttheperformersknewitstruein-tent.DespitethefalseadvertisementprovidedbyBrundibar,theoperaheldaspecialmeaningtothoseinthecast.SurvivorEla Weissberger who played the cat exclaimed, “We were in a dream world,” where the children could escape the harsh realityofTerezinandimpendingtransportationtoAuschwitz.Whileperforming,theydidnothavetoweartheyellowstarofDavidandcoulddressupincostumesfortheircharacters.Tothechildren,theoperawasabeaconofhopethatburnedbrightlyeverytimeitwasstaged.HitlertothemwasBrundibarandtheperformanceinstilledarenewedfaiththattheywouldonedayleaveTerezinandreturntotheirhomes.

Brundibar

CastofChildreninBrundibaratTerezin

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Enduring Idea: Throughart,negativehumanbehaviorsandtheireffects(prejudice,racism,andstereotyping)andpositivehumanbehaviorandtheireffects(asenseofresponsibility,aswellasrespectforothersandtheirvalues)canandmustbeanalyzedinordertopromote,preserve,andperpetuatetoleranceanddemocraticculture.

Essential Question: In what ways do limited art materials in oppressed circumstances generate determination?

Session Activity: InthisactivitystudentswillfocusonthewaytechniqueandthestudyofhistoricalartpiecesinfluencedtheartworkbythechildrenatTerezin.Beforebeginningtheactivity,displaysomewell-knownpaintingsanddiscusstheirimportance art historically. Friedl Dicker-Brandeis brought her art history books to the camps along with some art materialssothechildrencouldreferenceexemplaryart.Elaborateonthewaystudyingtheoldmasterswasatrainingtoolusedbyartacademiestoincreaseanartist’sabilities.PresentsomeimagesoftheartworksthatwerecreatedbythechildrenatTerezin.Showp.17inthebookFireflies in the Dark in which the children used limited colored papers tocollage/reconstructfamousartwork.DiscussthetechniqueFriedlusedtoteachherstudentsaboutthewaytolookat the paintings and the materials used in the camps to illustrate the master works. Forthenextclassperiod,eachstudentwillcreatehis/herownartpiecebasedonarthistoricalreferences.Friedlwaslimitedinherartsuppliesforthestudents.ShehadtouseNazidocumentsandcutpaperwithlimitedcolors.Circulatearthistorybooksandhavethestudentspickpaintingstheywouldliketousefortheirpapercollages.Have each student pick limited construction paper colors – two colors as well as black and white. Have each student pickabackgroundscraponwhichtocollage.Thestudentsshouldgeneratepiecesthatresemblethepaintings.Aftertheworksarecompleted,holdaclassdiscussion.Askstudentsthereasonsfortheirselectionsofspecificpaintings.Askstudentstoexplainthereasonsfortheirselectionsofcolors,shapeandbackground.Thestudentswillhaveabetterunderstandingofcolorblockingwithinanimage,studyingtheimportanceofpastworks,andbecomefamiliarwiththearteducationrestrictionsamongthemanyoppressionsenduredbythechildrenatTerezin.

Grade Level: 3-7

Time Needed: 2-3 Class periods

Objectives: 1.Studentswillunderstandtheimportanceoftheoldmastersandthewayrecreatingtheirworksfurtherexpandsanartist’sobservationanduseofartelements,likecolorandshape.2.StudentswillusesimilarmaterialsandtechniquesandwillbecomeawareofthelimitedresourcesusedbychildrenatTerezin.3.StudentswillbecomeawareofthedeterminationofthechildrenatTerezin.

Materials: Scrapsorpaperfromtherecyclebin,constructionpaper(varietyofcolors),glue,4-5arthistorybooks

An Art Education Technique Used At Terezin

By: Valerie deLeon

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An Art Education Technique Used At Terezin

Activity Procedure: 1.Introduceasmallselectionofveryfamouspaintingsandbrieflydiscusstheirimportancetoarthistory(inhandouts). A. Describe technical innovations these paintings contributed to art. B.Discussthewaythesepaintingsinfluencedotherartworks. C. Discuss the way artists in training are sometimes allowed, even today, to go to museums to make copies ofoldmasterworks.Showanimageofsuchanartist,ifpossible.Seeexamplesbelow.2.PresentartworkscreatedbychildrenatTerezinbasedonmasterpaintings(p.17inFireflies in the Dark). A.Askthewaythechildren’spiecesreflectedthemasterworks. B.AskthestudentstodescribethecolorsandshapesusedbytheTerezinstudents. C. Ask the students to describe the background papers used by Friedl’s students. D.TellthestudentsaboutthechildrenatTerezinandtheirlackofmaterials.Explainthatlackofmaterials did not stop them. 3.Givethestudentsaselectionofoldmasterpaintingsonwhichtobasetheirrecreationswithbasiclabelinformationforeach.Haveeachstudentchooseanartwork,twocolorsofconstructionpaperandabackgroundpaper.EachwillmakeacollageusingthetechniquesdisplayedintheTerezinworks.4.Aftereveryonehasfinished,displaytheworks.Askthestudentswhatpaintingstheychosetouseandwhy.Askthestudentstotalkaboutthechallengeofcreatingtheimageswithonlycutpapershapesandblocksoftwocolorsasopposedtopaintandmultiplecolors.ReflectingonthechallengingattributesoftheactivitywillallowthestudentstogetasenseofthedeterminationofthechildrenatTerezin.5. Evaluation: See General Activity Rubric on pg 20. You can adapt the rubric to this lesson plan as necessary.

ArtistsCopyingOldMasterWork,Left:JohannesVermeer,The Art of Painting, 1622-68,oiloncanvas. Right: Johannes Vermeer, Young Woman with a Water Pitcher, 1622-65,oiloncanvas.

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Essential Question: Inwhatwaysdoesanartistusethesurroundingsubjectmattertocreateartwhichconveyshis/heremotionsandthoughts.Inwhatwayscanthisartrelfectoppressionandintoleance?

Session Activity: Inthisactivitystudentswillfocusontheideaof“drawwhatyousee.”FriedlDicker-Brandeistaughtherstudents to look at the outside world and realistically portray it as seen. Begin by showing and discussing the settings ofTerezin,whatthechildrenwouldhaveseen,anddisplayexamplesoftheirwork. Theillustrationssketchedbythechildrendepictedimagesoftheirdailylifeintheconcentrationcampandhopethattheywouldsomedayleavethoseplaces.Manyoftheworkswerelimitedincolorscheme,makingmoreemphasisonlineanditsthicknesstosuggesttheirfeelings.Perhapsduetothesecretivenatureoftheirartlessons,theworksoftenappearedtobesketch-likeandimpressionistic. DiscusstheemotionsandthoughtstheTerezindrawingsandwatercolorsconveyedthroughtheuseoftheartelements.Forexample,discussthewaytheminimalcolorsanddarklinesevokedadrearylocation.Afterlookingattheirpieces,eachpersonwillworkindividuallyonhis/herowndrawingsorwatercolors.Forthisactivity,eachstudentwillcreateanimagebasedon“drawwhatyousee.”Studentswillfocusontheele-mentsofart,online,color,texture,shape,space,andvalue.Choosewheretotaketheclass,eitherinsidetheschoolor outside, and have them individually choose scenes to draw or paint with watercolor. Ask each student to write a paragraph about the scene he or she depicted, and the emotions and thoughts he or she tried to convey in the drawing. Eachstudentwillgivehis/herworkatitle. Afterthestudentsfinishtheirwork,conductaclassdiscussionabouteachindividualwork.Askthestudentstoexplainthereasonstheychosethosecolors,thatlocation,andthewaytheythinkitcomesacrosstotheirfellowclassmates.Whatpartofthesettingdideachstudentdepict?Doanyofthestudents’workslooksimilar?Inwhatwaysdotheelementsofarthelptoachievearepresentationandconveythoughtsoremotions?SelectindividualworksbystudentsatTerezintocompareandcontrastwiththeworksfromtheclass,tocompareandcontrast “what each show.” Discussthewayeachsetofdrawings–thosefromTerezinandthosefromtheclass–conveytheartists’ emotions and thoughts, and convey the conceptsofoppressionortolerance.

Grade Level:7-12

Time Needed: 2-3 class periods

Draw and Paint What You SeeBy: Brooke Shaw and Valerie deLeon

Camp,Collage,ChildatTerezin

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Objectives: 1.StudentswillhaveabetterunderstandingofthereasonsthechildrenatTerezinillustratedthelandscapes,charactersandscenes in their pieces.2.Studentswillbeabletoreflectontheirtreatmentoflineandcolorintheirownpaintingsanddrawings.3. Students will understand their surroundings can serve as an inspiration, and that what they see can be translated into art bytheuseoftheartelements.4.Studentswillrealizeartcancommunicateemotionsandthoughts.5.Studentswillrealizethatartworkcanreflectoppressionbutcanalsoreflectandemphasizetolerance.

Materials: Paper, pencils, watercolor paints, paper towels, cups, water, brushes

Activity Procedure: 1.AfterreadinginformationaboutFriedlDicker-BrandeisandElaWeissberger,discussthebackgroundofeachandtheirrelationship as teacher and student.2.IntroduceFriedlDicker-Brandeis’slessonon“drawwhatyousee,”anddisplayexamplesofthechildren’swatercolorsandsketchesfromTerezin.DiscussthewayTerezinchildren’sdrawingsconveythoughtsandemotions.Displayalistoftheartelementstowhichtoreferduringthisdiscussion.3.Askthefollowing: A. Ask what they see in the images. B.Askifthetreatmentoflineandcoloraddsortakesawayfromthepiecesandhowso? C.AskwhatemotionstheTerezinworksmakethemfeelandthewaythechildrenwerefeelingwhilemakingthepieces.4.Comparetheimagesoftheartworktophotosofthecampduringthattime.Askifthephotosandtheartworkhaveanyresemblances,ifsothenhow?5.Havetheclasschoosematerialsandsetuptheclassroom,orgooutsidetobeginworking.Haveeachfindoneareainwhichtodraw,andhaveeachfocusonportrayingitrealistically.Studentswillcreatetheirowndrawingsorwatercolorpaintings based on a scene. Ask them to think about using the art elements to help convey their thoughts and emotions aboutthesubjectmatter.Forexample,reiteratethatcolorscanbesuggestiveofsomethingandthatthethickness/treatmentoflinecanaffectanimage.Giveeachalistoftheelementstokeeponhandduringthedrawing/paintingsession.6.Askeachstudenttowriteaparagraphaboutthechoiceofsceneandtheemotionsandthoughtshe/shewishedtoconvey.Askthestudenttowritethetitleofthework.7.Aftereveryonehasfinished,thestudentswillpresenttheirworkstotheclass.Askwhyeachchosethatspecificnarrativeand how each chose to illustrate the scene. Have the students describe what techniques they chose and how the art ele-mentshelpedgettheirfeelingsacross.Givethemtheopportunitytoreadtheirparagraphs.8.SampleQuestions: a.CanyoucompareandcontrastthesurroundingsintheseimagestothoseofthestudentsatTerezin? b.Whatfeaturesoftheworkfromnowshowtolerance? c.WhichfeaturesoftheworkfromTerezinshowoppression? d. What in our time creates tolerance – in our class, in our school, in our country? Is this shown in the artwork created by the students in our classroom? e.Aretherewaystoshowtheencouragementoftoleranceinthesedrawings/paintings? f.Whatwouldyouaddorincludeinyourworktoencouragetoleranceintheschoolenvironmentorthesoci- ety as a whole?9.Evaluation:SeeGeneralActivityRubriconpg20.Youcanadapttherubrictothislessonplanasnecessary.

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Essential Question: In what ways can a person’s identity be maintained, expressed, and thus respected through creative endeavor?

Session Activity: Thisactivityfocusesoncreatingpoemsthatexemplifythestudent’sidentity.Inthisactivitystudentswillextendtheideaof“drawwhatyousee.”FriedlDicker-Brandeis’sstudentscreatedpoemstoaccompanytheirartwork.Thesepoemsfocusedonwhatthestudentssawaroundthem,whattheyimagined,andtheirownidentitiesinthecamp. Beginbydiscussingthewaypoetrycanfurtherextendthemessageoftheart.Lookatseveralworksandac-companyingpoemsbyTerezinstudents.Discussthewaythepoemshowseitherthesceneviewedbythestudent,theimaginationofthestudent,orthestudents’identityinthecamp.Discussthewaytheaccompanyingpoemextendsthemessageoftheartwork.WhenthechildrenenteredTerezin,theylosttheiridentitiesbyhavingtheirnamesreplacedbynumbers.Discussthewaytheseartworksandpoemsexpressedtheidentityofthosewhocreatedthem.Discussthereasonsthiswouldhavebeenimportantinthefaceofnumbersassignedtostudentswhilenameswereremoved. Following the discussion, have the students discuss their own identities. Have them think about characteris-ticsofthemselves,thingstheyliketodo,andthewaytheywoulddescribethemselvestoothers.Havethemlookatthedrawingsfromthe“drawwhatyousee”lesson.Discussthewaythesedrawingsexpressedpersonalidentities. Forthisactivity,eachstudentwillcreateapoemtoaccompanythedrawingfromthepreviouslessonplan.Each can create either an acrostic poem or a Haiku.

Acrostic Poem Createanacrosticpoembasedonatitleforthedrawing.Havethestudentsusetheirprevious written paragraphs to help them. Acrostic Example: Forever-loyal companion Right by my side, In the good and bad, Each trial and change, Never wavering, Dear to me in every way.

Descriptive PoetryBy: Brooke Shaw

I Never Saw Another Buttefly,Excerpt,ChildatTerezin

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Haiku HaikuisatraditionalformofJapanesepoetry.Haikupoemsconsistof3lines.Thefirstandlastlinesofthehaikuhave5syllablesandthemiddlelinehas7syllables.Thelinesrarelyrhyme,andareusuallywrittenaboutthingsthatarerecognizabletothereader.Eachstudentwillcreateahaikudescribinghisorherdrawing.

Haiku Examples: Hugeveryfriendyousee Tomorrow may bring a change Bad will turn to good.*

Each person changes We help each other to grow Ire will turn to care. Display the drawings and poems together. Discuss the way the poem extends or expresses the meaning or mes-sageofthedrawing.Discussthewaythepoemexpressesthestudent’sidentity.

Grade Level:7-12

Time Needed: 2-3 class periods

Objective: Studentswillunderstandthatpoetryhastheabilitytoextendthemeaningofanartwork,totransmitemotionand identity through descriptive words.

Materials: paper, pencils, markers, crayons, colored pencils

Activity Procedures: 1.Introducethewaypoetryhastheabilitytofurtherextendthemessageofart.2.IntroducesomeworksandaccompanyingpoemsbythechildrenatTerezin.Discussthewaythepoemsdescribetheartwork. Discuss the way the artworks and poems express the children’s identities.3.Havethestudentsdiscusstheirownidentities,andlistcharacteristicsofthemselves.4.Havethestudentslookattheirdrawingsfromthe“drawwhatyousee”lessonanddiscussthewaythedrawingsex-press their personal identities.5.Discusstheissuesoftoleranceaspartofpersonalidentityaswell.Discussthosecharacteristicsofthestudents’liststhat suggest tolerance. 6.Ifyouchoosetheacrosticformat,childrenwillwritethetitlestotheirdrawingsverticallyfromwhichtocomposetheirpoems.OrhaveeachstudentwriteaHaikubasedononeaspectofhis/herdrawing.7.Aftereachstudentfinishes,displaythedrawingandpoemtogetherandreadthepoemaloudtotheclass.Discussthewaythepoemextendsthemeaningofthedrawingandthewaythepoemexpressesthestudent’sidentity.8.Evaluation:SeeGeneralActivityRubriconpg20.Youcanadapttherubrictothislessonplanasnecessary.

*Alteredpoemfrom:http://www.lbpcentral.com/forums/archive/index.php/t-70678.html

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Draw What You See: Something Beautiful

By: Eileen LernerGrades 1-5/Gifted Program Florida State University Schools


Essential Question: Whatisyourdutytoinformtheworld?Whataretheessentialvaluesandidealsthatyouhopetopassonfromgeneration to generation?

Session Activity: Based upon the book, Something Beautiful, students will create essays and drawings depicting their own “somethingbeautiful”tobecompiledandpublishedintheformofaclassbook.

Grade Level: 1-5

Time Needed: 2 class sessions

Objectives: 1. Students will be able to make connections to the artwork and story, Something Beautiful, by portraying their own valuesinessayandillustrationformats.2.Studentswilldemonstrateknowledgeandunderstandingoftheimpactofourfamilies,cultureandcommunitiesupon our values.3.Studentswillbecomefamiliarwithusingthewritingprocessanduseofmixedmediatoexpressone’sideas,valuesandbeliefsinuniqueandpersonalways.

Materials: Drawingpaper,markers,crayons,coloredpencils,pencils,notebookpaper,andacopyofSomething Beautiful, written by Sharon Dennis Wyeth and illustrated by Chris K. Sentient (New York: Bantam Doubleday Dell Publishing1998).

Activity Procedures:1.Thefollowingquotationsmaybeisolatedandpointedlydiscussedintheclassortheymaysimplyremainunderly-ingconceptsfortheprocedures.2. As a class, read Something Beautiful. “There are only two lasting bequests we can hope to give our children. One oftheseisroots;theother,wings.(HoddingCarter)”AccordingtoauthorSharronDennisWyeth,somethingbeauti-fulis“somethingthatwhenyouhaveit,yourheartishappy.”3.Eachstudentwillcreateawell-developedpersonalessaydepictingtheselectionofhis/herown“somethingbeauti-ful.”4.Eachstudentwillexecuteawell-developeddrawingofhis/her“somethingbeautiful.”Studentscanselectfromavarietyofmedia,includingcoloredpencilsandmarkerstocreatetheirdrawings.

15

Draw What You See: Something Beautiful

5.Studentscan(andshould)usedetailsintheirartworktoelaboratedrawings,toaidandenrichthedevelopmentofwrit-ten thoughts and descriptive language in their essays. 6.Asaclass,discusstheimpactofexperiencesindeterminingthosethingsvaluedmost.Ask“Ifthe‘somethingbeauti-ful’isatangibleobject,isitreallytheitem(oritsmonetaryvalue)thatmakesitsobeautiful,ortheintangibleworthandmemories associated with it?”

Evaluation: Formativeassessmentwillbeusedthroughoutthislessontomonitorstudentprogressandunderstanding.Ifstu-dentsdemonstratedifficultywiththelesson,adjustmentswillbemadetomakethelessonmorecomprehensible.Qualityofdiscussionandoveralleffortdisplayed,inadditiontothedetailoftheimageandwrittenexplanation,willinfluencesummative assessment. Student artwork, written language skills, and critical and creative thinking skills will be evaluated with corresponding rubrics. See potential rubric on p. 21.

MargitKonetzova,Butterflies,WatercolorandPencil,ChildatTerezin

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Draw What You See: What’s Your Legacy? Family ValuesBy: Eileen LernerGrades 1-5/Gifted Program Florida State University Schools


Essential Question: Howareyouinfluencedbyyourfamilylegacyandvalues?

Session Activity: Inthisactivitystudentswillreadseriesofbookswhichdealwiththemeanstopassonvaluestoleavealegacy.Legacywillbecomepersonaltothestudentsastheyconductinterviewswithfamilymembers.Eachstudentwillworktoleavealegacybywritingabouthis/herfamilyvaluesthroughpoetryorotherwrittenformsandillustrat-ingthewritingvisually.Orthestudentmayelecttofirstpresentthefamilylegacyvisuallyandproducewritingtoaccompany the image.

Grade Level: 1-5

Time Needed: Eight class sessions

Objectives: 1.Studentswilldemonstrateunderstandingoftheimpactofprejudice(pre-judging)andhatreduponourschool,com-munity, society and world.2.Studentswilldemonstrateunderstandingoftheimpactthateachindividualcanhaveuponhis/herimmediateenvi-ronment(friends,school,community,etc.).3.Studentswilldemonstrateknowledgeandunderstandingoftheimpactofourfamilies,cultureandcommunitiesupon our values.4.Studentswillbecomefamiliarwithusingthewritingprocessanduseofmixedmediatoexpressanindividual’sideas,valuesandbeliefsinuniqueandpersonalways.

Materials: Say Something,writtenbyPeggyMossandIllustratedbyLeaLyon(Philadelphia:Gardiner:TilburgHouse2008).Terrible Things: An Allegory of the Holocaust, written by Eve Bunting and Illustrated by Stephen Gamely (Philadel-phia:TheJewishPublicationSociety1989).Draw What You See,writtenbyHelgaWeissova(withheroriginalartwork)(Gottingen:WallsteinVerilog1998).Fireflies in the Dark: The Story of Friedl Dicker Brandeis and the Children of Teresina, written by Susan Goldman Rubin(NewYork:ScholasticInc.1998).The Cat with the Yellow Star: Coming of Age in Teresina, written by Susan Goldman Rubin with Ela Weissberger (NewYork:HolidayHouse2006).MarkFletcher/guestspeakerhttp://www.markfletcher.embarqspace.com/Drawing paper, markers, crayons, colored pencils, pencils, and notebook paper.

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Draw What You See: What’s Your Legacy? Family Values

Activity Procedures:1. Students will read and discuss the book, Say Something.2. Students will read and discuss the book, Terrible Things: An Allegory of the Holocaust.3.StudentswillbeintroducedtotheartworkofFriedlDicker-Brandeis,ElaWeissberger,HelgaWeissovaandMark Fletcherthroughthefollowingbooksandexperiences: Draw What You See. Fireflies in the Dark: The Story of Friedl Dicker Brandeis and the Children of Teresina. The Cat with the Yellow Star: Coming of Age in Teresina. MarkFletcher/guestspeaker4.Studentswillinterviewfamilymembers(parentsandgrandparents)aboutthetraditions,cultureandvaluestheyholddear(thisfollowsaseriesoflessonsrelatingtothesetopics).5.StudentswillcelebratetheirlegaciesinthestyleofHelgaWeissova(Draw What You See to tell the world a story) and Mark Fletcher (water color and ink drawings accompanied by original poetry). Students will combine text based on inter-viewswithartworktoexpressfamilylegaciesandvalues.

Evaluation: Formativeassessmentwillbeusedthroughoutthislessontomonitorstudentprogressandunderstanding.Ifstu-dentsdemonstratedifficultywiththelesson,adjustmentswillbemadetomakethelessonmorecomprehensible.Qualityofdiscussionandoveralleffortdisplayedinadditiontothedetailoftheimageandwrittenexplanationwillinfluencesum-mative assessment. Student art work, written language skills, critical and creative thinking skills will be evaluated with corresponding rubrics. See potential rubric on p. 21.

Family Around Dinner Table,Drawing,ChildatTerezin

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Capturing a Sentiment: Notecards with a Universal Message

By: Barbara Davis, Florida State University Schools


Essential Question: Howcanwevisuallyexpressthethemesoftolerance,peace,freedomandthesanctityofthehumanspiritwithimagesthatcanrelatetothewrittenwordsofHolocaustprisoners,orphilosopher’squotes(past/present)touch-ing on similar themes?

Session Activity: Thestudentswilldevelopstudiohabitsthroughthefollowingmethods.Theywillengageandpersistbylearn-ingtoembraceproblemsofrelevancewithintheartworldand/orofpersonalimportance,todevelopfocusandothermental states conducive to working and persevering at art tasks. They will express by learning to create works that conveyanidea,afeeling,orapersonalmeaning.Ultimately,thestudentswillcreateinformationnotecardswithtextandimagesthatfocusontheHolocaust.

Grade Level: 9-12

Time Needed: Two weeks, plus notecard production time.

Objective: 1.Studentswillanalyzeanddecodewritings/poemsformeaning&themes.2. Students will chart similes and metaphors.3.StudentswillbrainstormanalogousvisualsymbolsandgroupbyVenndiagramwiththemesfromwriting.4.Studentswillfindfamousquotesthatthematicallyconnectwithpreviousbrainstormingideas.5.Studentswillcreatevisualrepresentations,thatisnotecards,utilizingphotography,digitalsoftware,collage,etc.and text.6.Studentswillrefineworkbasedoninputfrompeers.

Materials:Holocaustresourcematerials,poetryandwritingfromtheHolocaust:Holocaust Poetry,compiledandintroducedbyHildaSchiff,StMartin’sGriffin,NY.…I never saw another butterfly… Children’s Drawings and Poems from Terezin Concentration Camp,1942-1944,Edited by Hana Volavkova, Schocken Books, NY.Art Music and Writings from the Holocaust, Susan Willoughby, Heinemann Library, Chicago, IL.Fireflies in the Dark; The Story of Friedl Dicker-Brandeis and the Children of Terezin, Susan Goldman Rubin, Scho-lastic Inc. NY.The Cat with the Yellow Star, Coming of Age in Terezin, Susan Goldman Rubin with Ela Weissberger, Holiday House, NY.Brundibar,MauriceSendak,TonyKushner,aftertheoperabyHansKrasaandAdolfHoffmeister,HyperionBooksforChildren.

19

Capturing a Sentiment: Notecards with a Universal Message

Activity Procedure: 1.Studentswillreadanddiscussthepoems/writings(andviewartwork)fromconcentrationcampprisoners.2.Theteacherswillincludeahandouttogeneratekeywords,phrases,themes,ideasfromreading.3. Students will use the Think-Write-Pair-Share interpretations.4. With the whole group students will chart key ideas. 5. Students will use a Nominal Group technique to bundle ideas into related themes, similes and metaphors.6.Studentswillresearchpresent-daygenocideandseek“personalview”articlesratherthanstatistics.7.Studentswillresearchfamousquotesthatappearrelevanttotheirunderstandingofthethemes.8.Studentswillcompilelistsoffavoritepassages,favoritepoems,andexcerpts.9.Studentswillgenerateideasforvisualrepresentationtogowiththesepassagesfornotecards.* *Key is to move beyond their literal interpretation and use metaphor.10. Students will use photographs, collage, Photoshop, etc. to create images based on ideas.11.Studentswillpresent,critiqueandrefinetheirworkbasedoninput.Finalselectionswillbemade.12.StudentswillusesoftwaretofinalizetheirimagesandtextforprintingintonotecardsforsaleforHERC.** **Finalselectionswillbemadeintosetsof4cardstobepackagedwithenvelopes.

Evaluation: Formativeassessmentiscriticalintheearlyactivitiestoensurenooneis“optingout”(off-task)orunabletoun-derstandthematerial.Usingsmallgroupandlargegrouptechniquesaswellastimeforindividualreflectionisimportant.Ifstudentshavedifficultywithdecipheringthethemes,bepreparedtorearrangethegroups,readoutloudwithemphasis,etc.Assessmentoftheearlypreparationwork(groupactivities1-5,9)and(individualactivities6-8)willuseasimple5pointscale (see rubric on p. 22). Summativeassessmentwillbeappliedtothevisualworkcreatedbyindividualsfortheproject.Therubricforthevisual work will be given to students in advance and reviewed with the whole class to show the way each objective will be scored (see rubric on p. 22).

Three Jewish Boys,Painting?,ChildatTerezin

20

General Activity Rubric

21

Rubric: Draw What You See - Something Beautiful; Family Values

22

Rubric: Capturing a Sentiment

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Glossary

Acrostic Poem:apoeminwhicheachlinestartswithaletterfromthesubjectmatterwrittenabout.

Art Therapy:Aformofpsychotherapythatencouragesself-expressionthroughpaintingordrawing.

Auschwitz:NaziGermany’slargestconcentrationcampandexterminationcamp,locatedinsouthernPoland.

Concentration camp:acampwherepersons(prisonersofwar,politicalprisoners,orrefugees)aredetainedorcon-fined.

Haiku:traditionalJapanesepoemwiththreelines,thefirstandthirdlinesaremadeupoffivesyllables,andthesec-ondlineismadeupofseven.

Nazi:amemberofaGermanfascistpartythatcontrolledGermanyunderAdolfHitlerfrom1933-1945.

Terezin:NaziconcentrationcamplocatedinCzechoslovakia.Createdinlate1941asa“modelJewishsettlement”todeceive the outside world, but in reality it was not a “model Jewish settelement” at all.

Liana Franklová, Everyone Was Hungry,Drawing,ChildatTerezin

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Content and Image Sources

Content Sources:

Rubin, Susan G. Fireflies in the Dark: The Story of Friedl Dicker-Brandeis and the children of Terezin, Scholastic Inc.: New York, 2000.Rubin, Susan G. and Weissberger, Ela. The Cat with the Yellow Star: Coming of Age in Terezin, Holiday House: New York,2006.http://www.wnyc.org/articles/music/2003/oct/22/brundibar-a-history-and-synopsis/http://www.cbsnews.com/8301-18560_162-2508458.htmlhttp://holocaustmusic.ort.org/places/theresienstadt/brundibar/http://www.enquirer.com/editions/2000/10/19/tem_a_conversation_with.htmlhttp://coe.unm.edu/home/narrowwindow/about-the-artist.html)http://makarovainit.com/friedl/home.htmlhttp://coe.unm.edu/home/narrowwindow/about-the-artist.html

Image Sources:

http://carianddanmarino.blogspot.com/2011/03/brundibar-and-holocaust-survivor-ela.htmlhttp://farm4.static.flickr.com/3493/3713612126_85428a5bb3.jpghttp://news.unm.edu/2011/01/unm-art-education-faculty-and-masley-gallery-present-friedl-dicker-brandeis-and-the-early-bauhaus/http://coe.unm.edu/home/narrowwindow/about-the-artist.htmlhttp://halogentv.com/articles/ela-weissberger-star-of-david-star-of-brundibar/http://www.uv.es/cultura/e/expinfanciaiguerra10ing.htmhttp://www.flickr.com/photos/9679871@N04/with/3712809099/#photo_3712809099http://kurioso.es/english-2/the-kids-who-lived-and-drew-the-holocaust/http://chedesi.blogspot.com/2011/10/how-jewish-schoolgirl-escaped-clutches.htmlhttp://www.infocenters.co.il/gfh/multimedia/Photos/Idea/17641.jpghttp://www.festivalsreview.com/show/terezin-children-of-the-holocaust,513/http://www.jewishmuseum.cz/en/a041.htmhttp://acejet170.typepad.com/foundthings/2006/06/i_never_saw_ano.htmlhttp://plbrown.blogspot.com/2013/03/nyc-met-and-amazing-special-exhibit.html

On the Way to Terezin, Drawing,ChildatTerezin

Please return to: FSUMuseumofFineArtsRoom 250 Fine Arts BuildingTallahassee,FL32306-1140

Wasthismaterialadaptableforintroductiontoyourstudents?All Some None

Didyoufeelthepacketadequatelyprovidedtheinformationandmaterialsonthetopicsraisedbytheworkshop?All Some None

Wasthepacketpresentedinanorganizedmanner?All Some None

WouldyouliketocontinuetoreceivematerialsfromtheFSUMuseumofFineArts?All Some None

Willyouuseanyofthesuggestedactivitiesinyourclassroom?All Some None

Comments or suggestions:

26

Evaluation

Leaves Falling,Drawing,ChildatTerezin

Ela Weissberger Teacher Workshop offerered in conjunction with FSU Museum of Fine Arts

GenerationsMay 10th - July 12th, 2013

CURATORIAL TEAM BY SCHOOL OR INSTITUTION

Bond Elemenatry - Qadira DavidsonBuck Lake Elementary - Fran KautzCoCA - Amanda Karioth ThompsonConley Elementary - Marcia Meale

Deerlake Middle School - Linda JohnsonFSU Schools (Gifted Program) - Eileen Baumfield Lerner

Gilchrist Elementary - Julie McBrideHolocaust Education Resource Council - Eileen Baumfield Lerner

Lincoln High School - Shannon TakacsMission San Luis - Lindsay Douglas & Erick Lopez

Montford Middle School - Donald SheppardPineview Elementary - Sara Chang (ESOL), Katharyn Jones & Kati Yates

Raa Middle School - Teresa CoatesRickards High School - Jess DistefanoSullivan Elementary - Evelyn Pender

Tallahassee Community College Gallery - Laura ThompsonTrinity Catholic School - Maria Augustyniak

JamesGibson,detailofLake Bradford,oiloncanvas,25.9x29.5inches.Collection:TallahasseeMuseum.PhotoCourtesyoftheTallahasseeMuseum.

friedl dicker-brandeis and ela weissberger at terezin · 2019-07-17 · only the inhabitants of...

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