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| directory of teaching artists: DEANA ATTEBERY |
| Describe a transformative process
that has occurred in your own practice as an artist or in a past residency as
a teaching artist. While teaching beginning leather carving at Treasure Valley Community College one of the concepts was difficult for the students to grasp. As a teacher, I could sense the frustration. After coming home and giving the matter considerable thought, I was able to come up with a way to enable the students to gain the understanding needed. For a teacher, it was a wonderful moment - comprehension took place and the enthusiasm for the class and work was renewed. What excites your imagination and in turn how does your work excite imagination for your audience? The beauty and functionality of my “traditional” folk art form is a continual spark for me. I love what I do, which includes the smell and feel of leather. To find another way to use leather and art together or develop a new flower in the rational style is very exciting and encouraging. This continual enthusiasm I have for my work transfers itself to my students. When they see what they really can do and what they can produce they are off and running. What characteristics mark a successful collaboration for you? A successful collaboration for me is the act of setting specific goals for the student as well as myself as the teacher. When these goals are met or the efforts exceed the goals, that is success. How do you foster creativity, both in your own work and as a teaching artist? I am constantly trying new things with my leather, which keeps me going creatively. I try new things in the classroom as well, introducing ideas or asking questions that start the thinking process and allow for the individual personality to come forward within the parameters of the art. This sparks the creative side of an individual. It also allows those who might not be as creative to feel comfortable and fulfilled by achieving success within the parameters of this folk art. Please identify 3 key understandings in your discipline that could serve as the foundation for a residency.
List three Idaho Humanities Content Standards that
correlate with each of the key understandings you have identified above.
Symmetry Dexterity Discipline Balance Coordination Design Mathematics Functionality Physical strength List subject areas outside of the fine arts that relate to potential residency work i.e. possible connections to the curriculum might include: Wagons Ho already in place with many grade schools in conjunction with 4th grade Idaho History History of the American West Higher math applications with the braiding and knots Improve fine motor skills with grade school students References
2098 Dymoke Lane, Midvale, ID 83645 (208) 355-2686 Steve Derricott 301 E Bower, Meridian, ID 83642 (209) 884-3766 sderricott@gfellercasemakers.com Arlene Youngblood 12612 Smith Ave, Nampa, ID 83651 (208) 467-322 ryhorses@msn.com top |
 Discipline: Leather carving and leather/rawhide braiding Phone: (208) 365-2429 Cell: (208) 989-9110 Email: sdattebery@iglide.net Website: na ICA Artists by Discipline Music Ken Harris Dance Wendy de la Harpe Jo Miller Norma Pintar Theater/Storytelling Geoffrey Bennett Teresa Clark Language Arts Judy Sobeloff Visual Arts Deana Attebery Tom Bennick Judith Brand Sue Rooke Lizette Fife Helen Grainger Wilson Terrie Kralik Jeanne Leffingwell Cathy Sher Linda Wolfe Video/Media Arts Peppershock Media |
 Phone: 208/334-2119 or 800/278-3863 Fax: 208/334-2488 Mailing address: P.O. Box 83720, Boise, ID 83720-0008 Street address: 2410 North Old Penitentiary Rd., Boise, ID 83712 |