Primitive Orientation
Primitive expression of feelings, usually accomplished by naive simplification of nature forms, characterize the art work of these students. Simple schematic forms end to be repeated in symmetrical arrangements. Compositions range from depicting rather rigid symbols to showing somewhat limited and superficial expression of immediate feelings and mood concerning subject matter.
ATITTUDE TOWARD ART EXPERIENCE These students are concerned with expressing simple personal moods and feelings, are able to identify with the subject matter on a somewhat superficial level, and are also able to identify with various qualities of a medium. However, they lack confidence in their own expressive power. These students do have capacity for talking advantage of accidents as they work and are somewhat interested in what they are expressing. They are flexible in regard to the art experience-willing to experiment (trial-and-error approach), unafraid of making mistakes or losing the art product. However, experimentation for these individuals means primarily dealing with accidents that occur as they work.
Primitively oriented students differentiate between the concept they hold of themselves as persons and that as potential artists. Failure is only as an art student, not as a person. Therefore, it is possible to give somewhat severe negative criticism about their work without affecting them as persons. Because of their lack of confidence in their own art ability, they generally will agree with any negative criticism. They tend to become discouraged easily if the problem of art becomes very involved, requiring much control or is perceived by them as being very difficult.
PERSONALITY STRUCTURE These students have a tendency to be rigid and lack openness to new art experiences beyond a superficial level of involvement. Feelings tend to dominate their thoughts. A wide range of possible emotional responses to subject matter and media is possible ; however, intellectual responses during the art process are somewhat limited. These individuals have some perceptual aptitude, tend to be socially immature, are dependent, and usually come from an authoritarian home background.
SUGGESTIONS FOR THE TEACHER First of all, the art teacher needs to show respect for the feeling, thought it may be limited, that primitively oriented students bring to the art experience. Depth should be given to this aspect via working over a period of time involving a particular subject and a flexible medium (Matti!et al., 1961). In working with these students, then, the number of art areas pursued will necessarily be limited. Try to get these students in the mood of the art work rather than expressing a temporary feeling ; for example, get them to do religious paintings rather than a picture of christ on the Cross. This will necessitate a series, doing more than one piece of art work about a particular subject and with a particular medium. Students must be kept interested and stimulated while increasing their degree of control and depth of expression.
In addition to pursuing depth concerning feeling, the teacher must work for an increased perceptual sensitivity and an increased intellectual awareness, a refinement of the total experience. This may be done by many open-ended "if" questions concerning work habits, media, and subject matter. Encourage students to explore the sensuous aspects of an experience (Madenfort, 1972). Get students to observe minute details of object via contour drawings and the use of a finder, a magnifying glass, and colored transparencies. Get them to analyze problems that result from the art experience, and to relate their work to the field of art. Complexity of expression should gradually be increased by requiring additional object to be included in compositions (a drawing of ten objects, half of which overlap, instead of the one or two objects these students usually draw when left on their own) and increasing the variety of emotional meanings (make these bottles or objects appearsad, excited, or dreamy in your painting). Encourage flexibility by emphasizing the trial-and-error approach-a creative-discovery method. Help students set specific goals to be achieved as they work.