Assignment: (Lesson 4) Reading Review.

Jonathan Sanchez

Summary

Teaching art through a basic formula of analysis will provide a path to understanding the big ideas behind works of art. That all art is first intellectual and a study of the resulting aesthetics can lead to the thought behind a work. Asking some basic questions as to what social and historic environment produced the inspiration for a work can give it a context. Employing the techniques of art critiques and art historians in a classroom setting will place a foundation for understanding and eventual appreciation of works of art. The stress is less on the techniques involved and more on the thought processes invested in the works. The example of a monumental work created to honor victims of the holocaust is given along with the notion, that without an understanding of what the holocaust was, the piece would have no impact.

The Museum of Contemporary Native Arts offers a curriculum pdf on its website through the educational portion of that site.  The enduring idea is that the existing image of Native Americans needs to be wiped out. Acknowledging that these images are centuries old an continually re-enforced a gradual education program should be in place and that art appreciation can be the door to this new understanding. "That art might be used to present the idea that the Native perspective is one of intelligence and not somehow some state of under development," (Museum of Contemporary Native Arts website pg 4) is consistent with the notions of the chapter. It is stated that key to art understanding is that there is thought and intelligence behind every work of art, and the viewer and therefore the student is challenged to unlock that meaning or form their own. Either way it is an intellectual process that art analysis encourages. The Santa Fe example also focuses on a few works and picks them apart in much the same pattern suggested through out the chapter, so again consistent in content. The list on page 44 featuring a system for talking about art includes interpreting, describing and judging art, and is similar to elements of the Santa Fe lesson plan. A

I focused on the Coyote Shuffle Off to Buffalo Lesson from the Denver Art Museum. In comparing this lesson to the Santa Fe lesson it is concerned with the same goals in breaking down stereotypes but more activity based. The large goals claim to be invention, self-direction, critical thinking and collaboration. The exercises and discussions are to encourage kids to decide what self means. There is a section where the question of, "why was the art made?" is asked, similar to the art analysis plan on page 44 of the reading though not as in depth. The DAM plan is more consistent with traditional elementary art education (they even pull out the glitter later) and not fully in keeping with the ideas presented in the reading. B

The final review is of the National Gallery. In an attempt to find common ground the lesson plan related to White Cloud a Hero To His People was studied. It presents Native Americans as museum relics pieces of the distant past and as helpless savages. It was the only example I could find on the museum website that addresses Native issues. The lesson itself encourages the kids to dress up like an indian and ask what a hero is to them? think about the elements of the work, and talk about what they would wear today to impress someone. This seems a shallow and even racist program. Looking at the elements of the work is as close as we come to the themes of the current reading. F

Personal Reflection

Some of the examples in the reading are so in depth including field trips not often an option in todays teach from a cart art education environment that they seem a little pie in the sky really. Imaging though that these sort of fantasy elements could be reality I think the approach is fantastic. I was fortunate enough to spend a year studying in Italy. It really hit home after years of old faded slides to have a professor say today we are going to talk about Micheangelo and off we went to see the David (a few blocks away). If we can make connections it is more real for students. In some inner city school in West Phoenix even if there were funding for a field trip the collection at the local museum is so sorry it would be a waste of time. I think then the approach realistically would need be more research based, discovering art through doing, with a power point presentation or less reliance on actual works in the area. That said art can be where you find it there can be a lot learned from say kitsch, advertisements, or architectural elements when present. Examples of western kitsch, katchinas, cowboy fantasies etc.. are readily available and easy to access and may even speak more to the reality of living in the West.  "Art obtains meaning through engagement, art is purposeful human endeavors," (pg. 42) to this end art can be interpreted in a very wide way. Further it is stated in numerous examples that perhaps some art is, "outside of the usual and aesthetic theory based in formalism would have little relevance." (pg 60).

         One of my favorite experiences as an art student was a visit to a junkyard. I was searching for metal to do some pieces on and visited several salvage yards, and scrap metal dumps (one with a one eyed three legged mean little dog). At any rate here was a place that felt like an art installation everything arranged for viewing and walk ways. There was definitely intent an order to the place rows and rows of axles or radiators etc.. With my mind in creating mode, thinking in terms of sculpture the place seemed like one giant work. My point is that art appreciation can occur in non-art places with non-traditional media or intent. Old faded signs can be so beautiful, worn old gold rush buildings in Colorado, or natural history museums. I suppose what I am getting at is that in time of severe budget restrictions one should be creative and find ways to view and talk about art where you can.

 References

(Stewart M. Walker S. 2005 Rethinking Curriculum in Art, pg 39-53)

Museum of Contemporary Native Arts http://www.iaia.edu/museum/ 

http://creativity.denverartmuseum.org/?lesson-plan=how-coyote-came-to-shuffle-off-to-buffalo-2

http://www.nga.gov/content/ngaweb/education/teachers/lessons-activities/heroes-heroines/white-cloud.html

A Discussion of Visual Culture Theory.

Jonathan Sanchez
Date Jan 23 2013
A Discussion of Visual Culture Theory.                                                                                                                                              All three writers agree that the basic premise of visual culture theory is that there is a need to create a multi-disciplinary approach to education at large and art history in specific. Tavin makes the case that art history can benefit greatly from cultural studies (Tavin, 199) and (eventually by page 209) has listed some thirty disciplines that he argues should be incorporated into the sphere of visual culture. In contrast Julie C. Van Camp in her critical look at the visual culture movement, seems to warn of the rise of a potential new dogma (Van Camp, 34). "Still further, the term "interdisciplinary" can simply suggest ways of expanding our methodologies in a variety of disciplines without staking a claim that only particular notions of interdisciplinary are acceptable" (Van Camp, 34). She seems to warn of throwing out the baby with the bath water, suggests that we should be slow to throw all of our ideas out in favor of the new Zeitgeist. Van Camps endorsement of visual culture theory comes in the form of a question, "Can our understanding of visual culture be used to enhance our understanding of what we traditionally termed or deemed as art?" (Van Camp, 34).                                                                                                                                                                                                                                                                Tavin seems to burn with the fire of a zealot lighting a torch to the whole art academy and Eisner rests somewhere between Van Camp and Tavin, when he simply states, "Justification improves overall performance," (Eisner, 7). Pluralism pushes in one direction and standardized testing in another a pendulum swing that leaves art educators grasping.           Perhaps the strongest points that all agree on are the following; art history is no island, visual experiences are profound and far reaching, the everyday in the classroom breaks down the barrier of high art.                                                                                                                                              Art history and therefore art education is no island. In short trans-disciplinary approaches inspired by visual culture theory, can only help to bring context and a sociological component into the art classroom.                                                                                                                                   

Visual experiences are profound and far reaching even if they happen in a football stadium. As it was once said the "medium is the message,"  to see someones name in lights is thrilling weather we know why or not. It is that visual experiences reach us on a primal level like moths drawn to a flame. By saying that some experiences are high art and others not worth mentioning we close off a vast current of inspiration, and limit are realm of intellectual meandering. As Tavin states, "By inculcating students to existing cultural hierarchies, the canon of high art is maintained as unproblematic," (Tavin, 197).                                                                                                                                                  

Finally, bringing the current and the everyday into the classroom will not only help students relate it will address issues of whose culture are we making? Are we to simply repeat what has been done as a kind of art mantra or are we as May said active change agents (May, 146).                                                                                                                                                                 

Problems with a visual culture approach                                                                                                                                     1. Visual culture does not seem to have an overarching or concrete quintessence all of the authors seem to allude to this as a point of confusion. 2. It is perhaps too far reaching it would be as if arguing, why do we need geology and biology why not talk about them as the same thing? They are of course related and interact with each other but is it possible to talk about everything at once? We break things into categories in order to make sense of them. 3. How do we talk about art or visual culture if all terms are deemed antiquated and culturally loaded? "Visual culture seems to have rejected not only formalism but also almost any other way of appreciating and understanding art objects themselves." (Van Camp, 35)                                                                                                                                                                                                              Terms                                                                                                                                                                                   Interdisciplinary is addressed in all three papers though to what extent art teachers should become social studies teachers is up for debate (Eisener, 8). It is a tenet of visual culture and can be defined as a paradigm shift that allows for other studies to be incorporated into art studies.                                                                                            

Context or contextualization the process of placing art into a historic or social sphere. 

Critcal Response/Application/Personal Reflection/ Assignment Souvenirs          

Rose Bean Simpson is a multi-media artist from Santa Clara Pueblo. I was immediately drawn to her work because of her diverse styles, including comic art, sculpture, music, and spray paint. After watching Artisode 1.3- KNME (Rose Bean Simpson) I knew right away that I wanted to interview her for this project. I felt very encouraged by her voice, and that she was someone I could identify with. I have a great respect for any woman who is creating art that challenges mass media and objectifications. Rather than numbing one’s soul, Rose Bean Simpson is trying to enliven, strengthen, and build the soul.  She is not afraid to be who she is, in her natural, beautiful state, and this not only shows through her voice, but through her artwork as well. I am honored that I was able to interview someone who is actively transforming the negative effects of our media, and someone who is honestly connected to the purity of life. Through my own journey as an artist, I have experienced moments of complete frustration, and even oppression, due to the domination of our media society, so not only was discovering Rose a breath of fresh air, but I was truly inspired.

Rose Bean Simpson: In the sculpture “To Fill That Hole”, I had placed within the bars, multi-colored small faces. Much of my work is about looking inward, and trying to see or expose what is on the “inside”. (Emotionally, psychologically). I put small viewing spaces in my work for a while because they were all about revealing an inner truth.

Rose Bean Simpson from Santa Clara Pueblo uses found objects, traditional and non-traditional media to create often haunting and introspective works. Her creations exist somewhere between the ancient world of Santa Clara Pueblo (first inhabited around 1300) and the modern world of near by Santa Fe and Albuquerque.

In contrast to Rose Roxanne Swentzell also from Santa Clara uses traditional images and themes. Her works do not at first glance appear to be contemporary pieces but often vary little from museum artifacts of her ancestors. Under closer examination it is revealed that in fact she has used the traditional art forms to express everyday modern ideas.

  

Open a discussion with students about how important a sense of place, your personal history and that of your ancestors, and what are art materials? Using these three themes, three different ideas present in Visual Culture theory are presented. First, your home, your environment personally shapes your experience be it a seven hundred year old Pueblo or a modern suburban home. This theme addresses ideas of what visual experiences surround us daily, mesas, chilis and katsina, or shopping malls, SUVs and Ipads.  Second, your personal history and that of your ancestors, Pueblo folks often live with their ancestors in items, in the walls of their sacred spaces and symbolically. How important are our ancestors in mainstream America? Do we have a sense of history? If not how do we relate to our present surrounding friends and family?                                                  

Both artists are from the same unique culture, trained in western eurocentric schools, but choose to express their identities very differently. Rose leans toward contemporary art but still uses Pueblo themes and Roxanne bends and pushes traditional themes and icons to make them lifelike and fill them with a sense of the everyday and universal.                                                                

Start out with images that originate within the culture and everyday experience of students rather than imposing too quickly academic constraints on what counts as legitimate art. (Tavin 206)              

Like the artist Cornell, Rose Bean Simpson uses items that she has had contact with a connection to sorts of souvenirs of her daily life. Students would be given the assignment to bring in three tiny items from their daily life symbolizing past, present and the ideal or future. They are then charged with combining them into an original work.
References;

Tower Gallery Website  http://www.roxanneswentzell.net/r_swentzell Tower Gallery 78 Cities of Gold Road Santa Fe NM

Website Contemporary Native American Artists http://contemporarynativeartists.tumblr.com/post/39391980928/rose-bean-simpson-santa-clara-pueblo 

Wendy Red Star Adjunct Professor Department of Art Portland State University                                            

Recycled and Expat Art

I have a unique connection to the theme of this weeks discussion of contemporary global artists.
I have been lucky enough to exhibit in London, Kicevo, Macedonia, Basel, St. Gallen, and Geneva, Switzerland, several US states, Siena, Italy and even Bangladesh. I do not say this to boast it is merely that I have felt the odd sensations of rootlessness that some of the artist describe and certainly the authors seem to romanticize through these exhibits. Further having lived in Italy, Switzerland and seven US states I can also recall the expat sense of being a kind of art nomad. A final nail in all this is having married a Swiss national meaning that half my daily experience is European through my wife and her native language of German. Also that half my family and more than tens years of experiences with have been on another continent. I truly feel that the sense that part of me is always there, and this is prolonged through annual visits but also through social media contacts. Likewise part of me is in New York with family there and Florida and Colorado and New Mexico and so on, some of these feelings are jarring others mere memories.
I will not rehash the last blog on family I found the discussion painful and the dysfunction glaring like Vegas flashing sign, but according to the authors we are to use this dysfunction run with it let it power our art.

The example of nomadic tent like structures from artist  Do Ho Suh mentioned in the article Globalization and Contemporary Art from Julia Marshal, are perhaps the best example of the detached ironic state global artist live with.  the works are both haunting and beautiful, which suggests a state of sadness and wonder at the same time. I am personally thrilled to have been to so many places to have lived in more than one culture but as well I acknowledge that I have given up many things in return. I get the same sense through Do's work.
while living in Switzerland I became aware of the Dada movement in near by Zurich and had a chance to work with a fantastic collection of Hans/Jean Arp's work. working with the curator of the Museum Liner I poured through Arp's personal items, paintings that hung in his kitchen collages made from flyers for his art events.

A series of prints it Snows Up was inspired by a tiny collage Arp made of tiny little pieces of black paper. To hold the original work and frame it for a show of Arp's work is still one of the greatest thrills I have experienced as a museum person.
In the article Transnational Visual Culture: Indecipherable Narratives and Pedagogy from Charles R. Garoain and Yvonne M Gaudelius, there is quote from Arp  (Garoain and Gaudelius pg 144) in which Arp specifically mentions collage I had to smile to myself reading. Suddenly it occured to me having spent a great deal of time with Arp, Klee and even handling Giacometti works I had reached a depth of understanding of Swiss art that a mere outsider would never reach. First, I was living in Switzerland which allowed me to work for an art museum. Second, I had earned a degree in art which was recognized in Switzerland. Third, having worked for AAM accredited museums it was understood that museum standards in America and Canada are some of the highest. Finally, English as nearly the language of globalization also opened doors for me abroad, as folks were looking to practice English as well it was a somewhat neutral language for the museum one that guests from many nations would be able to get by in.  All of the above are examples of how globalization has effected me personally.
Two artists I ran across (one I even met) while at the Swiss art museums Wilhelm Mundt and Wang Du.

Wang Du usually cross cultural references and pop images to blur into something like a global riff. Often political satirical and monumental in scope his works beg to figured out as they seem capable of squashing you. His giant sculpture of a crumpled New York Times seems to combine a fallen satellite or collapsed building with the text of the newspaper. Perched precariously the odd shaped work seems to menace viewers in its park setting creating an uneasy view that feels dangerous or as if we are viewing remnants of some disaster.

Wilhelm Mundt
Wilhelm does many different types of work but his largest body is garbage. Literally he has taken trash wrapped it in polyurethane sanded it polished it in large works that at first glance look like giant tumbled rocks. Upon deeper investigation we learn that they are stamped with manufacturing number often in transparent portions reveal their inner waste and debris and then we feel duped as the beautiful mineralogical specimen finally appears to be mere plastic.
Many different types of critique can read into the works from the industrial number they exhibit to the fact that they are glorified trash and what does it all say of our increasingly disposable global culture.

My Art
My art has varied over the years and it seems to shift with each major move. I am in the desert southwest so the palette and themes come from roadside attractions, old mining towns, the vast desert landscape and the other symbols of tarnished misguided manifest destiny and its reverberation throughout Pueblo lands.  The above work, entitled Roadside Ruin, is comprised of an old ticket booth from a family owned gold mine in Colorado. The shape appealed to me and was going to become fire wood for the often harsh winters at 9000ft in Cripple Creek. I threw it in my truck attached some other pieces to it (that I found on the floor of a home depot) sanded it down painted it, spray painted sanded it down again until had the right mix of worn and intentional.  It is comment on the many abandoned mines, towns, old hotels and roadside attraction of the west. The type of places with ten story high dinosaurs or tepees scattered about to lure the kitsch fevered tacky tourist.
I do occasional contract archaeology work in the southwest often based out of Albuquerque, New Mexico. I have spent a great deal of time cruising the old Route 66 photographing the worn neon signs, the beat up motels and it seems that these are fantastic symbols of globalization.

Our American craze for whatever is new simply because it is new flies in the face of places with centuries old traditions even millennium old, and its this latest and greatest junk that America is known for around the globe. Like a bag of potato chips the salt or spice hits you right away and you tell yourself you can stop anytime and soon the bag is gone and you are left with a kind of junk food hangover. Then the guilt hits health concerns and how long is it going to take on the treadmill to burn that nasty bag of chips off. Sadly this is the kind of culture we export, in its ruined western form it hold a sort of beauty but there is a kind of safety that its crumbling disappearing and that its abandoned and no longer on the march.

Its like a castle in Europe a truly horrible thing when you think of it a symbol of fear, paranoia, war, torture, isolation all the worst things that mankind be. Yet they are clever and to our eyes often beautiful and of course now ludicrous in the age of nukes. They are no longer threatening with enough time but maybe hold important hints into the minds of their creators and the culture from whence they came, hence us. Roadside ruins are returning to the desert without the sacred burning of the Navajo or Hopi they are taking their spirits with them back into the earth. Whose dream was it to open a dinner in a town called Mexican Hat? Who came up with the idea to create a massive 3-d replica of the Flintstones with dinosaurs, crazy foot powered car, and the whole thing right at the entrance of the Grand Canyon? So you have one of the most impressive places on the earth and a door mat of completely not impressive location on its border.
Myself and the three contemporary artists mentioned above seem to feel the same about the throw away frivolous nature of American culture and its exportation through globalism. I imagine it will continue to fuel are art.
References
Transnational Visual Culture: Indecipherable Narratives and Pedagogy (Garoain and Gaudelius, 144)
Globalization and Art Education,(Delacruz, E., Arnold, A., Kuo, A., Parsons, M., 2009)
 Globalization and Contemporary Art (Marshal, J., 92)
Globalization and Art Education,(Delacruz, E., Arnold, A., Kuo, A., Parsons, M., 2009)

Migration and Adaptation.

 Migration Story/Adapting

The Sanchez and Aguiar families were of North African make up living in the Canary Islands. As undesirables in the eyes of the Spanish they like many others ended up in the Caribbean. Settling in Puerto Rico family legend says that my mother's grandmother was Taino. My father's side visibly appears to be African (A DNA test showed little information from subsaharan African. In fact the test also showed no Taino though a tiny portion came back with the results reading deeper testing unknown area). From Puerto Rico the two families traveled to Brooklyn, New York. My parents were born in Brooklyn, where they met and married. An increasingly dangerous drug filled place my parents moved from Brooklyn  living in New Jersey, Pennsylvania, Queens, California, and eventually Florida.

I was born in Pennsylvania near Philadelphia and raised in Florida. We occasionally returned to the north to visit relatives. After a divorce and a second marriage I belonged to a family of eight.

By the time I was in high school I had moved at least fifteen times (It was not at all surprising when the above mentioned DNA test turned up Gypsy heritage in the mix) The big move from Puerto Rico what kind of mark did that leave on my family? My grandmother never stopped talking about Puerto Rico and on here deathbed all she seemed to want was the traditional island dish pigeon peas with rice. She never really stopped being Puerto Rican. My parents however, loved the Beatles, Hollywood movies and gave us all Anglo friendly Biblical names. James, Jeffrey, and Jonathan when my grandmothers were Conception and Gracia. Grandfather's were equally Hispanic by name weighing in with Juan and Julio.

It may seem a silly point but these choices to leave New York, to try and create a better life away from drugs and gangs, to name your kids Jon instead of Juan, they start a process. Overwhelmingly people today lament assimilation as a negative culturally biased form of oppression. From the stand point of wealthy, educated, professional people the idea of loosing your culture is abhorrent but to a struggling immigrant loosing your culture might mean survival.

I have lived in three countries and speak German having married a Swiss national. It is perhaps the migratory nature of my family that has allowed me to adapt and survive in two different cultures. English is my mother tongue but German has a special place in heart as do many aspects of Swiss or larger European culture. Again what some might view as a negative I see as natural. I lived in a German speaking country I learned the language while there. My wife would never quite feel at home unless I learned her home cooking and language. So the process I have gone through has made me rethink what my relatives must have gone through leaving North Africa, leaving Spain, leaving Puerto Rico and finally leaving New York.  

Fleeting Family

In continuing with the genetic theme here is a short film I have spent a great amount of time on (though you would never guess that) It is a slide or photo essay and discussion on the theme of family migration.
The short clip is paired with one of my songs (Desert Wind) which deals with the idea of mobility, rootlessness, and the modern state of being part of a global family.
 http://www.youtube.com/watch?v=RMsqb3aB09U&feature=youtu.be 

How would a DNA test change your thinking if you grew up thinking you were Irish or Italian and found out you were Turkish or Hungarian? How important are the stories we tell about ourselves versus scientific data and genetic information? How much of what we believe about ourselves is pure wishful thinking?

I invite your thoughts and hope you enjoy the film.

It has come to my attention that some folks are interested in the DNA tests I took years ago. I was part of a National Geographic project tracking human migration out of Africa, the major genetic groups as they exist today, and the effects of contact and current globalization for gene distribution.
I was also originally in a project called the Sanchez Name project but was later dropped when I did not fit conclusively what they were looking for in that project (Taino DNA). That project was taking the name Sanchez as jumping off point as it is one of the most geographically diverse names on the planet. They were interested in Jewish history and Native American history and the connections to Puerto Rico particularly north Eastern Puerto Rico. Being that my mothers side of the family is from the exact area they wanted to study and by family legend my great grandmother was Indian I was asked to take part. I turned up some Jewish traits but not what they were looking for and no one I know in my family is a practicing Jew (might have had to do with that whole Inquisition thing or that whole Hitler thing after that).
The results I am squarely North African and Roma (formerly known as Gypsy) but an unknown section (perhaps the Native American section) required deeper testing of which I was unwilling to pay for at the time. So I was dropped from the project.

The National Geo project goes on and you too can take part.

https://genographic.nationalgeographic.com/

https://genographic.nationalgeographic.com/human-journey/

https://www.youtube.com/watch?v=mZ7XNWJ0_d0&feature=player_embedded

I did my DNA test through My Family Tree DNA (not to be confused with familytree.com)

https://my.familytreedna.com/

A little explanation


Haplogroups are the major branches of the Y-chromosome tree. They are defined by Single Nucleotide Polymorphisms (SNPs), which have accumulated over many generations as the Y-chromosome is passed from father to son. These SNPs map the paths back to the single common male ancestor from which all men alive today descend.

The Y-Chromosome Consortium (YCC) has reconstructed the structure of the Y-chromosome tree by testing SNP mutations in different human populations. As scientists have discovered more SNPs (e.g., M254), the structure of the tree has changed. Currently, there are 20 haplogroups (A through T). In turn, each of these major haplogroups has subgroups, or subclades, that are named with alternating letters and numbers (e.g., I1c).

Below I will post my results keep in mind these are very general.
My specific Haplogroup: E-M35.1 or E1b1b1 wandered out of Ethiopia some 50,000 years ago. 20,000 years ago they had settled in many North African coastal areas including the Canary Islands (where my so-called Spanish ancestors came from). Mixing with Phoenician and Berber groups eventually becoming a different genetic group. My family was said to be Roma (or Gypsy) Jewish and of this North African group. Arriving in Puerto Rico they became Native American and West African. Physically we show some of this but the DNA test did not turn up and Indian this comes purely from family legend that my great grandmother on my mother's side was Indian. So what do I do with this info? There is a section on test on my mothers's side that turned up unknown deeper testing required, Indian?

Haplogroup Test: your matches suggest that you belong to Haplogroup E3b, therefore you qualify to order our deep clade test which focuses on all mutations shown on the next screen after you click on the "Continue for more information" button. Order your Y-DNA SNP test for Deep Sub-clades.E-M81 is found in NW Africa, not found in sub-Saharan Africa and its frequency sharply decreases eastwards. E-M81 is a "Berber" marker. It is also found in all Iberian populations, signifying Berber admixture, ranging

from 1.5% in Northern Italians, 2.2% in Central Italians, 1.6% in southern 
Spaniards, 3.5% in the French, 4% in the Northern Portuguese, 12.2% in the 
southern Portuguese and 41.2% in the genetic isolate of the Pasiegos from 
Cantabria. It is found in only 0.7% of Sicilians and in no southern 
Italians. It is also not found in the Balkans

Y-DNA - Ancestral Origins

The Y-DNA - Ancestral Origins page allows you to view the ancestry information for your matches from one of our Y-chromosome DNA STR (short tandem repeat) tests, Y-DNA12, Y-DNA25, Y-DNA37, Y-DNA67, or Y-DNA111.

Country - This is the paternal country of origin.
Match Total - This is the total number of matches for a specific country.
Country Total - This is the total number of people with Y-chromosome DNA (Y-DNA) results from the country of origin in the Family Tree DNA database.
Percentage - This is the percentage from the country of origin compared to the total number from that country in the database, i.e., the MATCH TOTAL column divided by the Country Total column. Please note, a percentage will not be shown if the Country Total is less than 100.
Comment - This is additional information such as a social, religious, or ethnic group. Where more than one match from a country has provided the same comment, the number of matches is shown beside the comment. For example, someone with matches in Germany might have Baden-Württemberg (2) and Schleswig-Holstein (7).
NOTE: Family Tree DNA uses the International Organization for Standardization's ISO 3166 for country names.
12 Marker

Exact Match

Country	Match Total	Country Total	Percentage	Comments
Albania	2	28	N/A
Armenia	1	222	0.4%
Austria	4	606	0.7%
Belarus	1	666	0.2%
Belgium	1	517	0.2%
Bosnia and Herzegovina	2	87	N/A
Bulgaria	6	170	3.5%
Croatia	2	213	0.9%
Czech Republic	3	676	0.4%	Bohemia (1)
England	49	23931	0.2%
Ethiopia	2	34	N/A
France	12	3366	0.4%
Georgia	1	54	N/A
Germany	41	12073	0.3%	Ashkenazi (1) Rhineland-Palatinate (1)
Greece	24	681	3.5%
Hungary	13	1181	1.1%
Iraq	1	179	0.6%
Ireland	9	14064	0.1%
Israel	1	138	0.7%
Italy	26	3335	0.8%	Sicily (2)
Kosovo	1	2	N/A
Lithuania	3	1013	0.3%	Ashkenazi (3)
Macedonia	1	61	N/A
Montenegro	1	20	N/A
Morocco	1	82	N/A	Sephardic-Levite (1)
Netherlands	5	1709	0.3%
Norway	4	1335	0.3%
Poland	11	3630	0.3%	Ashkenazi (1) Prussia (3)
Portugal	2	786	0.3%	Azores (1)
Romania	2	546	0.4%
Russian Federation	9	3070	0.3%	Ashkenazi (2) Ashkenazi-Levite (1)
Scotland	12	11425	0.1%
Serbia	3	87	N/A
Slovakia	1	498	0.2%
Slovenia	3	148	2%
Spain	6	3351	0.2%	Canary Islands (1)
Sweden	6	1595	0.4%
Switzerland	7	1844	0.4%
Turkey	1	559	0.2%
Ukraine	8	1545	0.5%	Ashkenazi (4)
United Kingdom	16	10657	0.2%
United States	5	2563	0.2%
Wales	2	2029	0.1%

Genetic Distance -1

Country	Match Total	Country Total	Percentage	Comments
Albania	1	28	N/A
Austria	17	606	2.8%	Ashkenazi (4)
Bahrain	1	28	N/A
Belarus	23	666	3.5%	Ashkenazi (19)
Belgium	3	517	0.6%
Bosnia and Herzegovina	2	87	N/A
Bulgaria	14	170	8.2%
Canada	2	353	0.6%
Cape Verde	2	23	N/A
Chad	2	2	N/A
Croatia	7	213	3.3%
Cyprus	1	53	N/A
Czech Republic	10	676	1.5%	Bohemia (3) Moravia (1)
Denmark	3	814	0.4%
England	111	23931	0.5%
France	20	3366	0.6%
Georgia	3	54	N/A
Germany	159	12073	1.3%	Ashkenazi (7) Baden-Württemberg (1) Schleswig-Holstein (1) Silesia (1)
Greece	26	681	3.8%	Rhodes (1)
Hungary	27	1181	2.3%	Ashkenazi (3) Bukovina (1)
Ireland	19	14064	0.1%
Israel	2	138	1.4%	Ashkenazi (1)
Italy	85	3335	2.5%	Sephardic (1) Sicily (9)
Kuwait	1	155	0.6%
Latvia	2	260	0.8%	Ashkenazi (1)
Lebanon	1	239	0.4%
Libyan Arab Jamahiriya	1	22	N/A
Lithuania	24	1013	2.4%	Ashkenazi (16)
Macedonia	1	61	N/A
Mexico	1	814	0.1%
Moldova	2	78	N/A	Ashkenazi (1)
Mongolia	1	588	0.2%
Netherlands	10	1709	0.6%	Ashkenazi (2)
Norway	1	1335	0.1%
Poland	52	3630	1.4%	Ashkenazi (25) Ashkenazi (Galicia) (2) Prussia (1)
Portugal	5	786	0.6%	Azores (1)
Puerto Rico	1	242	0.4%	MDKO: Puerto Rico (1)
Qatar	1	147	0.7%
Romania	15	546	2.7%	Ashkenazi (4)
Russian Federation	38	3070	1.2%	Ashkenazi (18)
Saudi Arabia	6	1132	0.5%
Scotland	18	11425	0.2%
Serbia	1	87	N/A
Slovakia	13	498	2.6%	Ashkenazi (5)
Spain	19	3351	0.6%
Sudan	1	149	0.7%
Sweden	5	1595	0.3%
Switzerland	15	1844	0.8%	Bern (2) Zurich (1)
Syrian Arab Republic	2	205	1%	Sephardic (1)
Turkey	7	559	1.3%
Ukraine	41	1545	2.7%	Ashkenazi (19) Ashkenazi (Bessarabia) (1)
United Arab Emirates	2	269	0.7%
United Kingdom	49	10657	0.5%
United States	24	2563	0.9%
Wales	9	2029	0.4%

Please wait while we check for your 12 marker matches...

25 Marker

Genetic Distance -1

Country	Match Total	Country Total	Percentage	Comments
England	1	18790	< 0.1 %
Germany	1	7082	< 0.1 %
Poland	1	2029	< 0.1 %	Prussia (1)

Genetic Distance -2

Country	Match Total	Country Total	Percentage	Comments
Albania	1	10	N/A
Austria	1	293	0.3%
Belarus	1	419	0.2%
Croatia	1	71	N/A
Czech Republic	1	343	0.3%
England	5	18790	< 0.1 %
Ethiopia	1	8	N/A
Germany	4	7082	0.1%
Greece	2	221	0.9%
Hungary	1	661	0.2%
Italy	3	1315	0.2%
Poland	1	2029	< 0.1 %
Romania	1	235	0.4%
Russian Federation	1	1088	0.1%
Slovenia	1	68	N/A
Spain	1	1569	0.1%
Sweden	1	673	0.1%
Switzerland	2	1182	0.2%
United Kingdom	1	6893	< 0.1 %

being online

Talk about Being Online in this Sakai Discussion Forum. Explore and participate in Art Education 2.0, Scoop.it, Facebook, Flickr, and Twitter. Describe some of the interesting content, people, or groups you found in any of these online networks. What makes this/these content, people, or groups interesting? Tell us specifically about some of the things that people are sharing in these groups (give a couple concrete examples).

http://arted20.ning.com/group/mosaicsandmurals Is a group on art ed 2.0 that adds another element to the their student projects by posted their finished works online. Students around the globe can then take part in their projects virtually but also comment, share their projects on the other side of the globe. The most fascinating idea is that with any traditional work of art it is generally fixed to a wall somewhere, the site allows for these student created and conceived works to travel to other students and around the globe.

Then discuss the potential of these global online networks to enhance your creative thinking and professional development.

http://youtu.be/X0hVEH4se-0 This animation clip is wonderful in that it explains visually and in a traditional narrative the history and future of animation. As an important and diverse element of visual culture animation is now reaching a point where its visual potential is limitless. The clip was presented by animation teachers for students and fans of animation. By presenting the past, and present in traditional and computer animation students are challenged to push the medium allow it reach new levels. A simple textbook article or slide show could never have conveyed what this tiny clip has, so in effect it greatly benefits from the internet, computer based editing programs, and the general formating that social media sites have embraced. The potential to visually and equally simply teach other aspects of history or techniques is of course exciting and implied by the film.

How might these networks be of value to you and to your current or future students in your practice as an art educator? 

http://www.imls.gov/ Is a site that advertises scholarships grants fellowships and work oppurtunities. Many other similar sites exist and can first and foremost allow students to become professionals through a variety of programs, profiles, and cold cash. The bleak economics of the art field make it important that students and artists have as much information as they can about what financial resources are out there be it job or grant listings. Getting attention such sites might as well land someone a job or give a nice gem for the resume. The site also often showcases images of student works adding another incentive to the students producing the art projects.

Briefly describe a possible lesson or project inspired by something you found in one of the groups in any of your online professional networks this week.

From the Rock and the River (imaging ancient pueblo life)

http://www.crowcanyon.org/ Using the Crow Canyon website students will explore the history and culture of the American Southwest in specific the four corners region. First students can visit the education section of the site http://www.crowcanyon.org/education/education.asp and answer a few basic questions to determine that they visited the page and by way of introduction to the site.

Next students will click on the student resources link.

http://www.crowcanyon.org/EducationProducts/pueblo_history_kids/introduction.asp again answering a few questions from the page. Under the Castle rock section students should then follow the link that reads lesson plans.

http://www.crowcanyon.org/EducationProducts/WCP_ElecFieldTrip_StudyGuides/WCP_EFT_IntroPage.asp

then imagining that the class is of 4^th graders click on the 4^th grade link.

http://www.crowcanyon.org/EducationProducts/WCP_ElecFieldTrip_StudyGuides/4thgrade_arch_lessonplan.asp

Then click on the wood canyon link

http://www.crowcanyon.org/EducationProducts/WOODS/welcome_animation/welcome_new.asp

A brief slide show animation will follow then students will be invited to click on the link in the ruin window.

This takes students to the final page. It attempts to imagine life in an ancient pueblo then contrasts it with current pueblos or post contact pueblos. The lesson is then two fold the research and questions gained by surfing the site and then producing a drawing of a pueblo. Things to consider what would you make the building out of and why? How would you arrange you living space? How did the ancient pueblo people arrange their homes (sacred spaces astronomy windows etc..) http://www.crowcanyon.org/EducationProducts/WOODS/PPwoods.asp

The big goal would be to emphasize the limits of place and environment and how we live completely dependent ofn technology. Further to try and get students to think in terms of sustainabilty and dependence on your natural environment. I can think of no better example then desert people squeezing out an existence with tiny amounts of water, no electricity, metalurgy, or animal husbandry. You could take the lesson further and get kids to imagine trying to live on the moon underwater all would emphasize the same idea of living in balance with you environment. A further example might be to bring Arco Santi and similar projects to get kids thinking about why we live the way we do and should we? http://www.arcosanti.org/

Finally, what does it mean to you to be online, globally connected, and basically sharing and collaborating with strangers?  What are the benefits and challenges of being online and globally connected?

I think a challenge is to remain connected to the folks in your neighborhood increasingly I know people that chat with folks around the world but don't know their next door neighbor. There needs to be a balance between social media, it shouldn't be that protable devices are attached at birth and texting is easier for folks then speaking to one another. The impression that we are in fact conncected is of course illusory this is problamatic. I was getting to know a young musician in Algeria just as all hell broke loose over there. The fact that you can chat with someone in a warzone is interesting but it isn't that I can hide him if the troops come knocking or in anyway really help him if he needed. We need to remember that about virtual relations.

Clip featuring Oussama Becissa on Ud http://www.youtube.com/watch?v=49YM_OneRBk

The fact though that I see his music clips as quickly as he sees mine the instant gratification that the internet presents is wonderful. Years ago I would chat with other artists on Deviant Art and talk about a painting but also show my studio and each chance to the work. Now with iphones video clips of artists producing works are all over the place this adds a communal nature to the once solotary work of producing art. It also always students to learn techniques see them performed versus having to hear about them or imagine them.

Last, share your official Facebook name, Twitter name, Flickr Name, and Scoop.it name so we can search for you and friend you in these social media sites. Be sure to do this so we can all friend and follow each other in these sites.

http://www.facebook.com/pages/Sanchezartwerk

https://twitter.com/SanchezArtwerk

http://arted20.ning.com/profile/JonathanSanchez

www.youtube.com/

https://www.youtube.com/channel/UCNwn8XbVgDN4YIeZrHZLHBg?feature=mhee

Sanchez Art Werk Blog 

http://www.sanchezartwerk.com/jonathansanchez/arteducation.html



The readings this lesson describe how race, ethnicity, culture, and creative expressions are intertwined with and impacted by globalization (international commerce, travel, migration, and the creation of glocal creative and cultural practices). In about 250-300 words, describe how your own creative and cultural identities and practices have been shaped by globalization. How are your family traditions and practices interrelated with your multi-layered identities? In other words, how does who you are shape what you do? You may use some of the same personal insights you included in the Personal Reflection section of your Reading Review for this post

I grew on the gulf coast of Florida and feel I am a southerner. I have spent most of my life however, in the Southwest. Culturally I play the music of the Mississippi delta and cook the food of the gulf often.

My parents were both from Brooklyn of Puerto Rican descent though born and raised in the states.They loved Hollywood and the Beatles and did little that was Latin. They spoke English first and gave their kids Anglo/Biblical names. My father raised us as baptist my mother remained catholic. My father remarryied a southern woman of Sicilian descent and the family mix got even more diverse.

I began traveling to Europe and later worked for a French family and was emersed in European cooking and culture. Later I went and lived in Italy and eventually married a Swiss woman. German is now the only other language I am fluent in. It makes my wife feel she is home when I have made her one of her mothers dishes, speak to her in Swiss German and know why she does all the little cultural things that she has to do. I learned her culture as my own and have ingested large amounts of continental matter in the process. More than ten years on I feel that Switzerland is also kind of my home. While living there I carved a pumpkin every year, and always had a huge Thanksgiving feast and was the local blues missionary. So in a sense I realized I was American for the first time overseas. I am completely a product of globalization without some margin of it I would not be able to have a foreign wife or have lived in her country. I think sharing all of these perspective simultaneously is globalization in a nutshell.