Wednesday, 2 December 2015

TUTORIAL with pippa and Maureen... THINK PROGRESSIVE and CRITICAL EVALUATION SO FAR


During a tutorial with Maureen and Pippa, we discussed my plans for workshops and conversations I had been having with the school. They suggested working towards more progressive Ideas for the workshops. I agree that It would be more excitng and more in line with my practice to work in a more contemporary manner. However, This will all have to be relayed to June and the school staff, and approved. I will develop additional workshop Ideas in order to take them to June as a proposal. She will then let me know her views.

They Also mentioned doing research into current exhibitions and shows displaying masks.






A work stemming 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 cerated 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 warped and is held flat/straight only by its own gravity is somewhat surprising and I'm not sure I understand it. 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.








Research, first Elizabethan inspired workshop Ideas

Research and Initial thoughts and ideas to propose to June


Tudor purses
Miniature portraits
Elizabethan theatre inspired making
Elizabethan masques 
Dream catchers
Art workshop flowers
Shadow box theatres
Drawing with light
Photography 

Tudor purses 



A simple activity using textiles would engage children in the theme and educate with regards to the times etc. 
Design sheets and objectives would be relatively simple and well managed.


Miniature portraits


Children would be encouraged to draw at real size, using measured drawing approaches. However we would then use the computer and coppers etc to shrink their drawings to this small size work and adorned by the people of elizabethan times.



Making a theatre

Perhaps show the children a short animation, or read a short illustrated story of " a midsummer nights dream"

some links:

childrens animation of midsummer nights dream

After watching the animations we can then go on to discuss:

Talk about the characters, who are their favourites, what do they remember most from the story? Is it the Donkey head, the fairies, the weddings, the flower etc
Do they enjoy the language being used? can they use it themselves?


Stage in a box

Individual boxes?

Group box?
create a stage set  based on a scene or environment that you remember from a midsummer nights dream?
make your favourite character, select pictures from a selection to stick in and create an appropriate box... either as a group or individually.
Make characters and we can stick them to a small (pre-made) stand so they can be propped anywhere in the box.
Or we could stick to lollipop sticks prop in bottom, or stick to thin sticks so can be controlled from the top of the box and can interact.




Stage frames


The same concept as above...

Children can select from a variety of imagery or objects and create pictures or characters etc that they remember from the story. 
Following this I propose that we arrange their pieces in box frames. lose artefacts, imagery and characters can be [reserved for life and mounted easily at school or at home. They may be more easily kept in this format. Yet would have a similar appearance to the stage box.



Shadow theatre

Developing on from the above Ideas, children could create a shadow box by making a simple card template, and using tracing paper as the back piece, one child could hold the light, another direct the puppets and the others watch and take in turns



Dream catcher

select an appropriate task out of a mix that I have developed e.g. flower/ink/washing, fairy colouring, character drawing, stars and moon sculpture/mashe/cutting from clay/moulding, representing the night...
during the session we can make the individual items.

these could then be presented by hanging on a horizontal mobile dreamcatcher, suspended from the ceiling...
either whole school can create one large one, or each group can make a smaller one.
I can create the actual piece, but the children create the "ingredients".
baring in mind there would be over 100 pieces, plus all the stars and moons etc, plus i can ask them to take home a pack and prepare or do some with family etc, this could be a beautiful piece.
with lights as stars, scrolls, fairies, characters, flowers, quills etc.




Love-in-idleness was the folk name for the wild pansy or heartsease (viola tricolour). In A Midsummer Night's Dream it was the basis of the elixir which fated Titania, Oberon's queen, to fall in love with Bottom.

Individual dream catchers to go along with the notion of hopes and dreams, midsummer nights dream etc 



Elizabethan Masques


We can make masks using papier mache, wire and fabric etc. Used commonly in the theatre and masquerade balls this project would provide insight into the notion of the surreal and embodying a character. etc


Display

Below is the image that June provided me with regards to the theme, in her opinion a wall like this would look nice in school and engage children with the theme.








Research - Elizabethan, where to start, where can I visit, what are my resources etc

Research - Shakespeare, the Elizabethan period and Tudors.


After devloping a set of workshop ideas that have been deemed suitable by teaching staff and art coordinator, I now will create a new set for the following term.

These will also be informed by current contemporary practices? exhibitions? research further into teaching workshops existing etc

Shakespeare


As Shakespeare was born and lived during the Elizabethan period, this should tie into the art activities covered in my workshop Ideas. 
The Elizabethan period is highly renowned for its architecture, and portraits and there are many portraits of Shakespeare, painted in a distinctly Elizabethan fashion, However, this one in the only one that has good claim to have been painted from life, and may be by a painter called John Taylor who was an important member of the "Painter- Stainers company". The portrait is known as the "Chandos portrait", after a previous owner and is the first portrait to be aquired by the national porttrait gallery when it was founded in 1856

National Portrait Gallery, London


The National Gallery of Art, has on-line resources available for teachers and downloadable information packs and learning tools. It could be interesting to attned one of the childrens tours at the gallery to see what information and education is made avaiable for the varying age groups.



TUDOR PURSES
ELIZABETHAN MASKS
POETRY AND ILLUSTRATION
MINIATURE PORTRAITS 


meeting with the art coordinator

Day entry - Meeting the Art Co-ordinator 


Today I met with June, who is the the art coordinator at Russells Hall School. She explained to me that I will be working closely with her during my time on placement there, which is wonderful as she seems like a very experienced woman, having had 45 years experience in this school teaching art and assisting in creating a creative curriculum. We discussed her roles within the school in detail, including how she goes about implementing and integrating artistic approaches and creative activities for all ages, and how the school teaches art and design around subjects on rotation.

At Russells Hall school, during a term there is often a theme influenced or inspired by literature or a book. Many subjects then revolve around that theme as best they can in order to create continuity and focussed learning. This term (sept-dec) is inspired by historical books regarding the stone age and Viking periods. (hence my development of workshop ideas inspired by these topics). However, After considering how many weeks I would like to do within the school, myself and June decided that perhaps it would be more useful to start in January, in the new term, with a new topic where I can orchestrate projects for sets on children
The next terms topic is Shakespeare and a Midsummer nights dream.

I am going to be starting my placement in the new term, by spending a week creating a new entrance display/installation, around the theme of values with June, where I will be working with her and learning more about how the school uses creative approaches to learning etc.
Following this I will spend two weeks as her classroom assistant, getting to know the children (across key stages) and gaining insightful experience in the professional setting.
The next six weeks will then be spent conducting workshops, in am or pm sessions, taking 6 children per session out of class to come and create individual and group projects based on the Midsummer nights dream theme, which will all go toward one large school project, display and presentation at the end of term. 

For my final weeks in school, I will be leading full classes in art and design projects and June will be assisting me. We will be developing ideas for those sessions during the term, based on how I feel the different ages will respond to topic etc. (generally based on gaining experience with the children and facilities)

So from here, I will begin to work on Ideas, conduct research and create examples of the sort of work the children can be doing. I will then take this back in to June on Monday the 7th of December for feedback and structuring. She will let me know what materials they have available already in school and what we may need to get or arrange for the projects, how long the sessions will be per group etc.


June called me today to go over a few things from our meeting.

I will be doing the following sessions

Monday am  - 8.45 - 9.20 YR 6 then 9.45 - 12 YR5 workshop groups/TA
Tuesday pm - YR4 - 1.30 - 3.10 workshop groups/TA
Wednesday am - 8.45 - 9.20 YR6  then  9.45 - 12 YR3
Thursday am - 8.45 - 12 - YR3

This way I will take 6 children per session/24 children per week rotating over 6 weeks. This should enable me to gain insight into the age group I feel most comfortable with. The children also will be chosen specifically from a range of abilities in order for me to take note of how creative approaches may enable children to assist the learning of their peers etc.


Thursday, 22 October 2015

Evaluation of workshops

Workshop exploration and Evaluation.


Whilst exploring the possibilities of workshops I could provide for the children of Russells hall school, I noted several important factors regarding time and use of materials.

1.
Children will be provided with SELF DRYING clay. My initial assumption would be to use clay I have experience with myself, but as this clay requires firing and a more experienced approach (so as to not create air bubbles in the clay) Self drying would be more practical and simple.
Self drying clay works in very much the same way as clay that requires firing, however, different qualities include
Being dryer
Being firmer
Drying quicker
Therefore I suggest having a small bowl of water in the centre of tables for children to dip fingers and apply small amounts of water to the clay if it becomes dry or difficult to mould as they are creating their objects.
Otherwise, This self drying clay can be used to create lovely objects which can be taken home and appreciated for many years.

2.
Children should use PVA and other WATER BASED paints and materials. This is for their own safety and causes no harm to skin, or child if swallowed etc.

3.
Due to the windows of time usually formed into one class, each activity must be simple enough to be completed in around a half an hour to forty minute window. after the explanation and research with objectives etc

4.
Found objects should be inspected or provided before hand to ensure their are no dangerous sharp edges or are in any way poisonous or hazardous to health.

5.
Due to timescale, it would be more effective use of time If i were to pre-cut discs of card and other materials for use creating shields. This is due to the fact that harder and more durable materials are surprisingly difficult to cut neatly and effectively without deep concentration and time.
I explored this further by using children's safety scissors which would be available in a school environment. The task was almost impossible.

6.
Using large pieces of brown paper or rolls of paper would require a to more space than a classroom may be primarily set up for.
Therefore, the room would have to be set up in advance.

7.
Time would be required for cleaning up. This wouldn't necessarily be as much of a problem if there was a break directly after class as I can continue to get the classroom back into a fit and tidy state for the next lesson.
On average I would say it would take 5 minutes for children to wash hands, remove aprons and place all tools etc onto trays or into a sink for cleaning.
I would say It would take me another 15 minutes or so to fully clean the classroom and all tools, placing/displaying made items to dry etc.
I could begin this while teachers resumed talking/winding down the events in class?


Overall, Exploring workshops before attempting to engage children in them, was an essential part of my learning.
Elements that I completely took for granted raised problems that i would otherwise have run into at an inconvenient time, ruining the fluidity and completion of tasks in school.
I will therefore continue to explore all the possibilities I can offer in this way, all the while creating and developing visuals to aid children of the stages/visual clues and queues to enhance learning.

Monday, 19 October 2015

Workshops developed/practical activity/exploration

Workshops


Using child and classroom friendly materials such as air drying clay, PVA glue, glitter, split pins, paper plates, cardboard, paper and pencils, safety scissors and found objects, I have developed a small range of workshops as an example how art or creative practice can be used in conjunction with subjects in primary school such as history.

Based on the knowledge that Russells Hall Primary School children are learning about the Vikings and the Stone age this term I have developed some Ideas shown below.


Stone age


Stage 1:
Gathering and foraging materials
Alongside clay, children can choose from a provided array of "tools" and materials that can be used for cutting, pressing and mark making, creating interesting patterns shapes, objects and textures.
This stage could be made more interesting by allowing children to forage outdoors for these tools.



Stage 2:
Making a bowl
Children can use a "rock" (painted ball of polystyrene) to mould a dish, or can use their hands.


Stage 3:
simple cutting tool or twigs/stones can be used to create a neat edge and to remove clay from the "stone" (if using the polystyrene shape)
Children may prefer a more rugged texture and choose to leave their bowl uncut.



Example:


Stage 4:
Mark making and exploring pattern using found objects and tools.



As above using red clay:




Stage 5:
Making a lid or spoon
Children can create a simple lid for their pot or bowl by flattening a small ball of clay.


As above:
Creating marks and textures using tools


Example:
Here I used an acorn to create a small handle for my lid. this adds an organic and naturally sourced feel to my stone-age pot.





Alternatives:
Children could choose to create a spoon or other object such as a pestle and mortar in a similar manner.


Stage 1:
Making a stone age necklace
Children can create an array of shapes, using a variety of clays and can gather items they find interesting (from a pre-drilled selection of organic fund materials) to create "beads".


Stage 2:
Making holes
Use found tools (small twigs and sticks) to create holes through their beads.




Stage 3:
Children can organise and thread their own necklaces onto a natural fibre (We will use wool providing children to not have an allergy to lanolin, in which case i can supply leather or natural string)







Vikings


Stage 1:
Making a shield
Using a selection of circular templates and cut card, children can create their own viking shields.


Stage 2:
Push a split pin through the layers of card/paper plates etc and split. A safe and simple approach to creating layered shields.



Stage 3:
Decorate as child sees fit. Here i used Pritt stick and PVA to attach glitter, creating a metallic effect followed by some simple crayon and felt pen details.




Stage 4:
Attaching a handle. Using strips of card, bend and both ends and attach using an additional two split pins.


Stage 5:
Centre piece.
These pieces can be inspired by the Viking long boat, house teams, or something the child feels passionate about.



Example:
Finished shield.


Stage 1:
Making a Viking Medalion 
Children will be supplied with a ball of clay, just enough to make a sizeable medallion around 8cm diameter.


Stage 2:
Flatten into a circle


Stage 3:
Create detail using simple mark making and cutting tools. (Supplied by myself if required)



Stage 4:
Adding some colour and threading
Children can add some glitter to create a metallic finish in silver bronze or gold, use some simple coloured clay (clay water and food colouring) etc. To add detail to their medallion.
I will provide small discs of paper or card on which children can draw something associated with the Vikings, or home teams etc. We will attach these using a small blob of PVA and leave to dry.
( I will thread the medallions for the children to ensure safety and so as not to damage their work)