The Importance of Place

Lesson Plan

Lesson

Students will examine Mud Woman Rolls On and discuss how the land from which it was created and the places important to the artist influence the meaning and intent of the work. Students will then create a map of places they have lived and explore the influence of place on their own lives.

Intended Age Group

Elementary (grades K-5)

Length of Lesson

Two 50 minute lessons

Standards Area

Social Studies

Objectives

Students will be able to:

  • locate some of the areas associated with artist Roxanne Swentzell on a map;
  • identify the areas where they have lived or where their ancestors have lived on a map;
  • interpret how the geography of a particular area can affect people, artwork, and cultural heritage;
  • develop spatial thinking to organize and make connections when reading a map; and
  • demonstrate an understanding of chronological order in a personal history.

Lesson

  1. Show students images of Mud Woman Rolls On and ask them to describe what they see. Ask if they can guess what materials were used to make the sculpture. Share pertinent background information from the About the Art section.
  2. Mud Woman Rolls On is made from natural elements either purchased or dug up in Denver and areas around Santa Fe, New Mexico. It is literally made from the land. Explain that this is a Pueblo Storyteller, which is a traditional art form found in the artist’s region and culture of the American Southwest, specifically the Santa Clara Pueblo in New Mexico. According to Swentzell, “Pueblo Storytellers are about how knowledge is passed down through generations.” The sculpture shows a mother and her four children. Ask students to guess what she might be telling them.
  3. Roxanne Swentzell believes that the place art is created and the area in which one lives is very important. There is a strong sense of place in her art. In part, she is inspired by her geography and her environment. The places she has lived and the lands of her ancestors make her who she is and that becomes evident in her art.
  4. The “Who Made It?” tab of the About the Art section tells of many of the places that have influenced Roxanne. She was born in Taos and grew up in Santa Fe. Her mother is native to the Santa Clara Pueblo in New Mexico and her father is originally from New Jersey but has German heritage. When Roxanne was creating Mud Woman, she spent a lot of time in Denver. Using world and United States maps or Google Earth, locate each of these places with the class. Roxanne feels the influence of all of these places in her life and art.
  5. Make sure each student has access to a world map. If possible, print out a copy for each student. Have students pinpoint each area in which they have lived. Ask students to connect each of these areas chronologically by drawing a line starting where they were born and connecting to each place they moved after that. Some students might only need a state map or US map. Other students might need a city map. Students who have lived in the same place their entire lives could include places they spent a vacation at. Students might also map the places their ancestors are from. In a way, the map they make tells the story of their life.

Day 2

  1. Ask students to recall what the geography of each area they have lived in was like and write a description on a separate sheet of paper. It could be things like there was a lot of snow, they had a back yard with a pool because it was really hot most of the time, or there was very little grass because they lived downtown in a big city.
  2. If they don’t remember they may need time to research. They could do this by asking older relatives questions about the past or by researching in the school library.
  3. When this geographic study is done, ask students to share with each other ways in which the places they have lived have influenced who they are today. It could be as simple as, “I’m a really good snowboarder because I live in Colorado close to a ski area.” Or, “My family is from Mexico so we celebrate traditional Mexican holidays.” Remind students to use good listening and presentation skills.

Materials

  • About the Art section on Mud Woman Rolls On (included with the lesson plan) or student access to this part of Creativity Resource online
  • Color copies of Mud Woman Rolls On for students to share, or the ability to project the image onto a wall or screen
  • Access to and a way to display images from Google Earth, or world maps, state maps, and city maps on which students can trace a route to and from each area where they have lived
  • Paper for note taking and final project
  • Pencils and/or other writing implements or access to a word processor

Standards

CO Standards

  • Social Studies
    • History
      • Understand chronological order of events
      • Ask questions, share information and discuss ideas about the past and present
    • Geography
      • Become familiar with Colorado geography
      • Become familiar with United States geography
      • Become familiar with World geography
      • Recognize similarities and differences about regions and people using geographic tools
      • Understand people and their relationship with geography and their environment
      • Use geographic tools and sources to answer spatial questions
  • Visual Arts
    • Observe and Learn to Comprehend
    • Relate and Connect to Transfer
  • Language Arts
    • Research and Reasoning

21st Century Skills

  • Collaboration
  • Critical Thinking & Reasoning
  • Information Literacy
  • Invention
  • Self-Direction

About the Art

Mud Woman Rolls On

Mud Woman Rolls On

2011

Roxanne Swentzell

Who Made It?

Roxanne Swentzell was born in Taos, New Mexico in 1962. Her mother was a potter, writer, and scholar from Santa Clara Pueblo, and her father was a New Jersey native of German descent who was a philosophy professor in Santa Fe. Growing up in Santa Fe, in a household that was filled with clay and artwork, Roxanne took to art-making at an early age. As a child, she struggled to express herself verbally. In order to let others know how she was feeling, she would sculpt small figures that represented her emotions.

Roxanne attributes much of her success to guidance from her family, particularly her mother, Rina, and her uncle, Michael Naranjo, a blind sculptor. From 1978-1980, before graduating high school, she attended the Institute of American Indian Arts.

Today, she spends much of her time at Tower Studio, twelve miles north of Santa Fe. Continuing her interests in nature and preserving the earth, Swentzell founded the Flowering Tree Permaculture Institute, “a research and education organization that relates to permaculture…a way of looking at the world based on the laws of nature.”

Swentzell believes that it is extremely important for her work to have a direct connection with reality. Her art must be a full expression of herself and her experiences and observations of life. She says, “I learned to listen to myself and not be so influenced by what other people wanted me to make. I am going to present the world through my eyes—and not as somebody told me I was supposed to.” She also aims to communicate with all people through her artwork—both Indian and non-Indian—about the things we share as humans. “With my sculptures I try to reach people’s emotions so they can remember themselves,” says Swentzell.

What Inspired It?

Artist’s Statement on Mud Woman Rolls On, written by Roxanne Swentzell:

I propose creating a piece that is made from different forms of “mud.” A large female figure holds a few smaller figures (her children). This style of figure is known as a Storyteller. Pueblo Storytellers are about how knowledge is passed down through generations.

This piece is telling us a story; a story about generations and our connection to the Earth.

When asked to create a piece for the entrance of the Native American Exhibit section of the Denver Art Museum, I wanted to start the viewer off with a perspective of Earth and Mother. Having a “Mother” made of mud/clay starts the exhibit off in an appropriate beginning to our Native world. To have human figures made of clay is in itself part of the theme. We are all from this Mother, all from this Earth: made of her and will return to her.

The Storyteller will be in the form of generations. The Mother holds the largest child, who’s holding the next child, who’s holding the next and so on. I love the perspective of understanding that we all come from the Earth, generation after generation; an endless family of life passing on the seed. (Which itself is a story written into our genes.) We are the mothers of the next generation and the daughters of the last. Male or female........in the Pueblo world, we are “Mothers” (nurturers) of the generations to come in a world that supports life. It is always good to remember…to nurture life, for it is our work now as it was for our parents and ancestors that came before us and it will become the work of our children. When we nurture life, we take care of the Earth and each other so life itself can continue.

I will mix the medium of the piece with raw unfired mud plastered over a basket-like structure with parts of the features sculpted with fired earthenware clay. Some of the mud will have straw in it, and other parts, different clay pigments to create color. I find these different forms very interesting to create as an artist and also I love the thought of creating a piece that could actually melt down into mud if dumped into water. Just as all of us will return to the Earth, so will this Mud Woman one day…purposefully. To create a fine arts piece for a Museum out of raw mud creates a new consciousness in the world of art and links two very different cultures, the Western World with the Native American world. I am very excited to help to make this bridge.

As the “Mother” figure is very large, the children will be more human size. This helps the viewer relate to the Mother as their Mother and the children as themselves. From this perspective the viewer sees their place in creation clearer. They view themselves in the context of generations from the beginning of time into the future, all connected. To hurt one part of the chain of life is to disrupt the flow that nurtures the generations to come. I believe this story is certainly one that needs telling at this time.

Details

Site-specific
Site-specific

Mud Woman Rolls On is a site-specific work of art. The DAM commissioned Roxanne Swentzell to create this piece as part of the opening installation of the new American Indian art galleries on the 3rd floor of the North Building. Roxanne started working on the piece January of 2011 and continued to work for the next nine months, traveling to Denver from New Mexico to work for three or four days straight once or twice a month. Swentzell completed the piece in September 2011.

Backdrop
Backdrop

Panels plastered with clay and enhanced with straw form the backdrop for this piece. The backdrop was created by Roxanne’s sister, Athena Steen, and her husband, Bill Steen. The Steens are authorities on straw bale houses and have created crossover art/architecture pieces for museums, as well as private clients.

Size and Location
Size and Location

Mud Woman is nearly 11 feet tall and located in the elevator lobby of the DAM’s American Indian art gallery. This is a permanent piece in the museum’s collection and the first object a visitor sees when they walk out of the elevator. It was important to Roxanne that this sculpture communicate a feeling of love to the visitors walking into the gallery and that people would be able to relate to the size of the sculpted children, who are being embraced by Mud Woman.

Straw Wattles
Straw Wattles

Mud Woman Rolls On was Swentzell’s first attempt at creating something larger than life-size. In order to build a structure so large, which would last a long time and support a lot of weight, Swentzell used straw wattles (long tubes of straw used most commonly for erosion control) for the base of the sculpture. Using a straw base is a standard practice for adobe construction and using flexible wattles (instead of rigid, square-shaped straw bales) allowed Swentzell to “coil” the tubes in a way very similar to how she would coil clay. If you look closely, you can see where some straw is still exposed.

Children and Motherhood
Children and Motherhood

Mud Woman is holding four children and, in turn, each of the children is holding one another. This idea of the mother (nurturer) with children around her is based on the Pueblo Storyteller tradition and was an important inspiration for Swentzell. As she explains in her artist’s statement, “Pueblo Storytellers are about how knowledge is passed down through generations.” It is also interesting to note that this project took nine months to complete, the same amount of time it takes for a child to be born.

Different Colors and Types of Mud
Different Colors and Types of Mud

The mud (a combination of dirt, sand, straw, and water) used to make this piece comes in a variety of colors. Roxanne Swentzell carefully selected the type of mud to use for each of the figures based on their look and their location. For example, the second smallest child is a grayish green and the dirt used to make the mud that covers this figure came directly from an area behind the train station in downtown Denver. Other mud ingredients were either purchased or dug up from areas surrounding Santa Fe, New Mexico. When looking at the sculpture up close, one can see the subtle sparkle of micaceous clay that covers the surface of the mother figure. All of these examples were meaningful choices made by the artist.

Grass Hair
Grass Hair

Swentzell used a variety of different grasses, dyed different colors, for Mud Woman’s hair. This feature emphasizes that Mud Woman is made entirely of organic, natural materials. In this detail, you can see how the ends of the “hair strands” are shafts of grass.

Humor
Humor

Roxanne Swentzell often infuses her sense of humor into her work. This particular detail shows where Roxanne chose to write her signature. When visitors walk around the piece and find this detail, most think it is delightfully “cheeky.”

Funding for lesson plans provided by a grant from the Morgridge Family Foundation. Additional funding provided by the William Randolph Hearst Endowment for Education Programs, and Xcel Energy Foundation. We thank our colleagues at the University of Denver Morgridge College of Education.