A Brief Guide to the Docent Art Program by Cathleen Drinan
What is a “Docent”?
A docent is a knowledgeable volunteer or a volunteer trained to teach. You usually see the word in museums. At museums, the docent will (usually) guide a conversation in response to what the group is looking at, as opposed to a tour guide reciting a memorized speech. There is a place for both. You can learn a great deal in a short amount of time from a well-rehearsed, knowledgeable tour guide, especially when many other people are also present. On the other hand, have you ever heard a recitation from someone who has delivered it without feeling or passion? In that case did you learn much? Did you make any discoveries? Were you filled with wonder?
What is the foundation of the Docent art Program?
Our Docent Art Program is based on a deep respect for the ability of others, in this case, children's ability, to make observations and to learn from those observations. As adults we are there to guide the conversation, to keep it moving, to provide some oversight and, occasionally to sort out fact from fiction, (i.e. “That's a good idea but light bulbs did not exist at that time.”) Most of the time, we are learning right along with the children. The best of docents is like the best of therapists: a good listener who facilitates a conversation and holds back his/her own knowledge in order to allow the client to make discoveries.
The qualities of a good docent include a sense of wonder, enjoyment and satisfaction conversing with children, curiosity, an open mind, respect for others and a willingness to be non-judgmental.
The willingness to be non-judgmental is important enough to warrant expansion. Sometimes there is confusion between approving of an idea or opinion and simply allowing another to have and express that opinion. Also, there can be confusion between the expression of an idea and the expression of one's opinion or feeling. This program allows children to express their feelings and opinions and to know that they have the right to do so. While empowering the children to be expressive, we are also strengthening, and even demanding, their respect for the rights of others to do the same. It's something like unconditional love. In this case it is unconditional acceptance of children's right to expression. We do not have to agree with their opinion in order to allow the expression of it.
**** There is one important precaution. This is not a personal tell-all program. It has been a safe, appropriate program for a school setting because we are talking about the characters in the paintings, not their mother or father, etc. Of course, there may be a fair amount of projection and we certainly have the opportunity to learn about the children as we listen to them speak. But do keep in mind that the conversation is kept safe by talking about the painting. If you are ever very concerned over a child's comments, please bring your concern, in private after the class, to the child's teacher or the school's psychologist. (i.e., child seems to indicating some form of abuse in his/her life)
Questions and concerns?:
I’m new at this and there seems to be a lot of information. What matters most?
Bottom line: Have fun! With the above ideas mentioned, the bottom line is simply this: Have fun. If you can have fun listening to and conversing with the class about works of art that portray the human condition, you are most likely a successful docent. Those children will not be intimidated by the thought of visiting a museum. That in and of itself is a great achievement that you helped to achieve.
Help! Don’t hesitate to call me, Cathy Drinan 781 585 6418 or your in-house school coordinators with questions. Consider viewing another docent’s presentation before your own. Some find it helpful.
While you were succeeding (and you will), you probably experienced some of the following aspects of this program:
What are the program’s tenets and techniques? Will I see evidence of them on a regular basis?
1. The more you look, the more you see. You thought you were all done talking about that print. Or, you thought you didn't like it or there wouldn't be much to talk about. Then a student made an observation or wasn't sure about some portion of the painting. You took a closer look. You all said, "Oh, yeah. I see it now." Or, "Hey, that might be..."
2. Tell me what you see. Simple sounding, isn't it? This simple request can lead to insights if we let it. The youngest of children might need some practice, though, and while practicing, they sometimes just list things. It is O.K. to ask even kindergarteners about the “meaning” of something. They will learn that there are no wrong answers here and will become willing to venture a guess.
3. Let's see a show of hands from the people who see... If the young children are mimicking and repeating, take some surveys of the whole class to keep the conversation moving. Ask them to raise their hands if they see a (whatever is being listed and repeated). You might make a quick comment such as, “Oh, I see many of you had the same idea. And I see that some of you had different ideas when you looked at the same thing! That is very interesting! Then you can move on to another question and then progress to the meaning of a thing.
4. Any other thoughts on this? On occasion, turn to the class and solicit other thoughts, opinions, viewpoints and observations. There are many advantages to this technique. There may be a lot of agreement. On the other hand, there may be different viewpoints. How fascinating it is to me that many people can look at the same object and "see" different things! We learn to accept differences. Sometimes there does not exist one way that is the "right" or "correct" way. (It also helps you out just when you were thinking you might be responsible for some response or conclusion.)
5. You tell me. When they ask you what something is or what it means, turn the question back to the student. What do you think? (Watch your attitude and how you say this, you docent you! Remember, you really do want to hear from them.) Saying “You tell me.” Is never putting them on the spot.
6. Where did you see that? Encourage the children to be descriptive of the painting and to realize what part of the painting spurred this particular thought. (See #9 and #10, below.)
7. We see it. We say it. We hear it. We understand it. Did you ever have a dream that seemed meaningless until you described it to someone and then your choice of words and hearing those words said out loud, helped/caused the words, and the dream, to have great meaning? That happens in Docent Art, also. Go ahead. See it and say it. Who knows what we will learn?
8. Show respect for the school's possessions. No touching. Don't allow the children to touch the print. They will eventually get dirty and smudged, as do walls, handles and light switches. This technique leads to the next one.
9. Use words. Don't allow the children to point wordlessly to the print. "Come on. I know you can do it." "Paint a picture for me with words." This technique leads to the next one, also.
10. Can't think of how to tell me with words? Then guide my pointing finger. "I'll start in the center and you can guide my finger. Top, bottom, left, right? So, you want to tell me about something in the top left corner of this painting. What shapes and colors do you want to tell me about there?" The young or shy ones gain confidence in their ability to describe what they are seeing and thinking. Sometimes after all of that guidance, the student happily shakes his head, truly pleased that he has guided your finger to the very spot he wanted to bring to your attention. Then you ask, "Yes, what did you want to tell me about that?" and the he might say, "I don't know."
11. That’s okay, we all forget sometimes. Oh, well. One step at a time. He enjoyed guiding you. You can say, “That’s Ok. Sometimes we forget. It might come to you later.”
12. Why do you think so? Where or what in the painting gave you that idea? (Defend that answer!) Even in college I saw professors struggling to get their students to explain themselves, to defend points of view. “Yes, that poem reminded you of your grandmother and that is why you liked this poem buy how did it remind you of your grandmother and where, exactly, in the poem are the reminders?” By taking the time to draw out the student in this way, the student better understands her own thinking, understands the links being made between the painting and her thinking and expands her vocabulary.
13. Let me tell you what I'm hearing. This is not your opportunity to voice your opinion on anything. It is your opportunity to sum up or reflect for the class what have just heard. This technique is especially applicable when the words have symbolic meaning and that meaning is growing in your ears and mind but the words have only been used in a literal way so far. For example, in response to Stuart Davis' Combination Concrete, the students have used the words, "concrete, cement, glue, stuck on, stuck to, stuck in" and you repeat those phrases back for them to hear. You might ask if Stuart Davis is telling us anything. Someone's face might light up and offer the idea that people can be stuck in concrete when they are stubborn. Then, in response to the painting, the students say, "city, coming together, crowded, noisy, colorful." When these words are reflected back, the students rethink their position and voice more conclusions. Someone else says it might mean that we sometimes stick together, like friends. Those are great teaching moments and so much fun and so rewarding to experience.
14. Remember. Give the artist credit. The artwork is responsible for this conversation. “Isn’t that amazing that this artist, X number of years ago, with just painted shapes and colors on a flat canvas, communicated all of these ideas to us and we understood the painting without the artist even here!”
15. Pay attention to the whole class. Practice the art of attending to the whole class. Many of us have a tendency to hold the print to one particular side and to look to one particular side. Think of Vanna White (now outdated reference to game show “Wheel of Fortune) and how, at times, she walks from left to right and, later, from right to left. You will notice different children and you will also see the print from both sides. Make it a goal to hear from everybody. Without pressuring anyone, silently determine to hear fro the shy ones, the reluctant ones. You might say from time to time, “Is there anyone I haven’t heard from yet who might like to tell me something?” You can also take a moment to scan the class for the hand that does not go up quite as high as the one that is being waved in front of you with enthusiastic sounds of desperation. Then call on that quieter one for a change.
16. Feel free to join the class. It is pretty difficult to see the painting with the same perspective as the class when we are standing right next to it. At times it will be useful to say." I think I can get a better look at it if I move over there." Leave the print leaning against something and join the class for a moment.
17. Be an active listener. Nod your head. Lean in closer. Show that you are thinking about their comments: “Hmmm…” Clarify: “I’m not sure about something. Are you saying..??? “Ahh! I thought so but I wanted to be sure.” This is a good way to enrich their vocabulary by offering another word.
18. When you don't know, just say you don't know and when you wonder what that means, say so. You are not there as the visiting expert. They can follow-up on sparked interests later. And you would be surprised to learn how capable the children are of thinking for themselves when they become the teachers and you are admitting that you haven't got a clue. In any case, they enjoy "helping" you and when they do, we learn about our children.
19. Have faith in their capacity to learn. This is a lesson in and of itself. Don't think that you have to supply all the answers, solve all the problems. This is a discovery program even when they are discovering that they did not understand something. It is enough that you allowed them the opportunity to look, think, respond and listen.
Games we like to play:
The color game: Let the class have a brief look at the print and, without notice, turn the print around and ask about the colors. You might ask them to describe the colors and encourage their color vocabulary. Don't accept blue. Ask what kind of blue. What does it remind them of? A robin's egg or the sea or the sky? A stormy sky or fair sky? This question works especially well for skies and for seemingly monochromatic paintings. (Give the artist credit.)
Eye-flow pattern. In this "game" the children describe where their eyes "enter" the painting, and the trail it follows. Then ask the class if anyone else's eyes followed a different path. (Give the artist credit.)
Write a poem. Write categories on the board: things (or nouns), action words (or verbs), colors, time of year, people (and others as they apply to individual paintings). Ask the teacher to be a scribe. As the conversation develops, words are written on the board under their appropriate heading. Use these lists of words to write a free form poem on a painting.
What did you see first? Show the painting and turn it around. Ask this question. Then turn the print around again and have a conversation about "focal point". There is a good chance that whatever they saw first was colorful or in the center or stood out by contrast or was something that is inherently important to people such as a face. Give the artist credit for planning the painting in such a way that the colors and placement brought attention to this part of the painting. It was not an accident.
Other tips, techniques and suggestions:
Time frame: Ask the teacher how much time you have in all. Divide that number by three and subtract five to seven minutes for hello, goodbye and voting. Use one third the amount as a guideline for each painting. This is approximate only. Use more for a painting eliciting much enthusiasm and less for the ones that don't.
Be enthusiastic while being true to your style. Your style may be quiet or demonstrative but show the class you are happy to be there.
Don't memorize your notes; just read them to become familiar with the material. In this way, you might be able to occasionally say, "Oh, I was reading about that! (The artist's use of color or the paintings are all from Maine) And you noticed it on your own! That's great!”
Bring their attention back to the painting. If the class has gotten off track with personal stories, bring their attention back to the print. Actually point to it and, if necessary, say, “Today we are here to talk about this (person or whatever) and learn from this painting. Let's talk about this. In this way, we can all learn from the same thing. I want to hear what you think but I want to know what you think about this.” (and then point to the painting).
It is a visual program. Write some things down for them, at least some of the time.
Make use of the chalkboard at times. Write a few vocabulary words or areas of focus or new words. Don't feel that you have to but it is nice to let them see a word in addition to just hearing it. Some children are visual learners and benefit from seeing the whole word as it is said.
Out of time? Don’t worry. Be happy.
Don't worry about it when you run out of time. It means you did a great job and they had so much fun talking about the art that they could keep talking. And when that it is the case, they will keep thinking about it, too, even though you have left. Have faith in their capacity to learn.
Feeling that you goofed?
Painting upside down? Relax. Be willing to laugh at yourself. Allow an "icebreaker" if that helps with first time jitters. This is a new addition to the program description. Several years ago someone turned the print to the class and they all laughed and pointed out to her that it was upside down! She went along with the fun and asked the class to guide her in the proper direction of the print. That's thinking on your feet!
Take the vote.
It is an enjoyable tradition and it is important that the docent understand the nature of this vote. If you are a docent for seven years, for the whole seven years, please remind the class that they are not voting for the best painting. They are voting for their favorite, for any reason at all. The results follow a typical developmental picture. In kindergarten they are unsure of themselves and may look around to see what others are doing. Some docents have the students vote by standing in a line in front of their favorite. Their bodies physically represent their vote and they cannot stand in front of two at the same time. They are encouraged in their decision-making skills. In the next couple years they continue to practice this. By the middle grades, they are proud of and comfortable with their vote, even if they are standing alone. In the fifth or sixth grade many will revert to being uncomfortable if alone as they look to their peers as Very Important People. At this point, docents have been known to ask the class to vote with their eyes closed and docents (such as myself) have asked them how are they going to “just say no to drugs” when they can't say yes to a picture. Encourage them to practice standing up for their principles and beliefs but don't force the issue. They are who they are at that point in time. Again have faith in their intelligence and know that you are planting seeds. If you don’t see those seeds growing now, they can still germinate at a later time.
Voting variations:
Sometimes, one vote is not enough. They might (and often do) choose their favorite because they like the colors, but you are left wondering why no one voted for the painting that elicited the best discussion. In that case, asking them to vote in other ways is fun. They can vote for place they would like to visit, the person they would like meet, and so forth.
Wrap it up. Thank the class for their ideas and tell them you look forward to seeing them next month.
Written in 2004. Revised 2008, 2010, 2011 Cathleen Drinan
A docent is a knowledgeable volunteer or a volunteer trained to teach. You usually see the word in museums. At museums, the docent will (usually) guide a conversation in response to what the group is looking at, as opposed to a tour guide reciting a memorized speech. There is a place for both. You can learn a great deal in a short amount of time from a well-rehearsed, knowledgeable tour guide, especially when many other people are also present. On the other hand, have you ever heard a recitation from someone who has delivered it without feeling or passion? In that case did you learn much? Did you make any discoveries? Were you filled with wonder?
What is the foundation of the Docent art Program?
Our Docent Art Program is based on a deep respect for the ability of others, in this case, children's ability, to make observations and to learn from those observations. As adults we are there to guide the conversation, to keep it moving, to provide some oversight and, occasionally to sort out fact from fiction, (i.e. “That's a good idea but light bulbs did not exist at that time.”) Most of the time, we are learning right along with the children. The best of docents is like the best of therapists: a good listener who facilitates a conversation and holds back his/her own knowledge in order to allow the client to make discoveries.
The qualities of a good docent include a sense of wonder, enjoyment and satisfaction conversing with children, curiosity, an open mind, respect for others and a willingness to be non-judgmental.
The willingness to be non-judgmental is important enough to warrant expansion. Sometimes there is confusion between approving of an idea or opinion and simply allowing another to have and express that opinion. Also, there can be confusion between the expression of an idea and the expression of one's opinion or feeling. This program allows children to express their feelings and opinions and to know that they have the right to do so. While empowering the children to be expressive, we are also strengthening, and even demanding, their respect for the rights of others to do the same. It's something like unconditional love. In this case it is unconditional acceptance of children's right to expression. We do not have to agree with their opinion in order to allow the expression of it.
**** There is one important precaution. This is not a personal tell-all program. It has been a safe, appropriate program for a school setting because we are talking about the characters in the paintings, not their mother or father, etc. Of course, there may be a fair amount of projection and we certainly have the opportunity to learn about the children as we listen to them speak. But do keep in mind that the conversation is kept safe by talking about the painting. If you are ever very concerned over a child's comments, please bring your concern, in private after the class, to the child's teacher or the school's psychologist. (i.e., child seems to indicating some form of abuse in his/her life)
Questions and concerns?:
I’m new at this and there seems to be a lot of information. What matters most?
Bottom line: Have fun! With the above ideas mentioned, the bottom line is simply this: Have fun. If you can have fun listening to and conversing with the class about works of art that portray the human condition, you are most likely a successful docent. Those children will not be intimidated by the thought of visiting a museum. That in and of itself is a great achievement that you helped to achieve.
Help! Don’t hesitate to call me, Cathy Drinan 781 585 6418 or your in-house school coordinators with questions. Consider viewing another docent’s presentation before your own. Some find it helpful.
While you were succeeding (and you will), you probably experienced some of the following aspects of this program:
What are the program’s tenets and techniques? Will I see evidence of them on a regular basis?
1. The more you look, the more you see. You thought you were all done talking about that print. Or, you thought you didn't like it or there wouldn't be much to talk about. Then a student made an observation or wasn't sure about some portion of the painting. You took a closer look. You all said, "Oh, yeah. I see it now." Or, "Hey, that might be..."
2. Tell me what you see. Simple sounding, isn't it? This simple request can lead to insights if we let it. The youngest of children might need some practice, though, and while practicing, they sometimes just list things. It is O.K. to ask even kindergarteners about the “meaning” of something. They will learn that there are no wrong answers here and will become willing to venture a guess.
3. Let's see a show of hands from the people who see... If the young children are mimicking and repeating, take some surveys of the whole class to keep the conversation moving. Ask them to raise their hands if they see a (whatever is being listed and repeated). You might make a quick comment such as, “Oh, I see many of you had the same idea. And I see that some of you had different ideas when you looked at the same thing! That is very interesting! Then you can move on to another question and then progress to the meaning of a thing.
4. Any other thoughts on this? On occasion, turn to the class and solicit other thoughts, opinions, viewpoints and observations. There are many advantages to this technique. There may be a lot of agreement. On the other hand, there may be different viewpoints. How fascinating it is to me that many people can look at the same object and "see" different things! We learn to accept differences. Sometimes there does not exist one way that is the "right" or "correct" way. (It also helps you out just when you were thinking you might be responsible for some response or conclusion.)
5. You tell me. When they ask you what something is or what it means, turn the question back to the student. What do you think? (Watch your attitude and how you say this, you docent you! Remember, you really do want to hear from them.) Saying “You tell me.” Is never putting them on the spot.
6. Where did you see that? Encourage the children to be descriptive of the painting and to realize what part of the painting spurred this particular thought. (See #9 and #10, below.)
7. We see it. We say it. We hear it. We understand it. Did you ever have a dream that seemed meaningless until you described it to someone and then your choice of words and hearing those words said out loud, helped/caused the words, and the dream, to have great meaning? That happens in Docent Art, also. Go ahead. See it and say it. Who knows what we will learn?
8. Show respect for the school's possessions. No touching. Don't allow the children to touch the print. They will eventually get dirty and smudged, as do walls, handles and light switches. This technique leads to the next one.
9. Use words. Don't allow the children to point wordlessly to the print. "Come on. I know you can do it." "Paint a picture for me with words." This technique leads to the next one, also.
10. Can't think of how to tell me with words? Then guide my pointing finger. "I'll start in the center and you can guide my finger. Top, bottom, left, right? So, you want to tell me about something in the top left corner of this painting. What shapes and colors do you want to tell me about there?" The young or shy ones gain confidence in their ability to describe what they are seeing and thinking. Sometimes after all of that guidance, the student happily shakes his head, truly pleased that he has guided your finger to the very spot he wanted to bring to your attention. Then you ask, "Yes, what did you want to tell me about that?" and the he might say, "I don't know."
11. That’s okay, we all forget sometimes. Oh, well. One step at a time. He enjoyed guiding you. You can say, “That’s Ok. Sometimes we forget. It might come to you later.”
12. Why do you think so? Where or what in the painting gave you that idea? (Defend that answer!) Even in college I saw professors struggling to get their students to explain themselves, to defend points of view. “Yes, that poem reminded you of your grandmother and that is why you liked this poem buy how did it remind you of your grandmother and where, exactly, in the poem are the reminders?” By taking the time to draw out the student in this way, the student better understands her own thinking, understands the links being made between the painting and her thinking and expands her vocabulary.
13. Let me tell you what I'm hearing. This is not your opportunity to voice your opinion on anything. It is your opportunity to sum up or reflect for the class what have just heard. This technique is especially applicable when the words have symbolic meaning and that meaning is growing in your ears and mind but the words have only been used in a literal way so far. For example, in response to Stuart Davis' Combination Concrete, the students have used the words, "concrete, cement, glue, stuck on, stuck to, stuck in" and you repeat those phrases back for them to hear. You might ask if Stuart Davis is telling us anything. Someone's face might light up and offer the idea that people can be stuck in concrete when they are stubborn. Then, in response to the painting, the students say, "city, coming together, crowded, noisy, colorful." When these words are reflected back, the students rethink their position and voice more conclusions. Someone else says it might mean that we sometimes stick together, like friends. Those are great teaching moments and so much fun and so rewarding to experience.
14. Remember. Give the artist credit. The artwork is responsible for this conversation. “Isn’t that amazing that this artist, X number of years ago, with just painted shapes and colors on a flat canvas, communicated all of these ideas to us and we understood the painting without the artist even here!”
15. Pay attention to the whole class. Practice the art of attending to the whole class. Many of us have a tendency to hold the print to one particular side and to look to one particular side. Think of Vanna White (now outdated reference to game show “Wheel of Fortune) and how, at times, she walks from left to right and, later, from right to left. You will notice different children and you will also see the print from both sides. Make it a goal to hear from everybody. Without pressuring anyone, silently determine to hear fro the shy ones, the reluctant ones. You might say from time to time, “Is there anyone I haven’t heard from yet who might like to tell me something?” You can also take a moment to scan the class for the hand that does not go up quite as high as the one that is being waved in front of you with enthusiastic sounds of desperation. Then call on that quieter one for a change.
16. Feel free to join the class. It is pretty difficult to see the painting with the same perspective as the class when we are standing right next to it. At times it will be useful to say." I think I can get a better look at it if I move over there." Leave the print leaning against something and join the class for a moment.
17. Be an active listener. Nod your head. Lean in closer. Show that you are thinking about their comments: “Hmmm…” Clarify: “I’m not sure about something. Are you saying..??? “Ahh! I thought so but I wanted to be sure.” This is a good way to enrich their vocabulary by offering another word.
18. When you don't know, just say you don't know and when you wonder what that means, say so. You are not there as the visiting expert. They can follow-up on sparked interests later. And you would be surprised to learn how capable the children are of thinking for themselves when they become the teachers and you are admitting that you haven't got a clue. In any case, they enjoy "helping" you and when they do, we learn about our children.
19. Have faith in their capacity to learn. This is a lesson in and of itself. Don't think that you have to supply all the answers, solve all the problems. This is a discovery program even when they are discovering that they did not understand something. It is enough that you allowed them the opportunity to look, think, respond and listen.
Games we like to play:
The color game: Let the class have a brief look at the print and, without notice, turn the print around and ask about the colors. You might ask them to describe the colors and encourage their color vocabulary. Don't accept blue. Ask what kind of blue. What does it remind them of? A robin's egg or the sea or the sky? A stormy sky or fair sky? This question works especially well for skies and for seemingly monochromatic paintings. (Give the artist credit.)
Eye-flow pattern. In this "game" the children describe where their eyes "enter" the painting, and the trail it follows. Then ask the class if anyone else's eyes followed a different path. (Give the artist credit.)
Write a poem. Write categories on the board: things (or nouns), action words (or verbs), colors, time of year, people (and others as they apply to individual paintings). Ask the teacher to be a scribe. As the conversation develops, words are written on the board under their appropriate heading. Use these lists of words to write a free form poem on a painting.
What did you see first? Show the painting and turn it around. Ask this question. Then turn the print around again and have a conversation about "focal point". There is a good chance that whatever they saw first was colorful or in the center or stood out by contrast or was something that is inherently important to people such as a face. Give the artist credit for planning the painting in such a way that the colors and placement brought attention to this part of the painting. It was not an accident.
Other tips, techniques and suggestions:
Time frame: Ask the teacher how much time you have in all. Divide that number by three and subtract five to seven minutes for hello, goodbye and voting. Use one third the amount as a guideline for each painting. This is approximate only. Use more for a painting eliciting much enthusiasm and less for the ones that don't.
Be enthusiastic while being true to your style. Your style may be quiet or demonstrative but show the class you are happy to be there.
Don't memorize your notes; just read them to become familiar with the material. In this way, you might be able to occasionally say, "Oh, I was reading about that! (The artist's use of color or the paintings are all from Maine) And you noticed it on your own! That's great!”
Bring their attention back to the painting. If the class has gotten off track with personal stories, bring their attention back to the print. Actually point to it and, if necessary, say, “Today we are here to talk about this (person or whatever) and learn from this painting. Let's talk about this. In this way, we can all learn from the same thing. I want to hear what you think but I want to know what you think about this.” (and then point to the painting).
It is a visual program. Write some things down for them, at least some of the time.
Make use of the chalkboard at times. Write a few vocabulary words or areas of focus or new words. Don't feel that you have to but it is nice to let them see a word in addition to just hearing it. Some children are visual learners and benefit from seeing the whole word as it is said.
Out of time? Don’t worry. Be happy.
Don't worry about it when you run out of time. It means you did a great job and they had so much fun talking about the art that they could keep talking. And when that it is the case, they will keep thinking about it, too, even though you have left. Have faith in their capacity to learn.
Feeling that you goofed?
Painting upside down? Relax. Be willing to laugh at yourself. Allow an "icebreaker" if that helps with first time jitters. This is a new addition to the program description. Several years ago someone turned the print to the class and they all laughed and pointed out to her that it was upside down! She went along with the fun and asked the class to guide her in the proper direction of the print. That's thinking on your feet!
Take the vote.
It is an enjoyable tradition and it is important that the docent understand the nature of this vote. If you are a docent for seven years, for the whole seven years, please remind the class that they are not voting for the best painting. They are voting for their favorite, for any reason at all. The results follow a typical developmental picture. In kindergarten they are unsure of themselves and may look around to see what others are doing. Some docents have the students vote by standing in a line in front of their favorite. Their bodies physically represent their vote and they cannot stand in front of two at the same time. They are encouraged in their decision-making skills. In the next couple years they continue to practice this. By the middle grades, they are proud of and comfortable with their vote, even if they are standing alone. In the fifth or sixth grade many will revert to being uncomfortable if alone as they look to their peers as Very Important People. At this point, docents have been known to ask the class to vote with their eyes closed and docents (such as myself) have asked them how are they going to “just say no to drugs” when they can't say yes to a picture. Encourage them to practice standing up for their principles and beliefs but don't force the issue. They are who they are at that point in time. Again have faith in their intelligence and know that you are planting seeds. If you don’t see those seeds growing now, they can still germinate at a later time.
Voting variations:
Sometimes, one vote is not enough. They might (and often do) choose their favorite because they like the colors, but you are left wondering why no one voted for the painting that elicited the best discussion. In that case, asking them to vote in other ways is fun. They can vote for place they would like to visit, the person they would like meet, and so forth.
Wrap it up. Thank the class for their ideas and tell them you look forward to seeing them next month.
Written in 2004. Revised 2008, 2010, 2011 Cathleen Drinan
