AIOU solved assignment Autumn & Spring 2021 – Allama Iqbal Open University (AIOU) course code 6410 subject (Arts Crafts & Calligraphy) Assignments No 1-2 semester Autumn & Spring 2021 B.Ed Level (1.5 Years, 2.5 Years and 4 Years) are available in soft copy (PDF file). All details related
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Autumn & Spring 2021
B.Ed (1.5 Years, 2.5 years and 4 years)
Arts Crafts Calligraphy
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AIOU Solved Assignment Code 6410 Autumn & Spring 2021
Q. 1 Define the concept and scope of Arts, Craft and Calligraphy in your opinion why this
subject is necessary to teach at elementary level?
Arts and crafts as a subject in the school curriculum are typically taken for granted as a must for
children and young kids in the formal education setup. But, over the past several years, many
schools have unfortunately cut down on arts in their school curriculum. Music, painting,
theatre- they are fast disappearing.
There is no doubt that arts and crafts are fun activities for kids. Be it coloring with crayons or
making miniature statues from clay, folding paper to create fine origami or designing a
handmade birthday card, there are several arts and crafts activities, which can enhance the
interest of the children and exploit their artistic potential.
By introducing arts and crafts to the kids and involving them in such activities in schools, you
will invest in building their cognitive, physical, and social development. The following are the
benefits of arts and crafts in school curriculum found in the best schools in Lebanon:
Development of fine motor skills
Since most arts and crafts activities consist of moving fingers and hands, they help in
developing fine motor skills. Simple actions like holding a paintbrush and coloring with pencils
help strengthen muscles and improve their control.
Arts and crafts activities can enhance the children’s dexterity and agility. With the enhancement
of fine motor skills and much practice, a child’s manual dexterity, artistic skills, and speed will
Improvement of hand-eye coordination
Engaging in activities related to arts and crafts from a very young age leads to a tremendous
improvement in hand-eye coordination. This will help a child during later primary school years
when she or he is spacing out words or forming letters.
Learn to appreciate art and culture
Through arts and craft, children learn to value and appreciate artifacts and images across
cultures and times. Experience in design, art, and crafts enable them to reflect critically on their
own work and those by others. They learn to act and think like designers and artists, working
intelligently and creatively. They also learn about the preservation of heritage through art. A lot
of the information we have now about people that lived millions of years ago came solely from
By engaging in creative pursuits of music and arts and crafts, children get the opportunity of
expressing themselves in a positive, tangible and meaningful way. They also learn to create
artwork on their own.
Helps in socializing
Participating, with other students in art class, gives children a chance to interact with others
while sharing common interests. The process of arts and crafts also strengthens parent-child
Arts and craft activities help instil a sense of achievement and pride in children, boosting
The opportunity to create whatever a child desires helps foster creativity.
Sharpens skills of decision making
A child will learn to make correct and effective decisions by facing and solving artistic
challenges. This helps to develop a problem-solving attitude, which in turn, will help them in
Enhances memory and visual learning
A child learns about new colors and shapes through arts and crafts as well as gains familiarity
with various figures and patterns. Activities like learning guitar, jewelry making, etc. need
visualization and memorization of complex designs in mind.
Arts and crafts not only help in the above traits but also in boosting academic performance.
Above all these are activities filled with lots of fun for children.
Crafts are closely related to art. Both require creativity, and in many cases similar materials are
used. They may use the same elements and principles of design. However, a craft is an activity
that uses specific materials with a certain goal in mind. Usually a craft has a set of directions
and skills to result in a finished product, and when a child makes a craft, he or she learns to
follow directions and solve problems while working toward a goal. Craft is also linked closely
to technology. Crafts make use of technology, and some technologies used are very old.
However, technologies change and develop and so do crafts. Pottery for example, is an ancient
craft that relies on technologies first developed thousands of years ago. These technologies have
developed, and so the way pottery is made has also changed even though the fundamental
process is the same. In Unit 4, Student Teachers will consider the vast array of crafts produced
in Pakistan, from pottery to puppets. They will look at selected crafts by location— what is
made and where—and speak with local craftsmen and women. They will look at how crafts are
made and the technology involved. Student Teachers will make crafts as well as plan and
evaluate craft activities for children in the elementary grades. They will consider ways to link
craft activities to other areas of the curriculum.
Art has long been recognized as an important part of a well-rounded education — but when it
comes down to setting budget priorities, the arts rarely rise to the top. Many public schools saw
their visual, performing and musical arts programs cut completely during the last recession,
despite the many studies showing that exposure to the arts can help with academics too. A few
schools are taking the research to heart, weaving the arts into everything they do and finding
that the approach not only boosts academic achievement but also promotes creativity, self-
confidence and school pride.
The arts integration experiment at Integrated Arts Academy at H.O. Wheeler (IAA) in
Burlington, Vermont, started six years ago as an effort to break up socioeconomic imbalances in
the district. Both the elementary schools in Burlington’s North End were failing and both had
high levels of poverty (95 percent of IAA students qualified for free and reduced-price lunch), a
large refugee population and lots of English-language learners. District leaders began having
conversations with community members about turning Wheeler into a magnet school focused
on both art and academics.
What does art integration look like? Recently, a fourth-grade lesson on geometry examined the
work of the famous Russian artist Wassily Kandinsky. The class talked about his work and then
created their own art using angles in the style of Kandinsky. Students had to be able to identify
the angles they’d used and point them out in their art.
―Higher analytical thinking and reasoning and student voice fit so well with the arts,‖ said
Bobby Riley, the school’s principal. Teachers are seeing ways to make connections between
subjects and watch as students find creative confidence and voice in their expression.
Art is not a second thought at the Integrated Arts Academy (IAA). Instead, artistic learning
goals are held up as equals to academic standards and teachers work hard to design lessons that
highlight content through art.
―If you pick a subject area like science, social studies, math or literacy and you integrate it with
an art form, what you do is connect the two and find ways to really integrate the two so they
lean on each other,‖ said Judy Klima, an integrated arts coach at IAA. An arts specialist co-
plans and co-teaches alongside the general education teacher to help ensure academic learning
is happening through an art form and visa versa.
For example, one third-grade science unit on leaf classification integrated visual arts into
science. The teaching team used the close observation of leaves in science to teach about
realistic versus abstract art. Students drew realistic drawings based on a leaf’s edge pattern.
Then they made abstract art based on the scientific qualities of the leaf.
―When you engage hands-on and you are creating your own learning, you are deepening your
level of understanding about a specific topic,‖ Klima said. In this case, students thought
differently both about classification and characteristics, as well as about the differences between
Teachers rotate through visual art forms, music, dance and theater. One fifth-grade class came
up with dramatic renditions of the Revolutionary War. They used the facts in their social studies
curriculum to build scripts and then discussed the dramatic connections through volume, tone of
voice and perspective.
AIOU Solved Assignment Code 6410 Autumn & Spring 2021
Q.2 Elaborate different kind of approaches used in Art and Craft. How these approaches
can be use more effectively while teaching Art and Craft?
Teaching methods are an important aspect of teaching and learning: determine the activities of
teachers and students, the quality of the teaching process, implicitly sending a message about
what teaching is, how children learn, what is knowledge. In accordance with contemporary
conceptions of teaching methods made the thesis of the plurality teaching methods and the need
for more balanced use of different teaching methods. In addition to the thesis of the plurality of
teaching methods, current evidence suggests that teaching methods, their function is achieved
only in the specific context. These findings open up a different insight into the understanding of
teaching methods and their impact on the quality of teaching. Analysis method of application of
teaching methods in the context of the teaching process can lead to a deeper understanding of
the quality of students’ knowledge, the work of teachers, etc. and understanding of the
educational function of the method in the present context.
Art is more than creative expression, which has been the dominant theme of art education for
much of the twentieth century. Expression is important, but researchers are also finding
connections between learning in the visual arts and the acquisition of knowledge and skills in
other areas. According to a 1993 Arts Education Partnership Working Group study, the benefits
of a strong art program include intensified student motivation to learn, better school attendance,
increased graduation rates, improved multicultural understanding, and the development of
higher-order thinking skills, creativity, and problem-solving abilities. Art education has its roots
in drawing, which, with reading, writing, singing, and playing an instrument comprised the
basic elementary school curriculum in the seventeenth century. Drawing continued to be a basic
component of the core curriculum throughout the eighteenth and nineteenth centuries, when
educators saw drawing as important in teaching handwork, nature study, geography, and other
subjects. Art education later expanded to include painting, design, graphic arts, and the “plastic
arts” (e.g., sculpture and ceramics), although art continued to be seen primarily as utilitarian. In
the twentieth century, with the advent of modernism, art education in the United States edged
away from a utilitarian philosophy to one of creative expression, or art-making for personal
development. Art continued to be valued, although less often as a core subject, during the early
decades of the century and then declined in importance with the advent of World War II. In the
postwar period, particularly after the launch of Sputnik in 1957, core-subject emphasis shifted
dramatically to mathematics and science. Art education reached a low point in the 1970s, when
a shrinking school-age population (the graduating baby boomer generation) and a serious
national energy crisis brought about many school closings and program cuts. Art programs were
among the first to be reduced or eliminated. But the 1970s also ushered in a period of intense
work by art educators to revive interest in art education. At the Getty Center for Education in
the Arts, for example, work began on the implementation of a transformational theory:
discipline-based art education (DBAE). This theory proposed that art making (or “studio art”)–
the thrust of creative expression–needed to be extended and informed by attention to the
complementary disciplines of art history, aesthetics, and art criticism, even when teaching the
youngest pupils. DBAE theory, most observers now agree, has been instrumental in
reinvigorating art education and gaining a place for art in school reform.
Interest in the general quality of U.S. education rose during the 1980s, especially after the 1983
publication of A Nation at Risk by the National Commission on Excellence in Education. The
commission’s report spoke of “a rising tide of mediocrity” in K–12 schools and ushered in
ongoing school reform efforts at all levels. National attention reached a peak in 1994 with the
passage of the federal Goals 2000: Educate America Act. This act led to the formation of goal-
setting groups, among them the National Coalition for Education in the Arts, which took up the
task of ensuring that the arts, writ large, would assume their rightful place within the basic
curriculum. This coalition included, among others, the American Alliance for Theatre and
Education, the National Art Education Association, the Music Educators National Conference,
and the National Dance Association. It defined arts education broadly as “the process of
teaching and learning how to create and produce the visual and performing arts and how to
understand and evaluate art forms created by others” (Arts Education Partnership Working
Group, p. 5). The National Art Education Association took a central role in defining the
expectations for art education, which were written into the national standards: Students should
understand and apply art media and processes; use visual arts structures and functions; choose
and evaluate a range of subject matter, symbols, and ideas; understand art in relation to history
and cultures; reflect upon and assess the merits of their own work and that of others; and make
connections between art and other disciplines. This view of art education coalesced with other
theories, which became generally accepted during the last quarter of the twentieth century.
Three are noteworthy. First, constructivism supplanted behaviorism as a guiding instructional
theory, drawing on work by educators and researchers, such as Jerome Bruner (1960), Jean
Piaget (1974), and Lev S. Vygotsky (1978). Constructivism posits that learners play a crucial
role in “constructing” their own knowledge. Where behaviorism tends to see the teacher as a
dispenser of knowledge, constructivism views the teacher as a facilitator who helps students
acquire understandings and put them to individual use. Second, postmodernism became the
successor to modernism. First identified in architecture by Charles Jencks (1977), the unifying
feature of postmodern theory is the absence of cultural dominance. In art education this led to
greater emphasis on multiculturalism and expansion of the traditional canon. Third, the multiple
intelligences theory, developed by Howard Gardner (1983), points out that children think and
learn based on individual intellectual strengths. Gardner initially identified seven intelligences–
musical, bodily-kinesthetic, logical-mathematical, linguistic, spatial, interpersonal, and
intrapersonal–and later added others. Art education, particularly as viewed through the lens of
DBAE theory, taps intelligences that are not typically used in other core subjects. By
implementing arts curricula based on these theories, many arts educators believe that “students
can arrive at their own knowledge, beliefs, and values for making personal and artistic
decisions. In other terms, they can arrive at a broad-based, well-grounded understanding of
nature, value, and meaning of arts as a part of their own humanity” (Consortium of National
Arts Education Associations, pp. 18–19).
Elementary and Middle Schools
Children are natural artists. From infancy, they delight in the interplay of light and shadow,
shape and color. Objects dangling from a mobile and the elemental shapes of balls and blocks
fascinate them. As children develop, they connect the visual and the tactile: playing in spilled
cereal, sculpting sand on a beach, finger painting, and scribbling with crayons. They create
shadows in patches of sunlight and lay out sticks to form patterns.
By the time most children enter formal schooling, they have moved from scribbling and
stacking to more deliberate two-and three-dimensional representation. For younger children,
first representations usually are of inner realities. When asked to describe their artworks, they tell detailed and imaginative stories. As time goes by, children’s drawings and sculptures begin
to reflect their observations of the world.
Nurturing the natural development of artistic sensitivities and creative responses is the universal
thrust of elementary art education. Formalized study is introduced gradually, as children move
through the elementary grades and into middle school, which begins in the United States at
fifth, sixth, or seventh grade, depending on the school system.
Elementary art specialists in some schools function mainly as art teachers, working with classes
in isolation and focusing almost exclusively on art making. While a classroom teacher’s pupils
work with a specialist (art, music, physical education, etc.), the teacher gains planning time.
However, with increasing emphasis on DBAE and national standards, many art specialists and
classroom teachers are now working as partners.
An art specialist may work directly with pupils for as little as forty or fifty minutes once each
week, but ideally art is taught more often–daily in some schools. Art also is integral to language
arts, social studies, mathematics, and science in many schools. The art specialist, in addition to
teaching children, helps classroom teachers blend art with other subjects. Such collaboration
also expands the subject matter of art, raising questions about aesthetics and the place of art in
culture and society. When art is valued as a core subject in this way, children’s artworks
proliferate in classrooms and corridors. The artworks incorporate themes from other subjects
and are creative and individualistic.
Ideally the collaboration and integration that distinguish elementary art education are carried
into programs for young adolescents. Many U.S. middle schools use a team-teaching approach
to organize classes and schedules, which facilitates an art-andhumanities framework and fosters
the inclusion of art in the core curriculum. In middle schools that function more like high
schools, art classes tend to be organized around media and art forms and are treated as electives.
Art education reform, which began in the 1980s and 1990s, focuses on moving art into the core
curriculum, “where art is studied and created so that the students will gain insights into
themselves, their world, human purposes, and values” (Wilson, p.168). Some U.S. high schools
are oriented in this manner, and most others are moving philosophically in this direction, even
though many also continue to offer traditional art courses aimed, in part, at educating students
as artists. Art is an elective subject in most secondary schools.
Course offerings, however, may be extensive. It is not unusual for larger high schools to offer
thirty to forty separate art classes, including beginning, intermediate, and advanced levels.
Subjects include drawing, painting, photography, commercial art, sculpture, ceramics, weaving
and fiber art, jewelry, design, and art history. Where DBAE theory has been influential, classes
in aesthetics and art criticism may be offered separately, but art topics also will be addressed in
the context of classes in most subjects. Some schools pair art with other subjects in teamed
classes, such as photography with journalism and film making with film study.
The influence of postmodernism is evident in broadening the art canon to include more
multicultural imagery. Art reproductions used in Western classrooms portray images from
African and Asian cultures along with those from European sources. Particular attention to
including African-American art images can be seen in many U.S. schools.
Adolescent notions of art are shaped by many influences, ranging from popular culture to
formal schooling. Thus the teenage years are a time of aesthetic questioning. Secondary school
art programs should be about educating students to be consumers, as well as producers, of art.
Situating art education in the core curriculum facilitates such study and helps students develop
sound judgment of art.
The rapid advancement of computer technology has transformed art at all levels. Art-making,
whether in the professional world or in schools, often is aided by computer programs that allow
artists to create and manipulate images electronically. This new capability raises aesthetic
questions about the nature of art. For example, must a finished artwork be frameable? When, for
that matter, should a work be considered “finished”? In the commercial world, an illustrator’s
work may exist only as a computer file until it finally appears in a book or magazine. As an
electronic file, the image also can be altered repeatedly by the artist or by a publisher’s art
director until the moment it is printed.
Computer technology also provides resources for art history and criticism. Images for
classroom study are routinely available in electronic formats, such as CD-ROM, making it easy
for a school to maintain an extensive collection of visual references. Electronic editions of
encyclopedias and other texts offer “extras” not found in print, such as film footage and sound
bites. These extras enliven and enlarge the resources so that students do not merely read the
information, but experience it.
The number of “wired” classrooms continues to increase. Electronic connections between a
classroom or laboratory computer and the Internet make virtual field trips increasingly available
as instructional tools. If teachers cannot take their students physically to a museum, they may be
able to take them electronically. Virtual tours of many of the world’s art galleries and museums
are expanding instructional horizons. Some institutional sites, such as the website of the Louvre
Museum in Paris, also encourage cross-cultural studies by allowing electronic visitors to take
the virtual tour in several languages and by providing links to other historical and cultural
AIOU Solved Assignment Code 6410 Autumn & Spring 2021
Q.3 Discuss various kind of methods use in teaching Arts and Craft. In your opinion
which method is more suitable?
These teaching styles highlight the five main strategies teachers use in the classroom, as well as
the benefits and potential pitfalls of each.
The Authority, or lecture style
The authority model is teacher-centered and frequently entails lengthy lecture sessions or one-
way presentations. Students are expected to take notes or absorb information.
Pros: This style is acceptable for certain higher-education disciplines and auditorium settings
with large groups of students. The pure lecture style is most suitable for subjects like history,
which necessitate memorization of key facts, dates, names, etc.
Cons: It’s a questionable model for teaching children because there is little or no interaction
with the teacher. Plus it can get a little snooze-y. That’s why it’s a better approach for older,
more mature students.
The Demonstrator, or coach style
The demonstrator retains the formal authority role by showing students what they need to know.
The demonstrator is a lot like the lecturer, but their lessons include multimedia presentations,
activities, and demonstrations. (Think: Math. Science. Music.)
Pros: This style gives teachers opportunities to incorporate a variety of formats including
lectures and multimedia presentations.
Cons: Although it’s well-suited for teaching mathematics, music, physical education, or arts and
crafts, it is difficult to accommodate students’ individual needs in larger classrooms.
The Facilitator, or activity style
Facilitators promote self-learning and help students develop critical thinking skills and retain
knowledge that leads to self-actualization.
Pros: This style trains students to ask questions and helps develop skills to find answers and
solutions through exploration; it is ideal for teaching science and similar subjects.
Cons: Challenges teacher to interact with students and prompt them toward discovery rather
than lecturing facts and testing knowledge through memorization. So it’s a bit harder to
measure success in tangible terms.
The Delegator, or group style
The delegator style is best suited for curricula that require lab activities, such as chemistry and
biology, or subjects that warrant peer feedback, like debate and creative writing.
Pros: Guided discovery and inquiry-based learning place the teacher in an observer role that
inspires students by working in tandem toward common goals.
Cons: Considered a modern style of teaching, it is sometimes criticized as eroding teacher
authority. As a delegator, the teacher acts more as a consultant rather than the traditional
The Hybrid, or blended style
Hybrid, or blended style, follows an integrated approach to teaching that blends the teacher’s
personality and interests with students’ needs and curriculum-appropriate methods.
Pros: Inclusive! And it enables teachers to tailor their styles to student needs and appropriate
Cons: Hybrid style runs the risk of trying to be too many things to all students, prompting
teachers to spread themselves too thin and dilute learning.
Because teachers have styles that reflect their distinct personalities and curriculum—from math
and science to English and history—it’s crucial that they remain focused on their teaching
objectives and avoid trying to be all things to all students.
Grasha understood that schools must use a consistent, formal approach in evaluating a teacher’s
classroom performance. He recognized that any system designed to help teachers improve their
instructional skills requires a simple classification system. He developed a teaching style
inventory that has since been adopted and modified by followers.
Expert: Similar to a coach, experts share knowledge, demonstrate their expertise, advise
students, and provide feedback to improve understanding and promote learning.
Formal authority: Authoritative teachers incorporate the traditional lecture format and share
many of the same characteristics as experts, but with less student interaction.
Personal model: Incorporates blended teaching styles that match the best techniques with the
appropriate learning scenarios and students in an adaptive format.
Facilitator: Designs participatory learning activities and manages classroom projects while
providing information and offering feedback to facilitate critical thinking.
Delegator: Organizes group learning, observes students, provides consultation, and promotes
interaction between groups and among individuals to achieve learning objectives.
Although he developed specific teaching styles, Grasha warned against boxing teachers into a
single category. Instead, he advocated that teachers play multiple roles in the classroom. He
believed most teachers possess some combination of all or most of the classic teaching styles.
Whether you’re a first-year teacher eager to put into practice all of the pedagogical techniques
you learned in college, or a classroom veteran examining differentiated instruction and new
learning methodologies, consider that not all students respond well to one particular style.
Although teaching styles have been categorized into five groups, today’s ideal teaching style is
not an either/or proposition but more of a hybrid approach that blends the best of everything a
teacher has to offer.
The traditional advice that teachers not overreach with a cluster of all-encompassing teaching
styles might seem to conflict with today’s emphasis on student-centered classrooms.
Theoretically, the more teachers emphasize student-centric learning, the harder it is to develop a
well-focused style based on their personal attributes, strengths, and goals.
In short, modern methods of teaching require different types of teachers—from the
analyst/organizer to the negotiator/consultant. Here are some other factors to consider as
teachers determine the best teaching method for their students.
Empty vessel: Critics of the ―sage on the stage‖ lecture style point to the ―empty vessel‖ theory,
which assumes a student’s mind is essentially empty and needs to be filled by the ―expert‖
teacher. Critics of this traditional approach to teaching insist this teaching style is outmoded and
needs to be updated for the diverse 21st-century classroom.
Active vs. passive: Proponents of the traditional lecture approach believe that an overemphasis
on group-oriented participatory teaching styles, like facilitator and delegator, favor gifted and
competitive students over passive children with varied learning abilities, thereby exacerbating
the challenges of meeting the needs of all learners.
Knowledge vs. information: Knowledge implies a complete understanding, or full
comprehension, of a particular subject. A blend of teaching styles that incorporate facilitator,
delegator, demonstrator, and lecturer techniques helps the broadest range of students acquire in-
depth knowledge and mastery of a given subject. This stands in contrast to passive learning,
which typically entails memorizing facts, or information, with the short-term objective of
scoring well on tests.
Interactive classrooms: Laptops and tablets, video conferencing, and podcasts in classrooms
play a vital role in today’s teaching styles. With technology in mind, it is imperative that
teachers assess their students’ knowledge while they are learning. The alternative is to wait for
test results, only to discover knowledge gaps that should have been detected during the active
Constructivist teaching methods: Contemporary teaching styles tend to be group-focused and
inquiry-driven. Constructivist teaching methods embrace subsets of alternative teaching styles,
including modeling, coaching, and test preparation through rubrics scaffolding. All of these are
designed to promote student participation and necessitate a hybrid approach to teaching. One
criticism of the constructivist approach is that it caters to extroverted, group-oriented students,
who tend to dominate and benefit from these teaching methods more than introverts; however,
this assumes introverts aren’t learning by observing.
Student-centric learning does not have to come at the expense of an instructor’s preferred
teaching method. However, differentiated instruction demands that teachers finesse their style to
accommodate the diverse needs of 21st-century classrooms.
Q.4 In your opinion what are the basic principles of teaching Arts and Crafts by using
which a teacher can make Arts and Crafts teaching more effective.
―Teaching is a calling too. And I’ve always thought that teachers in their way are holy—angels
leading their flocks out of the darkness.‖ —Jeannette Walls, Half Broke Horses
I make it a practice to attend seminars on teaching and training programs to understand the
latest tools and techniques and developments. In October 2015, I had the privilege of attending
a seminar on the ―Art of Teaching‖ delivered by an experienced educator with 32 years of
teaching service. He delivered the seminar for almost two hours with high-energy levels. He
kept moving in all directions during the seminar to connect with the entire audience and to
gauge our body language. His passion was evident throughout the seminar. He was around 65
years old. It was a post-lunch session. Usually it is tough to grab and hold the attention of the
audience at this time because the post-lunch session often is referred to as a ―graveyard
session.‖ Additionally, it was almost the weekend, and the audience was eager to pack up rather
than listen to the seminar.
The seminar participants were all experienced academicians who might disagree with the
teaching tools and techniques shared by this experienced educator. However, I enjoyed his
seminar, and, above all, his passion to share his experiences with his colleagues. I am a
passionate learner, and I have the habit of learning from all sources to share my knowledge with
my students. As such, here are my views on teaching.
Teaching Is a Calling
Teaching is more than a profession. Teaching is a calling. Teaching is the mother of all
professions. It requires immense passion to share knowledge with others. Audiences will be of
different mindsets, egos, emotions, and feelings. To reach out to them is a big challenge for
Teachers must create a conducive environment in the classroom to ensure that the transfer of
knowledge takes place from one person to another or to a group. They must arouse interest in
students, develop curiosity in them, and engage them effectively to accomplish the teaching
goals and objectives.
Teaching is a profession, but teachers may not be treated as professionals. Teaching enhances
the abilities of students. Teaching is a transactional way of disciplining the students and a
transformational way of developing them as personalities and shaping them as healthy citizens.
The teaching profession doesn’t always give a decent income to teachers, but it gives a great
respect to the teachers from students.
Teaching Is a Profession of Passion
If you want to make decent money, don’t join the teaching profession. In contrast, if you want
to earn respect, join the teaching profession. If you are passionate about sharing your
knowledge, join the teaching profession. The teaching profession is not for unethical
individuals, but it is for individuals who appreciate sharing their knowledge with others with
integrity. The teaching profession is for people who want to make a difference in the lives of
students. Above all, the teaching profession is for those people who have the highest
responsibility of building better societies.
Teaching Is an Art and a Craft
There are debates about whether teaching is an art or craft. In fact, teaching is both. The skill to
teach is cultivated by various means, including learning, reading, training, observation, and
experience. It is rightly said, ―To teach is to learn twice.‖ It takes immense passion to become a
great teacher. When teachers are passionate about sharing their knowledge with students and
have a heart to make a difference, then the teaching profession becomes the mother of all
professions as all the other professions are the outcomes of teaching.
The world has changed rapidly, and the teaching pedagogy and techniques must change with the
changing times. Previously, it was a faculty-centric education environment. Presently, there is
an urgent need for student-centric education. Students respect the teachers who share their
knowledge relevant to their expectations and aspirations. As such, teachers must update their
knowledge and innovate their teaching tools and techniques constantly to ensure student-centric
For me, teaching is more than profession. It is my passion. I am a passionate teacher and
learner. I love sharing my knowledge with my students.
Q.5 Discuss various role and responsibilities of an art and Craft teacher in detail.
The Art Teacher’s responsibilities include sourcing art supplies, preparing lessons, and
providing developmentally-appropriate instruction on art techniques. You should also be able to
supervise lessons to ensure that learners interact in a supportive and respectful manner.
To be successful as an Art Teacher, you should be able to encourage creativity and self-
expression among students. Ultimately, an outstanding Art Teacher will be attentive and
responsive to themes in students’ art that suggest distress in their personal lives.
Art Teacher Responsibilities:
Planning lessons on art and art history in accordance with students’ learning objectives.
Preparing the classroom by gathering and setting up equipment.
Developing students’ drawing, coloring, and painting techniques.
Providing instruction on the use of media such as graphite and charcoal pencils, as well as oil,
acrylic, and watercolor paint.
Teaching students about art history.
Assigning and grading projects and examinations.
Recording and reporting on students’ progress.
Ensuring that the classroom is clean after each lesson.
Monitoring inventory and sourcing art supplies, as needed.
Attending faculty and parent-teacher meetings.
Art Teacher Requirements:
Bachelor’s degree in Fine Arts with teaching qualification, or equivalent.
Prior experience as an Art Teacher.
Demonstrated excellence in a variety of art techniques.
Excellent verbal and written communication skills.
Capacity to supervise group work.
Outstanding planning and problem-solving skills.
Supportive, flexible disposition.
Available to work during evenings, on occasion.
As a Teacher, you will be responsible for cultivating the students’ interest in education and
development. Your responsibilities will include grading assignments, evaluating students’
progress, and planning educational activities.
You should be a competent professional with in-depth knowledge of teaching best practices and
legal educational processes. In addition to having excellent written and verbal communication
skills, our ideal candidate will also demonstrate outstanding presentation and interpersonal
Develop and issue educational content including notes, tests, and assignments.
Supervise classes to ensure all students are learning in a safe and productive environment.
Organize supplies and resources for lectures and presentations.
Deliver personalized instruction to each student by encouraging interactive learning.
Plan and implement educational activities and events.
Ensure your classroom is clean and orderly.
Prepare and distribute periodic progress reports and semester report cards.
Attend parent-teacher meetings.
Evaluate and document students’ progress.
Allocate and grade homework, assignments, and tests.
Bachelor’s degree in Teaching or relevant field.
A minimum of 2 years’ experience as a teacher.
In-depth knowledge of teaching methods and legal educational procedures.
Outstanding written and verbal communication skills.
Well-organized with excellent leadership abilities.
Exceptional interpersonal and presentation skills.
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