https://docs.google.com/presentation/d/1oT8dTC2oPJb7xujtZybDWLTENohabga3ugkpfti1rn0/edit?usp=sharing
https://docs.google.com/presentation/d/1oT8dTC2oPJb7xujtZybDWLTENohabga3ugkpfti1rn0/edit?usp=sharing

starting to develop my own work/practice based on what im doing in school

As i am planning on applying to POSTgrad teacher training, i need an u to date portfolio, and examples of work i have made inclusion of children etc,
I will develop my own range of cameraless photography themses etc abd explore them, this will give me more work to show in interview.
respond in much the same way as the 12 blackbirds poem etc

Research and prep, plus DAY 2 - Quilling, origami, paper workshops

Research

-Paper

-Growth

-values

Stooping to encounter each work, the viewer is obliged to reimagine the nature of the receptacle: it’s changed from a passive to an active space. Each tree is painstakingly cut, its leaves and branches described with exceptional care, and each bag derives from a slightly different source (sometimes highend fashion boutiques, others Mc- Donald’s), which stages the tree’s connection to the natural world in divergent ways. At times, as in Golden Arch Parkway McDonald’s (Brown), the bag’s mellow ochre tones evoke autumnal shades; at others, such as LVMH Mark Jacobs, the black bag lends the tree a doomy and gothic aspect. Reversing the flow of industry from tree to paper, Teruya’s work has an environmental sensitivity that’s hard to miss. It’s also a poignant assertion of the role of the creative artist: as someone who finds meaning amid the morass of stuff we leave behind.

In relation to Russells Hall primary School's "values" theme and the use of paper to create flowers with intricate cutting skills, Yuken Teruya's work highlights the various ways paper can be manipulated and given new life, the painstaking approach to cutting and intricacy shows patience and perseverance, values covered within the theme. His work also considers a sense of respect and value for the earth through the recycling of old bags, and the depiction of trees all cut from paper. The varying stages of use and re-use etc. This is reflected by the childrens use of paper to create flowers.

Quilling workshop - Day 2

Starting with just two students, I gave an example of quilling.As this is quite a fiddly craft, we felt that it would be wise to attempt this with a small number first, to discover how the overall group may respond.One student, we will call him student A, needed very little direction, just a helping hand on occasion when things got too tricky. Student B struggled more apparently, so I payed particular attention to them , looking for new ways of making the task more simple. We increased the thickness of the paper strips, used a stronger glue, and made the overall piece a little bigger than originally planned. All this considered, Student B thoroughly enjoyed the task, and is eager to finish the work next session. Student A completed the piece, and is moving on to the next stage next week. The rest of the class, created flowers by folding and cutting paper. I showed some examples of intricate illustrative paper cut work, including pieces featured at the Saatchi Gallery created by Yuken Teruya. This gave them a new way of looking at the potential of something they took for granted as well as additional enthusiasm for the task ahead. Paper can be delicate and impressive.

After discussing the task with June, we have decided that the children would find simple paper cutting easier to deal with, and equally, we would struggle to support a whole class while they were attempting Quilling. 

After our next session, we began to display the flowers in the main entrance to the school.

These displays are fit for purpose, we considered the height, allowing children to read the display and writing. However, considering the next project will involve making dreamcatchers. I believe there is room for a more interesting means of presentation. 

personal statement developing notes

Why do you want to teach, what is your motivation? what has influenced your decision to teach?

As a teacher, I intend to provide the kind of education that guarantees technical and academic progression, whilst cultivating self confidence through the refining of creative abilities, critical thinking and open mindedness, respect and trust in others. I would strive to engage students in the understanding that their views, values and approaches, hold a unique merit, that if nurtured and grown with direction, can give them the tools to shape their lives and make rewarding contributions to society.

A teacher has the unique opportunity to bring out the best in young people and I strongly believe that at a young age, creative subjects such as Art and Design technology are immeasurably vital in that they provide another platform for communication. Creativity is so accessible: Any person can be creative, visualise and imagine. I would have no greater satisfaction than helping those ideas become tangible through honing and refining expressive creative skills in the classroom, engaging in my passion whilst helping students realise and experience theirs.

My passion for the right education stems from my early childhood. I struggled from a young age to feel a sense of belonging at school. After moving up a year group due to academic achievements, I was bullied which contributed to my insecurities. However, a particular teacher noticed my abilities as a creative, taking the time to give me confidence and pride in my work. This teacher established things for me that have facilitated my overall development through life within and even beyond education. I was incredibly lucky to encounter this teacher and from there, several more like her. This gave me the desire to provide the same if not better quality of education and encouragement that I am so grateful for.

With all this in mind I am applying for teacher training programmes that allow me to facilitate progress of both myself and my students within the art and design technology field.

My range of practical art skills and contemporary knowledge gained throughout education combined with experience in the classroom, and an ability to communicate ideas effectively, will contribute to my effectiveness as a teacher. Further to this I have developed excellent organisational skills and time management through the maintenance of a highly active schedule alongside raising a child of my own, completing my degree and maintaining a home and demanding lifestyle. I believe this demonstrates resilience and a passion for success. During my work placement I have only deepened my empathy and care for children which, as a mother, was already well established. This gives me a heightened drive to see them succeed and a commitment to life long development and learning.

What skills do you feel you have that will make you an effective teacher
provide evidence throughout that you have and how you gained these skills
organisation/ communication/empaty for young children/creativity resilience/enthusuasm, responsibikity/commitment to life long learning

another platform for communication
engaing in your own passion whilst sharing that with students and helping them deveklop


When a young person sees their ideas come to life and become a visual that others can then understand and value, they can feel a sense of great achievement and self worth.

(enjoy
sourcing materials that make learning interesting)

I feel a deep satisfaction from the people around me doing well and achieving their goals, and nothing would give me greater pride and fulfilment than helping young people realise their abilities and unique yet valuable approaches, to a topic that centres around creative expression and skills.
Upon Reflection, my experiences throughout education significantly influenced my views and values as an adult, fundamentally creating the person I am today. Through education I have gained a sense of self and deepened my identity. This considered, I believe that the impact of a teacher in a young persons life is incomparably important.


I enjoy working with and learning from young people, and I am committed to making meaningful contributions to their growth.


  have a strong sense that I was always meant to be a teacher.  A young persons life,

Reflecting on my educational experiences, I appreciate the immeasurable impact that teachers
make on the lives of young people. I also realise that the skills and knowledge acquired in the
classroom, will be used by young people throughout life. Therefore,

As a teacher, I hope to be a role model to students, that encourages and cultivates their sense of self worth within society, a confidence through refined creative abilities, critical thinking and open mindedness, respect, and trust in others.

 growth and  in young people, open minds, the knowledge and ability to look at the
world critically, and the belief in ones capacity to make positive contributions to society. With
this goal in mind, I am applying for admission into the PGCE in Citizenship programme.

Further, I am very creative and . Most importantly, my ability to work well
with others, motivate and inspire is a very significant contribution that I am confident I can bring
to the course and into the classroom

What skills do you feel you have that will make you an effective teacher
provide evidence throughout that you have and how you gained these skills
organisation/ communication/empaty for young children/creativity resilience/enthusuasm, responsibikity/commitment to life long learning

STARTING PLACEMENT OFFICIALLY - DAY1

Breakdown of today:

Arrive at the school at 8.20 ready to begin, I am introduced to staff and meet with June in her office to discuss the days plans.
She explains to me that today we are beginning our display on "values" for the school entry, which as discussed previously is to incorporate the notion of hopes and dreams, symbolised through dream catchers. This is intended to link with Shakespeare and a midsummer nights dream.
We also have an informal discussion about mask making and how I have contemplated the notion that fantasy and reality are captured through masks, something that is a recurring theme in Shakespeares work. In addition, theatre and plays use masks both to symbolise and represent new characters through fiction, fantasy and mythology etc.
Following our discussions I am invited to go and meet a year 5 class of students, with whom I would be spending the morning assisting. After a brief introduction and meeting the students, we attend assembly. This was a beneficial start to the day where I could note and take on board the kind of routines of a teacher and their class of a morning. It was also made apparent that behavioural issues can arise first thing and seeing how these issues are dealt with appropriately is something I feel is vital for me to experience.
After assembly we return to class and begin the first Arts activity of the week and Values topic.
Making dream-catchers:
Some of the students opted to draw portraits of teachers from photographs for the staff directory on the Russells Hall School Website, Although I assisted students effectively, I found that my own experience was a little awkward initially where by some student's abilities were so vastly different from others. Where one student may understand the concept of measured drawing and shade/tone, another would struggle to grasp even the inclusion of ears. This experience was endearing, however, I found having to explain things in different ways for each child required real initiative. It was a challenge but something I thoroughly enjoyed. I struggled to use my own understanding of drawing somewhat though where children of this age apparently see very different elements and details, expressing scale and form very differently to that of older students. This was something I expected to see, a basic use of my own knowledge and understanding of drawing, rather than an ability to teach at a higher level, whether it be theory or practical skills. It will take more time and experience to honestly decide which will give me more fulfilment, but also what age group would benefit most from me being involved in their education.
Children were enthusiastic and eager to please and learn which was something I find really enjoyable and rewarding. Their constant and immediate growth with such little guidance made me feel proud of their achievements. I found it simple to communicate with them, gaining and keeping their attention with relative ease. This perhaps may be due to me being new, Perhaps I am a bit of a novelty at this stage, where they are keen to impress me.
 Due to the craft based nature of making dream-catchers, Little of my experience or research came into effectively teaching how they should be formed/created. This is again, something I expected, to lose touch with more advanced Art making and materials.

June has asked me to go home and experiment with "quilling" a sort of paper craft whereby strips of paper of spun around a small stick to form swirls and patterns of raised paper forms.

This is relatively tricky and may be too advanced or difficult for 8 year olds. I am going to explore how I can make this more manageable tonight through using thicker strips of paper.

Out of curiosity I am going to research Origami also, as the folding of origami paper sculptures is something that explores values patience etc in its creation, however, may be more simple for 8 year old children to create.


Quilling, "growing respect" theme under values, paper sculpture, flowers,

research: other artists approaching these themes
...
Quilling research
...
My attempts,
workshop plan,

presentation points... CRIT EVAL, what else do i need to do before presentation

personal statement drafting for UCAS based on high school as application is competetive

Why do you want to teach, what is your motivation? what has influenced your decision to teach?

As a teacher, I hope to be a role model to students, that gives them the education and encouragement required to result in a well earned sense of self worth within society (doing what they love, positive contributions to society etc skills used throughout life, )
I strive to give students technical progression, but also the understanding that their view and approach, has a distinct value and relevance. I intend to cultivate confidence through the refining of creative abilities, critical thinking and open mindedness, respect and trust in others.
A teacher has the unique opportunity to bring out the best in young people and I strongly believe that at a young age, creative subjects such as Art and Design technology are immeasurably vital in that they allow communication, expression and enjoyment (experimentation) which may be unachievable through other means. These subjects are so accessible: Any person can be creative, visualise and imagine. I would have no greater satisfaction than helping those ideas become tangible through honing and refining expressive creative skills in the classroom. When a young person sees their ideas come to life and become a visual that others can then understand and value, they can feel a sense of great achievement and self worth.
With this in mind I am applying for teacher training programmes that allow me to progress in the art an d design field.

(enjoy
sourcing materials that make learning interesting)

I feel a deep satisfaction from the people around me doing well and achieving their goals, and nothing would give me greater pride and fulfilment than helping young people realise their abilities and unique yet valuable approaches, to a topic that centres around creative expression and skills.
Upon Reflection, my experiences throughout education significantly influenced my views and values as an adult, fundamentally creating the person I am today. Through education I have gained a sense of self and deepened my identity. This considered, I believe that the impact of a teacher in a young persons life is incomparably important.

What skills do you feel you have that will make you an effective teacher
provide evidence throughout that you have and how you gained these skills
organisation/ communication/empaty for young children/creativity resilience/enthusuasm, responsibikity/commitment to life long learning

I show organisation and time managament through my ability to achieve an upper class degree despite running a home, working, and raising a young and very happy child, competing in a range of sports and heading two teams. Something I am very proud of.
I have a unique empathy with young children in terms of care and understanding, as I myself had some trouble in school whereby I was bullied, having trouble at home etc. I may have an ability to identify certain elements in a persons behaviour through a sincere understanding of challenging behaviours etc. extra stimulation, tailored interests etc. perceptive and caring.
I will forever have resilience as it is just built into my nature. I am not comfortable while doing nothing, and strive under well managed pressures. My commitment to learning is life long, It will be something that forever educates me, as each encounter will be unique. the ever evolving areas of eductaion and the students themselves will give me the challenges i need to constantly progess and give me my own sense of achievement.









Your personal statement is crucial to the success of your application and must be well written and have a logical structure. It must also be mistake free, clearly demonstrate your reasons for choosing teaching and your commitment and suitability for it. Easier said than done in 47 lines – you have to make every word count! General tips:  Compose your statement in Word and cut and paste it in. Spell check and proof read it to make certain that it is word perfect. Personal statements with a poor level of written English will be rejected. Ensure it has a good structure with an introduction, a middle and a conclusion  To make sure that your statement fits into the space on the GTTR form practice writing it in: Verdana 12 this is the size and font used by GTTR.  Carefully read the instructions before you start. Read right through to the end of the form.  Get your final draft checked by a careers adviser if possible or by someone else who is knowledgeable in the area and whose judgement you trust.  Research the teacher training providers you are intending to apply for. Which skills / experience / qualifications do they place emphasis on in their course information?  Research the National Curriculum: www.education.gov.uk/schools/teachingandlearning/curriculum  Do not be tempted to copy another’s statement. The GTTR Similarity Detection Service is set up to spot any statement suspected of plagiarism. You have to demonstrate you reasons for wanting to teach, talk about the relevance of your previous education and experience, including school experience and other work with young people. Why do you want to teach? What is your motivation? What has influenced your decision to teach? Avoid saying “I like children”! What skills do you have that will make you an effective teacher? Consider what skills make up a good teacher and provide evidence throughout that you have these skills and how you have demonstrated/gained them. For example:  Organising skills  Communication skills  Empathy with young people  Creativity  Energy, resilience and enthusiasm  Responsibility  Commitment to life-long learning Why do you want to teach that age range/subject? This document is available in alternative formats – Please contact careers@mmu.ac.uk for details. 3 11/15 What interests and excites you about this subject or particular age range?  For primary you need to show an awareness of what you will be teaching and how your qualifications will assist.  For secondary in particular you need to show that you are passionate about your subject area and about transmitting that passion to the young people. Outline your experience in UK state schools Include time spent teaching, helping out, observing in schools. You should not just list what you did, but what you learnt. Admissions tutors are looking for your ability to reflect on your time in schools and analyse it. Show awareness of teachers’ roles and responsibilities including:-  Lesson-planning – short term and long term objectives.  Classroom organisation – how different activities work, teaching styles.  Classroom management – behaviour, groupings, resources, pastoral care.  Inclusion/diversity issues – how are special educational needs dealt with and pupils with English as an additional language? Also think about what you observed regarding:-  The role of ICT/whiteboards etc.  The National Curriculum, current national strategies.  How are parents included? Explain the relevance of your previous education How does your degree relate to the subject that you intend to teach? How would you make different subjects interesting? How will the skills and knowledge gained help you in the classroom? Are there any particular modules or projects that relate to the curriculum? Emphasise IT skills gained. If you have taken a non-National Curriculum degree but do have some National Curriculum subjects for A level if could be appropriate to talk about these. Do you have any other experience with young people of the relevant age? Have you done any: coaching, tutoring, mentoring, other work with children’s groups, e.g. Brownies etc.? Emphasise any leadership roles. Highlight any other relevant work Which transferable skills have you developed - e.g. planning, time management, teamwork, problem solving etc.? What are your hobbies and interests? Do you have any other skills that would be useful as a teacher - e.g. sport, music, art, language skills, drama, computing. What are your ambitions for your future in teaching? What is your goal for your teaching career? Where do you see yourself in the future? End on a high note ! The Work Experience Section Here you have space to outline paid and unpaid work experience. Make sure you mention everything particularly relevant for teaching. You can also list other paid part-time work here. Start with your most recent experience and work backwards chronologically. This section is set out as follows for each piece of experience









Show awareness of teachers’ roles and responsibilities including:-  Lesson-planning – short term and long term objectives.  Classroom organisation – how different activities work, teaching styles.  Classroom management – behaviour, groupings, resources, pastoral care.  Inclusion/diversity issues – how are special educational needs dealt with and pupils with English as an additional language?

CRIT EVAL

a majot point is that the primary environemtn so far hasnt enabled me to develop my practice in terms of art... this is something that has become a key factor in whether i feel omfortable going foreard applying for high school or prmary

and also my short experince in high school i gained a positive feeling and after discussing with bianka etc

I plan on beginning my placfement in an open minded position, where i can use the positive experince to clarify my choices etc.

applying to redhill and UCAS

CRITICAL EVALUATION SO FAR.....PROPOSAL - NOT ON BLOG - SECOND STAGE DEVELOP/REVIEW/HIGH SCHOOL??

I have chosen to do a work placement within a primary school in order to obtain experience toward my PGCE application, in addition to developing a better understand of the way in which Art and creativity is integrated into a primary teaching environment. Russells Hall Primary School in particular teaches a creative curriculum, therefore I hope to see artistic integration throughout subjects giving me the opportunity to provide workshops, fresh and creative Ideas and an enriched dynamic. Alongside learning how creative practice within the curriculum stimulates and engages children within the topic.

 This will enable me to make informed decisions regarding the age group I may want to teach at a later date and if a creative dynamic and artistic approach would lend itself to better engagement and enjoyment in the classroom.

My initial intention is to research how Art is taught in primary schools and also how creativity is used throughout the varying core subjects. I will research successful existing workshops, lesson plans, health and safety issues regarding equipment and conduct, which will give me a strong basis of knowledge upon which to enter the primary environment.

From here I hope to develop my own set of workshop plans and Ideas for the children in support of the teachers and their subject. For example, with regard to history and the Stone age, children could experiment using found tools, clay and a hands on approach to engage and encourage them with the subject of our history. Or perhaps with Literacy, children could write and illustrate a book of poetry together.

Small projects and items that can be presented or taken home can be used as a way of encouraging pride and enthusiasm in the child's work. Further to this, offering a display or presentation at the end of term could allow a gateway for communication between parents and teachers, and a platform of knowledge that can be shared visually. (Requiring approval from the Head teacher)

Overall I plan to research creative classroom approaches, assist teachers with a new range of creative Ideas depending upon subject area, encourage and engage children using interesting materials that they otherwise may not have the chance to encounter, all the while bringing my own experience as an artist into practice, developing a new element within my portfolio, alongside gaining basic teaching experience.

UPDATE TO DISCUSS THE QUESTIONS OF HIGH SCHOOL VERSUS PRIMARY??

or leave as it is and do a new set of OBJECTIVES and LEARNING OUTCOMES

Workshops I can provide at primary vs high school

Textiles

Clay workshop; ceramics, historical pots, relief, casting, etc

Craft, design workshops

Drawing with a range of materials ie light, shadow,

high school,
photography, cyanotypes, cameraless photo
use of materials substantially more complex

AFTER VISIT - looking/research into classroom plans for high schoool art

resaecrh high school art
examples
what do i think?

summarise the visit and the research, the effect its had on my decisions proffesionally?

classroom plans lesson plans etc?

what makes a good high school teacher?


DISCUSS THAT THEY LIKED ME AND WANT ME TO APPLY< THNAT IF NEEDED AND LIKED THEY CAN OFFER ME ") DAYS EXPERIENCE TOWARD THE APPLICATION AT PGCE ETC SO CAN USE THIS AS PART OF THE MODULE ALSO IF REQUIRED

Visit to REdhill

visit, what happened, discussions with Bianka etcetc

Enquiring about High school voluntary places

Speak to Redhill re: voluntary days and pottential application to train as a high school teacher there.

What happened?

What next? Visit to redhill.

CRIT EVAL - how does it influence my practice/profesional developement currently? do i want to teach high school or primary? etc considering voluntary days at highschool

CRIT EVAL:

Learning utcomes so far, wehat have i learned through whats happened so far?

The simplistic craft based approach that I have been encouraged to assume, has given me a more distinct interest in teaching secondary school, where my own skills and abilities may be better put to use.
I intend on following this up by requesting some voluntary days in a high school where i can gain a better understanding.

New objectives:

gain time in a high school
email heads/deputy heads
UCAS research as to schools taking volunteers etc
Teach websites



PORTFOLIO DEVELOPMENT
inspired by the theme midsummer nights dream, pick out words or lines and depict them in a simlar way to ow i did in image making with dan and james? the swirling disjointed merging and confusion between reaity and dream state fantasy, the erging of the real world and fairies etc. element of surreal.
paper? film? photography? film would be interesting or photography in that i could explore the notion of object sna dreal things merged with the disfigured/surreal/fantasy/magic cameraless ohotgraphy? colour? explore lines or quotes from shakespeare and respond

MASKS DEVELOPED, APPROACHES TO PAPER MACHE researchETC... PROPER PLANS WHAT WILL NEED ETC ALL DONE ON THIS NOW UNTIL JAN

Research existing methods and examples of mask making then include your own developed Ideas that resonate with shakespeare or elizabethan approaches etc tudors??

traditional versus contemporary mask making,

are there any exhibitions regarding masks on currently? anything relevent? where i can do work along side this to add to portfolio?

MASKS RESEARCH IMPORTANT

Masks are objects that cover the face for variety of reasons. They are used for protection, disguise, entertainment or ritual practices and are made from various materials, depending of use. Earliest use of masks was for rituals and ceremonies, and the oldest found mask is from 7000 BC. Art of making masks could be older but because of the materials used for making them (leather and wood), they did not survive to this day. Oldest masks were of ritual purpose and could be found in many places of the world. They are generally similar in their overall appearance, but very different in style and way they are made and used.

In Africa, ritual masks are used in many different ways. In West Africa, they are used in ceremonies which purpose is to communicate with ancestral spirits. They are made out of wood, with great skill and such masks are used in ritual masquerades of Edo, Yoruba and Igbo cultures. Beside human faces, many African masks are made in the shapes of the animals. It is believed in some African tribes that they make possible to communicate with animals spirits of savannas and forests. One of the more common masks is an antelope. It is believed that an antelope have thought people agriculture or that it symbolizes a farmer. Some tribes make mask as symbols of different attributes. Mask with closed eyes symbolize tranquility while bulging forehead symbolizes wisdom. War masks are made to scare the enemy with big eyes, painted colors and anger of the carved face.

Elizabethan masques

http://www.elizabethan-era.org.uk/elizabethan-masques.htm

History of Elizabethan Masques - the Mummers The history of the Elizabethan masque dated back to the ancient custom and ritual of 'Mumming' which were performed by 'Mummers'. The first mummers performed mimes, plays without words re-enacting old stories, legends and myths particularly those about Saint George. The term Mummer therefore derives from the old Middle English word 'mum' meaning silent. All Mummers were disguised with vizards or masks and referred to as 'Guisers'. The important element of disguise was passed on to the Masques of the Renaissance. The mummers were various male members from the community - many played the same role for years. The Mummers were traditionally associated with Christmas and their torch light processions through the villages and appearance at the Manor House or Castle were greeted with great excitement. The Mummers entered the Great Halls with loud blasts from trumpets and drums and the blaze of many torches. Over the years dialogue was added to the mummer's plays - they became a forerunner of the theatre. The element of disguise continued and the identities of the Mummers were concealed.

When dialogue was added to the plays of the Mummers they also disguised their voices to conceal their identities. The Mummers introduced additional elements to the plays which became increasingly entertaining with the addition of jokes, jests, songs and dance. The Staging and Scenery of Elizabethan Masques The staging of the Renaissance Masques was extremely important. In later years even great architect Inigo Joneswas employed to produce lavish sets accompanied by various mechanical devices for the Jacobean masques. Great attention was paid to the indoor sets and scenery used for Elizabethan Masques. Expensive items of furniture and paintings were borrowed to embellish the scenery, sets and stage areas. The 'props' and accessories were even more fantastic and included items such as gilded chariots and fountains. Scenery was designed for temples and the facades of castles. Devices were developed to produce thunder & lightening effects. Elizabethan masques were also performed outdoors during the summer months. Queen Elizabeth and the Elizabethan Masques Queen Elizabeth was fond of making Royal progresses throughout England. She expected to stop at the great Elizabethan houses and palaces and to be entertained royally. Masques were often produced in her honour. This was the case the Kenilworth Entertainments of 1575. Kenilworth Castle was owned by the Queen's favorite courtier, Robert Dudley. Dudley spent a fortune on preparing the castle for the visit of the Queen - he intended to impress her and no expense was spared. Entertainment was an important element of the visit and Robert Dudley employed the Elizabethan poet and dramatist George Gascoigne (1537-1577) to create a new Elizabethan masque. The theme of the Kenilworth masque was male heroism and the vulnerability of women - the story was about men of stature in the days of King Arthur. Robert Dudley naturally played a leading part as a 'man of stature'. This traditional, romantic type of masque theme, emphasising the strength of men and the vulnerability of women, was not unusual. Masques also promoted the notion of marriage and men protecting their women. These blatant themes of male authority dominated the stories of the masques. Perhaps this explains why the powerful Queen Elizabeth, who often referred to herself as a 'prince', did not sponsor masques performed during the Elizabethan era - but she must have enjoyed the lavish spectacle of the masque and the blatant flattering directed at the sovereign!

Dramatists and Composers of Elizabethan Masques Leading Elizabethan Poets and Dramatists were employed to write the words and verses of the masques. These included Sir Edmund Spenser, Francis Beaumont (1584 - 1616), John Fletcher (1579 - 1625),  Thomas Middleton (1580 - 1627) and, in later times, Ben Jonson. Famous composers and lyricists such as William Byrd (1543-1623), Thomas Campion (1567-1620) and John Mundy (1550-1630) were also responsible for creating masques. But the most famous and important of all the Elizabethandramatists was none other than William Shakespeare. The fantastic themes of the masques were included in many of the plays of William Shakespeare such a A Midsummer Nights Dream, The Tempest, Romeo and Juliet and Much Ado about Nothing.

Artists using Paper Mache

Will Ryman was a playwright before he became a sculptor, and his work draws as much from the realm of theatre as it does from art. Spanning over 8 metres, The Bedis both a monumental sculpture and a stage. Made from papier mâché, Ryman’s giant man reclines in a dreamy world, somewhere between Sunday morning lie-in bliss and nervous breakdown, basking in the clutter of indulgence. Ryman crafts the accoutrements of pastime with cartoon exaggeration: notebooks, beer cans, open bag of crisps, and even the requisite faithful dog become comically distorted in this clumsy, lazy state of ennui. Through his use of papier mâché, Ryman’s installation takes on the dimensions of set design. The Bed’s description of slacker-ish idle is humorously at odds with its oversized, commanding spectacle. By revealing the process of making, his clunky forms invite suggestive narratives through their self-conscious artifice, becoming both props and performers in an anti-drama of epic proportions. The bed itself operates literally as a platform or stage, the centre of expectant action and entertainment, a fabricated, self-contained tableau posing in (and overtaking) the viewer’s real-world space with delightful suspension of belief.

These examples of contemporary artists using paper mache, show its potential. Seen above, Rymans giant man, seems expressive and wrinkled, something that was evidently enhanced through the use of paper mache. As the children will be making masks, this is a particularly useful example where we can see human features, yet in the same way we intend to juxtapose reality with fantasy, this seemingly usual man, is giant. In addition I find a link between the notion of dreams and the surreal, vs reality and Shakespeare's fondness of dreams and his playing with reality and fantasy.

Mask work, see references.

A piece of work on show, coming from New Art West Midlands. This sits central in the space and as you walk through a square cut out within the supporting wall in the gallery, the room seems chopped off by this dividing wall covered mostly in a sort of wallpaper created by graduate student (name?) three masks which she wears accompanied with three wigs (pictured and shown on a wall to the left of this dividing wall) consider her partially oriental heritage. The way in which the paper hangs looks messy! I feel that this paper would have looked better flush to the wall. However, In pictures the paper almost looks more like material, that could reference drapes and the extravagant materials of the orient. Perhaps this was the intention for viewers in the space but was not achieved. 

The three plinths reflect the three images taken and create a sense of balance with the central plinth set forward creating a triangular field of view across the piece.