Deck 15: Roles, Responses, and Strategies to Support Childrens Art

Question 1

Group time may be preferable to show-and-tell time for all of the following reasons except that it:

A) encourages language.
B) encourages social development.
C) is not based on toys and possessions from home.
D) stimulates cognitive development.

Answer 1

D

Question 2

As a teacher, it is appropriate to confess doubts about your own abilities as an artist to your students.

Answer 2

False

Question 3

When responding to a child's artwork, it is inappropriate to comment on the amount of effort the child has expended.

Answer 3

False

Question 4

It is important for early childhood teachers to excel in at least one of the arts.

Question 5

Sewing involves:

A) logical-mathematical thinking.
B) mathematical patterning.
C) geometry.
D) painting with a needle and yarn or thread.

Question 6

It is important for early childhood teachers to think in artistic ways.

Question 7

Which of the following is not part of being a creative teacher?

A) encouraging creative thinking and different ways to do things
B) seeing creativity as a skill that cuts across the program
C) adding creative activities here and there
D) seeing how all people have creative potential

Question 8

During art group time, children can learn:

A) art-related vocabulary.
B) to discuss each other's creative work.
C) to share art materials.
D) to make artistic decisions.

Question 9

Which of the following is not one of the artistic elements?

A) color
B) line
C) content
D) texture

Question 10

Art dictation should always be written on the child's artwork.

Question 11

Direct instruction is probably more effective than modeling in teaching a child to sew or weave.

Question 12

Young children are not sensitive to nonverbal messages from adults.

Question 13

When taking dictation from children about their art, it is important to have them read their words back to the teacher.

Question 14

It is normal for there to be a developmental spread of two to three years between two typically developing children.

Question 15

It is developmentally inappropriate to ask children to identify and describe the art materials they are using.

Question 16

Teachers can respond verbally and/or nonverbally to children's artwork.

Question 17

Young children thrive in a setting that is culturally diverse and culturally respectful.

Question 18

Matting and framing children's art indicates that teachers:

A) want to display the children's work.
B) value what the children have done.
C) feel a need to enhance the children's work.
D) have their own creative impulses.

Question 19

It is important that all children sometimes have a teacher's participation in their activity.

Question 20

Taking art dictation deepens the teacher's understanding of the child artist.

Question 21

As art specialists, early childhood teachers do not really need to:

A) be artists.
B) know about art and artists.
C) know about the artistic elements.
D) know about developmentally appropriate art activities.

Question 22

Which of the following physical behaviors conveys a positive nonverbal response to a child's artwork?

A) crossed arms
B) hands on hips
C) stooping to the child's eye level
D) tapping foot

Question 23

As an art specialist, the teacher should:

A) be a talented artist.
B) evaluate children's artwork.
C) stress conformity in children's thinking and behavior.
D) encourage children to use their senses and to experiment, explore, and represent what they know about the world.

Question 24

With the probing approach to responding to children's artwork, the teacher:

A) tells children that their art is good or great.
B) tells children that their art is nice, pretty, lovely, super, or beautiful.
C) directly asks children, "What is it?"
D) attempts to draw from children some hint, title, or verbal statement about their art.

Question 25

Which of the following is the likely outcome of an adult doing art for a child?

A) The child will learn new art skills and techniques.
B) The child will be more likely to try the technique independently.
C) The child will try to copy the adult and become frustrated and discouraged.
D) The child will withdraw from the art center or activity.

Question 26

Which of the following approaches to discussing a child's artwork attempts to help the child improve his/her artwork?

A) the probing approach
B) the correcting approach
C) the questioning approach
D) art dialogue

Question 27

In weaving, the weft is the:

A) structure you weave on.
B) finished product.
C) lengthwise yarn or string that is strung on the weaving structure.
D) yarn that is woven under-over and over-under the yarn strung on the weaving structure.

Question 28

Young children will stay involved in art activities for longer periods of time when:

A) adults do not interfere.
B) an adult is present and engaged.
C) the teacher provides new tools and media.
D) another child is engaged and enthusiastic about the activities.

Question 29

Stooping to the child's eye level to discuss his/her artwork:

A) is patronizing.
B) communicates warmth and interest.
C) ensures that the child can hear you.
D) establishes congruence between nonverbal and verbal messages.

Question 30

Which of the following principles should not be considered when using the artistic elements to respond to children's artwork?

A) Consider children's developmental levels.
B) Include a detailed description of the artwork so that the child will know it has been seriously considered.
C) Relate comments to the artistic elements the child has used in the art.
D) Use encouragement rather than praise.

Question 31

The judgmental approach to children's artwork:

A) puts the teacher's seal of approval on the child's artwork.
B) puts children on the spot to explain or justify their artwork.
C) undermines the teacher's credibility.
D) reinforces stereotypes in children's art.

Question 32

Opportunities for rich dialogue with a child about his/her artwork are created most effectively when teachers use:

A) the complimentary approach.
B) the questioning approach.
C) art dialogue.
D) the probing approach.

Question 33

The complimentary approach to responding to children's artwork:

A) limits the opportunities for rich verbal dialogue.
B) reinforces children's attempts at photographic realism.
C) undermines the teacher's credibility.
D) conveys sincerity and validity.

Question 34

Art dictation should be:

A) written neatly across the bottom of the child's artwork.
B) typed or word-processed to give a professional appearance.
C) written on a separate card or piece of paper.
D) re-copied by the child artist.

Question 35

When talking to a child about his/her art, the teacher should keep in mind all of the following except:

A) the child's previous experiences with the media.
B) the child's developmental level.
C) the artistic elements the child has used in the artwork.
D) using encouragement rather than praise.

Question 36

Which of the following is not a reason to include art dictation in your early childhood art program?

A) deepening the teacher's understanding of the child artist
B) building the teacher's relationship with the child artist
C) reinforcing the connection between the spoken and written word
D) completing the creative process for both child and teacher

Question 37

Because of variation among typically developing children, the most logical classroom structure is:

A) grouping according to chronological age.
B) multi-age grouping in a single class.
C) vertical grouping in a single class.
D) age-span grouping in a single class.

Question 38

Art dialogue is defined as:

A) asking children open-ended questions about their artwork.
B) discussing masterpiece art with children.
C) nonverbal teacher responses to children's artwork.
D) using the art elements to discuss a child's artwork.

Question 39

In weaving, the warp is the:

A) structure you weave on.
B) finished product.
C) lengthwise yarn or string that is strung on the weaving structure.
D) yarn that is woven under-over and over-under the yarn strung on the weaving structure.

Question 40

Art dialogue is a strategy for:

A) teaching children art vocabulary.
B) using the seven artistic elements to discuss children's artwork.
C) talking with children about masterpiece art.
D) discussing the directions for an art project.

Question 41

List four of the five reasons early childhood teachers should take art dictation.

Question 42

List three nonverbal behaviors to include in a nonverbal response to a child's artwork.

Question 43

When a child shares his/her artwork, the adult should first:

A) give a compliment.
B) begin an art dialogue.
C) wait and say nothing.
D) stoop to the child's eye level.

Question 44

Explain what you will need to know and be able to do as an art specialist in your classroom. Why is this important?

Question 45

List six roles for teachers in the early childhood art program.

Question 46

Which is the appropriate response to a child who is repulsed by messy art activities?

A) Conference with the child's parents.
B) Require the child to participate.
C) Let the child see that other children enjoy the activities and that the messy materials can be cleaned up.
D) Send the child to the school counselor.

Question 47

When a teacher identifies a child who is artistically or creatively blocked and uses an appropriate intervention strategy, he/she is acting as a(n):

A) responder.
B) problem solver.
C) observer.
D) troubleshooter.

Question 48

List the six questions an observer should ponder when viewing a child's artwork.

Question 49

Sewing and weaving are activities that support both creative expression and:

A) sustained attention.
B) eye-hand coordination.
C) higher level thinking.
D) convergent thinking.

Question 50

Explain what art dialogue is and how it has the potential to impact young children.

Question 51

List the nine artistic elements teachers may use to structure their responses to children's artwork.