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• W331997906 abstract "I. Encouragement In 1910 Alice Gostick, a young junior high school art teacher, recognized and encouraged the art ability of a poor Yorkshire coal miner's son. Half a century later, Henry Moore, perhaps the greatest living sculptor, attributed the major factor in his decision for an art career to be her consistent enthusiasm, sympathy, and encouragement.1 This is no isolated example, for surely each of us could recall when a teacher's words or acts of encouragement carried great weight in furthering our own artistic activity. is the connection between encouragement and art teaching? This relationship is expressed by Kenneth Beittel: see now that 'teaching' arting is like 'teaching' loving-one can only begin by loving the arting itself which is concretely present, no matter how weakly, in an other.2 Thus, initially, encouraging requires that the teacher identify a desirable ability, which the student has demonstrated, no matter how faintly. The teacher must ask himself, first, in giving support: What has the student done, which can serve as a valuable base on which to further build? Whereas discouragement interferes with learning, encouragement facilitates learning. Obviously, we can build better on strength, than on weakness.3 Simply stated, encouragement is effective because it builds courage. When creating, the student may need his courage strengthened. Awash in the unknown, frightening flux of creation, he may need security, in someone who can stand behind him and let him know that he's doing OK. Fully aware that he may create something less than perfect, he may need the teacher to give him the courage to try, even if to try may mean to fail. Although the student may be painfully aware of a hundred deficiencies, just being told he has done one thing well can give him the courage to continue. Furthermore, encouragement is effective because it is satisfying. Both teachers and students alike find much more personal fulfillment in giving and receiving encouragement, rather than criticism. Although most art teachers view B. F. Skinner's work with wariness, nevertheless most have accepted the wisdom of reinforcing the positive, in preference to extinguishing the negative. Nor is this a new idea. Years ago, who amongst us did not receive colorful stickers, stars, and smiley faces on our elementary schoolwork? Napoleon attributed much of his army's success to his use of medals and citations. And two thousand years ago, Aesop said: You catch more flies with honey than with vinegar. In addition, the ability to encourage is a valuable attribute of leadership. The leader, or teacher, must be able to build upon the achievements of those who look to him for guidance. In the words of Charles Schwab: I consider my ability to arouse enthusiasm among men the greatest asset I possess, and the way to develop the best that is in a man is by appreciation and There is nothing else that so kills the ambition of a man as criticism from his superiors. I never criticize anyone. I believe in giving a man incentive to work. So I am anxious to praise but loath to find fault. If I like anything, I am hearty in my appreciation and lavish in my praise.4 Because this ability to encourage is essential to leadership, it is a competency which art teacher candidates should be capable of demonstrating. Quite likely, the three most important art education verbal competencies are: one, motivating a class in a topic; two, encouraging students during the working period; and three, discussing the finished works with the class. The relationship of encouragement to motivating and discussing finished works will be taken up later in this article. Yet, inasmuch as the working period usually occupies considerably more of the students' time and effort than does the motivation period or evaluation period, one might even be tempted to say that, hence, working period encouragement is the competency of the three which is of greatest importance. Three of the NAEA Task Forces on Performance Based Teacher Education expressed this recommendation that intern teachers be able to exhibit this proficiency: Motivating students with praise and positive encouragement. Task Force One Displaying a warm and supportive nature toward different students. Task Force Two Should be able to display a feeling of warmth by displaying the abilityto encourage positive behavior.5 Task Force Four" @default.
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• W331997906 date "1976-04-01" @default.
• W331997906 modified "2023-09-26" @default.
• W331997906 title "Encouragement: Toward CBTE in the Art Working Period; Five Steps in Giving Students Support" @default.
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• W331997906 doi "https://doi.org/10.2307/3192158" @default.
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