1. How can an art work (poetry, theater or pottery for example) reflect life? Where DO artists get their ideas?

2. They say that smart people.. have just a normal amount of brain, have just a normal amount of brain,

3. But they use it in smart ways! They develop thinking habits. They develop thinking habits. A Habit of Mind is knowing how to behave intelligently when you DON’T know the answer.

4. EXAMPLE: Some say that artists pay more attention They observe life very closely. They observe life very closely. By noticing details that many people miss, they often come up with the ideas for their work. By noticing details that many people miss, they often come up with the ideas for their work. Observation is an artist’s Habit of Mind. Observation is an artist’s Habit of Mind.

5. Reflection: Habit of Mind, too! Artists think about their own creative work and the creative work of others. They give their work careful thought. Artists think about their own creative work and the creative work of others. They give their work careful thought.

6. Reflect They reconsider what they or what others did before them. Sometimes art reflects art that reflects life. They reconsider what they or what others did before them. Sometimes art reflects art that reflects life. Picasso, 1950 Celadon water dropper, Korean, 12th century

7. So what? Art is a reflection of life You have seen a play and read the book it originated from. Its author says that the ideas for her characters all came from close study and observation of Korean arts and culture. You have seen a play and read the book it originated from. Its author says that the ideas for her characters all came from close study and observation of Korean arts and culture.

8. Now let’s look at the work of another artist--a poet George Ella Lyon George Ella Lyon

9. We’ll use a Reflection Tool How does the poet get us to SEE what she MEANS? How does the poet get us to SEE what she MEANS? Brian Carroll

10. How much can we notice… in a piece she wrote called: Where I am From by using the --

11. Critical Response Tool Before we can use the tool, we have to really slow down. Getting ready involves reading the piece several times slowly. Before we can use the tool, we have to really slow down. Getting ready involves reading the piece several times slowly. Thinking about your thinking: Thinking about your thinking: How does it help to hear the poem out loud? How does it help to hear the poem out loud? What’s the effect of hearing it read by different voices?

12. I am from... I am from clothespins, from Clorox and carbon-tetrachloride. I am from the dirt under the back porch (black, glistening it tasted like beets). I am from the forsythia bush, the Dutch elm whose long gone limbs I remember as if they were my own. I’m from the fudge and eyeglasses, from Imogene and Alafair. I’m from the know-it-alls and the pass-it-ons, from perk up and pipe down. I’m from HE restoreth my soul with a cotton ball lamb and ten verses I can say myself. I’m from Artemus and Billie’s Branch, fried corn and strong coffee. From the finger my grandfather lost to the auger the eye my father shut to keep his sight. Under my bed was dress box spilling old pictures, a sift of lost faces to drift beneath my dreams. I am from those moments-- snapped before I budded-- leaf-fall from the family tree. George Ella Lyon, on Poetry USA

13. Describe it without judging? Step One Thinking about your thinking: What happens when we put off forming an opinion for a while? What happens when we put off forming an opinion for a while?

14. What does it remind you of ? Step Two Thinking about your thinking: Can you connect it to your own life? Can you connect it to your own life?

15. How does it make you feel? Step Three Thinking about your thinking: People remember those things that give them an emotional reaction. People remember those things that give them an emotional reaction.

16. What questions does it raise for you? Step Four Thinking about your thinking: What does it make you wonder about? What does it make you wonder about?

17. Speculate, what did she want you to understand? Step Five Thinking about your thinking: Good works of art have lots of possible meanings. It’s not like math. There’s more than one correct answer! Good works of art have lots of possible meanings. It’s not like math. There’s more than one correct answer!

18. How did it go? Let’s reflect on the Critical Response Tool. Was it helpful? HOW? 1.Yes or No—did the Critical Response Tool help you to understand the poem more deeply than you did the very first time you read it? 2. Which do you prefer: Trying to figure out the meaning of something on your own, or working with others? 3. What question or questions in the Critical Response Tool was the most helpful to you in thinking deeply about/understanding this poem? Why?

19. Curious about the poem? A little background: George Ella Lyon grew up in Harlan, Kentucky, a little coal mining town in the Appalachian mountains. She says that as a young girl, she sat listening to the stories of her family and the people around her and memorized songs, Bible verses and poetry. That got her interested in reading and writing. She’s written over a dozen books of poetry, fiction and illustrated children’s fiction. In 2005 she turned 56 years old.

20. Life is a source for artists Have you seen this before? A Korean vase with cranes? Even if you had never heard its story, by looking closely and reflecting using the Critical Response Tool, you might be able to “read” it, too. Have you seen this before? A Korean vase with cranes? Even if you had never heard its story, by looking closely and reflecting using the Critical Response Tool, you might be able to “read” it, too.