A quarterback club for the high school fine arts department

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<ul><li><p>This article was downloaded by: [Central Michigan University]On: 08 October 2014, At: 13:34Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK</p><p>Communication EducationPublication details, including instructions for authors andsubscription information:http://www.tandfonline.com/loi/rced20</p><p>A quarterback club for the highschool fine arts departmentRobert James Tindel aa Colgan High School , Pittsburg, KansasPublished online: 18 May 2009.</p><p>To cite this article: Robert James Tindel (1977) A quarterback club for the highschool fine arts department, Communication Education, 26:3, 275-276, DOI:10.1080/03634527709378243</p><p>To link to this article: http://dx.doi.org/10.1080/03634527709378243</p><p>PLEASE SCROLL DOWN FOR ARTICLE</p><p>Taylor &amp; Francis makes every effort to ensure the accuracy of all the information(the Content) contained in the publications on our platform. However, Taylor&amp; Francis, our agents, and our licensors make no representations or warrantieswhatsoever as to the accuracy, completeness, or suitability for any purpose of theContent. Any opinions and views expressed in this publication are the opinions andviews of the authors, and are not the views of or endorsed by Taylor &amp; Francis. Theaccuracy of the Content should not be relied upon and should be independentlyverified with primary sources of information. Taylor and Francis shall not be liablefor any losses, actions, claims, proceedings, demands, costs, expenses, damages,and other liabilities whatsoever or howsoever caused arising directly or indirectly inconnection with, in relation to or arising out of the use of the Content.</p><p>This article may be used for research, teaching, and private study purposes.Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expresslyforbidden. Terms &amp; Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions</p><p>http://www.tandfonline.com/loi/rced20http://www.tandfonline.com/action/showCitFormats?doi=10.1080/03634527709378243http://dx.doi.org/10.1080/03634527709378243http://www.tandfonline.com/page/terms-and-conditionshttp://www.tandfonline.com/page/terms-and-conditions</p></li><li><p>INSTRUCTIONAL PRACTICES 275</p><p>After each performance the; audiencediscusses what happened, where it oc-curred, who the people were, and howwell the "actors" communicated thescene. Suggestions are given, and ques-tions are asked. After the entire classhas made presentations, we talk abouthow we can benefit from these improvi-sations when presenting a scene andabout the various things we saw whichneed to be recognized and dealt withwhen performing (e.g., don't turn yourback to the audience all the time, speakclearly, etc.).</p><p>Students usually are willing to workon this activity without getting credit,grades, or points. In most cases, we havehad no trouble in getting everyone toperform. In classes where this could bea problem, we simply announce that ac-tivities are worth so many points (ten,twenty, whatever), and that everyonewho completes the assignment accordingto the instructions will receive that num-ber of points. If the assignment was donebut did not meet requirements, groupmembers will be advised as to the num-ber of points they did receive. We arereluctant to grade creative improvisa-tional scenes, but have found that a fewstudents need to be aware that all ac-tivities are important. We have, there-fore, set up a point system for these kindsof activities.</p><p>Teachers should feel free to modifythe list and the requirements or tochange the assignment in any way. It hasmany possibilities' for use in the dramaclassroom. The manner of presentationmay be made at the teacher's discretion.We have asked students to use only pan-tomime, or to include both vocal andphysical actions, or to use their own dis-cretion in the manner of presentation.The most successful presentations havegenerally been those where both actionand vocalization are used. If one is work-ing with the concept of "show, don't</p><p>tell," however, it-is recommended thatthe activity be used as a means of de-termining how well students can panto-mime ideas.</p><p>A QUARTERBACK CLUB FORTHE HIGH SCHOOLFINE ARTS DEPARTMENT</p><p>Robert James Tindel,Colgan High School, Pittsburg, Kansas</p><p>At times, most high school theatre in-structors find that their budgets are notsufficient to cover the many costs of class-room teaching aids and play production.An insufficient budget is a major prob-lem I have encountered at Colgan HighSchool, a Catholic high school of ap-proximately 150 students. Because theart and the music departments of theschool also lack funds, together we es-tablished the Colgan Fine Arts Club tofind ways to meet our financial needs.Additional purposes for developing theorganization were to enhance coopera-tion among the three departments andto give club members the opportunityfor a broader cultural experience.</p><p>The first step toward organization oc-curred when a student, Kevin Mitchel-son who originated the idea of the club,met with the chairpersons of the threedepartments and the school's public re-lations director concerning plans for thegroup. At this and subsequent meetings,the purposes and bylaws for the organi-zation were established.</p><p>The second step was to set up mem-bership categories and requirements.Membership is open to civic, education-al, and governmental clubs and organi-zations, and to individual patrons andbusinesses. Four different types of mem-berships were created. Supporting mem-bers contribute a $10 donation annu-ally; associate members, $15; and bene-factors, $25 or more. Honorary members</p><p>Dow</p><p>nloa</p><p>ded </p><p>by [</p><p>Cen</p><p>tral</p><p> Mic</p><p>higa</p><p>n U</p><p>nive</p><p>rsity</p><p>] at</p><p> 13:</p><p>34 0</p><p>8 O</p><p>ctob</p><p>er 2</p><p>014 </p></li><li><p>276 COMMUNICATION EDUCATION</p><p>receive their designation by the decisionof the steering committee, composed ofone faculty member from each of the de-partments.</p><p>The drama department benefits finan-cially from membership fees in severalways. For example, it receives an initialgrant of $200 from Club funds for theannual musical production to help de-fray the costs of set construction and theservices of musicians and a choreogra-pher. It also receives a $1.50 allowancefrom the treasury for each member whoattends any Colgan theatre production.</p><p>The Fine Arts Club helps the art de-partment by financing the materials usedto display the painting and sculptures forart shows which are held concurrentlywith each major drama production. Suchexhibits, held in the main lobby of thehigh school, display the work of bothguest artists and Colgan art students.</p><p>The Club contributes to the acquisi-tion of other needed materials for music,art, and drama. The new Colgan Choral-aires musical group received new sheetmusic and textbooks from organizationfunds. A potters wheel and kiln wererecent purchases for the art department.A new light board for the drama depart-ment is the current project.</p><p>In addition to these tangible contribu-tions, the Fine Arts Club increases school-community rapport. Each individualwho joins the group receives tickets toall the school's theatrical productions,concerts, and art exhibits, and is eligibleto participate in the annual excursion toa nearby art gallery. The latest excursiontook participants to the Nelson Art Gal-lery in Kansas City. Another representa-tive cultural opportunity for membersoccurred when a guest lecturer presentedslides and discussed the recent MainlandChinese art exhibit when it was touringthe United States.</p><p>Such an organization can be beneficialwhen it is well organized and conducted.</p><p>Careful planning must be made to in-sure that the club will have specific,worthwhile purposes; that it will benefitthe students and assist the faculty mem-bers of each participating department;and that it will provide for communityinvolvement by encouraging greater ap-preciation of the respective art forms.</p><p>ORAL LANGUAGEINSTRUCTION INBRITISH SECONDARY SCHOOLS</p><p>Thomas Newkirk,University of Texas at Austin</p><p>In the late 1960's much of the Britishliterature on the teaching of English wasemphasizing the importance of oral lan-guage, usually using the term "talk," inthe classroom.1 Much of this was theoret-ical, citing practices in selected schoolsbut giving no clear indication of howwidespread the changes in teachingmethods were. One major observationalstudy was carried out by a group of U.S.educators in 1967.2 They found thattightly organized teacher-directed dis-cussions were a rarity except in the sixthform (ages 16-18). The emphasis seemedto be on spontaneous student-stimulatedtalk, much of which, the observers felt,lacked direction or purpose. The forty-two schools chosen for the 1967 study wereselected because they were innovativeand "pace-setting," "on the cutting edgeof change."</p><p>My study was essentially an attempt toreplicate the 1967 study using a differentsample of schools. Educational adminis-trators in Birmingham, Manchester, andLeeds were contacted, and twenty schools</p><p>1 One of the best known examples is JohnDixon's Growth Through English (Huddeisfield,England: National Association for the Teach-ing of English, 1967).</p><p>2 James R. Squire and Roger K. Applebee,Teaching English in the United Kingdom(Champaign, 111.: National Council for theTeaching of English, 1969).</p><p>Dow</p><p>nloa</p><p>ded </p><p>by [</p><p>Cen</p><p>tral</p><p> Mic</p><p>higa</p><p>n U</p><p>nive</p><p>rsity</p><p>] at</p><p> 13:</p><p>34 0</p><p>8 O</p><p>ctob</p><p>er 2</p><p>014 </p></li></ul>