Primary Handwork.
by Ella Victoria Dobbs.
PREFACE
This book is the outgrowth of long experience as a teacher of primary grades, followed by special study of handwork as a factor in elementary education. It is written with three objects in view:
First, to gather into a single volume various methods already in use in the more progressive schools, and for which the best suggestions are scattered through current periodicals:
Second, to organize these methods and present them in a simple form for the use of teachers who have had no special training in handwork processes:
Third, accepting conditions as they exist in the small town school and the one-room country school, as a basis of organization, to offer suggestions which may be easily adapted to the conditions of any school with a view to bringing present practice into closer harmony with the best educational ideals.
No claim is laid to originality, beyond the small details in which one person"s interpretation of a large problem will differ from that of another.
The projects here outlined have been tested in the Public Schools of Columbia, Missouri, under conditions which are common to towns of about the same size.
The point of view has been influenced chiefly by the educational philosophy of Prof. John Dewey, especially as expressed in his essay "The Child and the Curriculum." The author wishes here to make grateful acknowledgement to Dr. Dewey, not only for the helpfulness of his writings, but also for the inspiration of his teaching.
Thanks are also due to Dr. Naomi Norsworthy of Teachers College, and to Dean W. W. Charters of Missouri University, for encouragement in planning the book and for criticism of the ma.n.u.script. Especial acknowledgment is here made to Prof. R. W. Selvidge of Peabody College for Teachers, formerly of this University, for hearty cooperation and helpful suggestions in working out the problems described in this book, and to the teachers of the Columbia Schools for their most efficient services in testing these problems in their cla.s.srooms.
E. V. D.
UNIVERSITY OF MISSOURI,
February, 1914.
PRIMARY HANDWORK
CHAPTER I
INTRODUCTION
In setting forth the plan and purpose of this little book the author wishes to lay equal emphasis on its limitations. The outlines and suggestions which follow are designed for the use of grade teachers who have had little or no training in handwork processes but who appreciate the necessity of making worthy use of the child"s natural activity and desire to do. The outlines are arranged with reference to schools which are not provided with special equipment and which have scant funds for supplies. The projects require only such materials as empty goods boxes, and odds and ends of cloth and paper, which are easily obtainable in any community. No extra time is required for the work, and it may be successfully carried out by any teacher who is willing to devote a little study to the possibilities of things near at hand.
These outlines do not form a course of study to be followed in regular order nor in set lessons coming at a definite time. They are, rather, a series of suggestions to be used wherever and whenever they will serve a worthy purpose. They are not to be regarded as a _special_ subject, having little or no connection with the regular cla.s.s work, but rather as an ill.u.s.trative method of teaching the regular subject matter whenever the teaching can be done more effectively by means of concrete ill.u.s.trations.
It is proposed to make greater use of construction as a medium of expression, and place _making_ more nearly on a par with talking, writing, and drawing.
Any of the projects outlined may be modified to suit varying conditions, and the emphasis placed according to the needs of a particular cla.s.s. All the suggestions are given in very simple form, chiefly from the standpoint of the first grade, for the reason that it is easier to add to the details of a simple problem than to simplify one which is complex.
It is not the purpose here to emphasize the training of the hand or the development of technique in handwork processes to the extent commonly expected of a course in manual arts, though considerable dexterity in the use of tools and materials will undoubtedly be developed as the work proceeds. While careless work is never to be tolerated in construction any more than it would be tolerated in writing or drawing, the standard is to be only such a degree of perfection as is possible through a child"s unaided efforts. It is proposed to provide him with things to do of such interest to him that he will wish to do his best, and things of such a nature that they will please him best when they are well done, and so stimulate a genuine desire for good work. To this end the suggestions relate to things of immediate value and use to the children themselves, rather than to things commonly comprehended in a list of articles which are useful from the adult point of view.
The work is to be kept on a level with the child"s experience and used as a means of broadening his experience and lifting it to a higher level. It must also be kept on the level of his constructive ability in order that he may do things _by himself_, and develop independence through feeling himself master of his tools. Neither patterns nor definite directions are provided for the details of the projects outlined, for the reason that it is desired to make every project a spontaneous expression of the child"s own ideas. To this end the outline serves only as a framework, to be filled in as the worker desires. The ready-made pattern implies dictation on the part of the teacher and mechanical imitation and repet.i.tion on the part of the pupil,--a process almost fatal to spontaneous effort. While it is possible through a method of dictation to secure results which seem, at first, to be much better than the crude constructions which children are able to work out for themselves, it is only a superficial advantage, and one gained at the expense of the child"s growth in power to think and act independently. It is an advantage closely akin to the parrotlike recitation of the pupil who catches a few glib phrases and gives them back without thought, as compared with the recitation of the pupil who thinks and expresses his thoughts in his own childish language.
These outlines are intended not only to emphasize independence in self-expression, but also to foster a social spirit through community effort and develop a sense of responsibility through division of labor. A child"s shortcomings will be brought home to him much more vividly if he fails to contribute some essential a.s.signed to him in the construction of a cooperative project, and thereby spoils the pleasure of the whole group, than when his failure affects only his individual effort in a group of duplicate projects.
These outlines are intended also to suggest a method of opening up to the children, in an attractive way, the great field of industry. Their deep interest in playing store leads easily to a study of the source, use, and value of various forms of merchandise and the essential features of various trades and occupations. Problems of this sort are fascinating to children in all the lower grades, are rich in valuable subject matter, and suggest things to do which are both interesting and worth while. Without attempting to exhaust any phase of the subject, they awaken an intelligent interest in the industrial world and tend to stimulate thoughtful observation. They help to give the children correct ideas about industrial processes as far as their knowledge goes, and to create a desire for further knowledge. This general information lays a good foundation for later and more serious study of the industries and the choice of a vocation.
These outlines are offered as a means of bridging the gap between the formal methods and outgrown courses of study still in use and the richer curriculum and more vital methods toward which we are working. Much time must be spent in study and experimentation before a satisfactory reorganization of the curriculum can be worked out. Without waiting until this work shall be wholly completed, it is possible at once to vitalize the most formal course of study through the use of freer methods, which permit and encourage self-directed activity on the part of the pupil. The use of such methods will not only tend to create a deeper interest in school work, but must also help toward the great problem of reorganization, by throwing into stronger relief the strength and weakness of our present common practice.
CHAPTER II
PAPER CUTTING AND POSTER MAKING
Paper and scissors form a fascinating combination to all children, and offer a very direct means of self-expression. In the language of a small boy who attempted to tell how to do it, "You just think about something and then cut out your _think_." The teacher is concerned chiefly with the "think" and the way in which it is expressed. The children are interested in paper cutting chiefly from the pleasure of the activity. Beyond the immediate pleasure in the process, the cuttings are valuable only as they indicate the clearness of the child"s ideas and measure his ability to express them. The process is educative only in so far as it helps the small worker to "see with his mind"s eye" and to give tangible shape to what he thus sees. It is important, therefore, that the work be done in a way that will emphasize the thinking rather than the finished product.
The first question arising is, To what extent shall a pattern be used?
Shall the teacher cut out the object and bid the cla.s.s follow her example?
Shall she display a silhouette or outline drawing of the object she desires the children to cut, or shall they work without any external guide to justify or modify the mental picture? Shall they be given a pattern and be allowed to draw around it?
All of the above methods are used to a greater or less extent. Long experience seems to indicate that the first cutting of any object should be una.s.sisted by any external representation of it whatever, in order that the attention of each child may be focused upon his own mental picture of the object. When he has put forth his best effort from this standpoint, he should compare his cutting with the real object or a good picture of it and be led to see the chief defects in his own production and then allowed to try again.
[Ill.u.s.tration: FIG. 1.--Story of Jack Horner on poster and sand table.
Snowflakes in background. First grade. Columbia, Missouri.]
For example, after telling the story of Mother Hubbard, the children may be interested in cutting out dogs. No picture or other guide should be used at first, since every child knows something about dogs. The first cuttings are likely to be very poor, partly because the children have not sufficient control over the scissors and largely because their ideas are very vague. In a general comparison of work they will help each other with such criticisms as, "This dog"s head is too big." "That dog"s legs are too stiff." They are then ready to try again. Only when they have reached the limit of their power to see flaws in their work do they need to compare it with the real dog or its picture. Only after a child has attempted to express his idea and has become conscious in ever so small a degree of the imperfection of his expression will he really be able to see differences between the real object and his representation of it, and thereby clarify his mental picture.
[Ill.u.s.tration: FIG. 2.--Paper cutting. Second grade, Columbia.]
The child"s imagination is so strong that he is apt to see his productions not as they are but as he means them to be, and he is unable to distinguish between the original and his copy of it. If the picture or silhouette is presented at first, his work becomes to a large extent mere copying rather than self-expression. If the teacher cuts out a dog and displays it as a sample, the cla.s.s will be apt to see that piece of paper only and not a real dog. If the children are permitted to draw the outline either freehand or around a pattern, still less mental effort is required, and in cutting they see only the bit of line just ahead of the scissors and not the object as a whole.
Such methods (_i.e._ the use of outlines, silhouettes, etc.) will produce better immediate results. It will be easier to distinguish dogs and cats from cows and horses if a pattern is provided, but it will not produce stronger children. Such methods only defeat the chief purpose of the work, which is to stimulate the mental effort required to hold the mental image of the object in the focus of attention during the time required to reproduce it in the material form.
[Ill.u.s.tration: FIG. 3.--Paper cutting. Second grade.]
It is also often asked whether the children shall always cut directly and without modification or whether they shall be permitted to trim off the imperfections of their first attempts. While any rule must always be interpreted in the light of immediate circ.u.mstances, it is generally best to cut directly, and after noting the defects, cut again. It is then possible to compare the several attempts and see if improvement has been made. Attention should be directed to the most glaring defect only, and an attempt made to correct it. For example, if the dog"s head is too large, do not trim down, but cut another dog and try for better proportions.
Compare the second attempt with the first, to measure improvement. Even little children can be taught to work in this thoughtful way, looking for the defects in their own work and making definite attempts to correct them. To this end much cutting from an unlimited supply of newspaper or scratch paper will accomplish more than a few exercises in better paper which must be trimmed and worked over for the sake of economy. If little children are allowed to trim off, they are apt, in the pure joy of cutting, to trim too much and lose the idea with which they started--a process which tends to vagueness rather than clearness. To prevent this it is often helpful to preserve both pieces of paper, _i.e._ the cutting and the hole. (See Fig. 4.)
=Paper Tearing.=--Paper tearing serves many of the same purposes sought in cutting, and has several strong points in its favor. Working directly with the finger tips tends to develop a desirable dexterity of manipulation.
The nature of the process prevents the expression of small details and tends to emphasize bold outlines and big general proportions. Working directly with the fingers tends also to prevent a weak dependence upon certain tools and tends to develop power to express an idea by whatever means is at hand.
[Ill.u.s.tration: FIG. 4.--Paper tearing.]