Visual Arts 2013

Curriculum for Excellence (CfE) places a strong emphasis on taking learning beyond the confines of the classroom. Our environmental art workshop challenged my thinking towards outdoor learning. Upon reflection of the Timo Jokela presentation, which addressed outdoor education issues, I learned that if you want to change your pedagogy, ‘walk out the door and the space changes’. However, I also learned that it is not solely about walking outside and changing the scenery alone for the pupils, but making use of the external environment in a creative and challenging manner. 

Learning and Teaching Scotland highlight the benefits of working beyond the classroom:

‘The sights, sounds and smells of the outdoors, the closeness to nature, the excitement most children feel, the wonder and curiosity all serve to enhance and stimulate learning.’ (2010, p.10) This is a feeling which I can relate to from my own school experiences. Outdoor experiences offer a sense of freedom and I can remember feeling more confident working in the outdoors.

I felt that our environmental art experiences enabled meaningful outdoor learning as we had the opportunity to work in team. I realised that we each bring our own skills and viewpoints to the experience. This is extremely beneficial to the creative process which requires problem solving and being able to adapt to situations. Our whole team which included my friend, Abigail, an exchange student, Katri from the University of Lapland, and myself, would not have gone on the same artistic ‘journey’ if we had completed the task individually. Instead, we needed to work together to bind the willow and make decisions. This made it a valuable and enjoyable experience. Moreover, working in an external environment with the absence of clocks meant that the process flowed naturally and without time constraints. Furthermore, working outdoors with natural materials meant that there was a greater focus on the process and product rather than on worrying about issues such as making a mess in the classroom. This session has inspired me to pursue more creative outdoor learning activities on future school placements to extend both the pupils’ skills, and my own skills as a facilitator.

  References

 Learning and Teaching Scotland (2010) Curriculum for Excellence: Outdoor Learning [ONLINE] Available at:

After experiencing the moving image task during our workshop session I am enthusiastic about attempting to include a film aspect on my upcoming placement. Upon reflection, if I was facilitating this in the future, I felt that it would be beneficial to make the groups small and assign roles to pupils. I have highlighted the following ideas as potential areas of development and study for teaching and learning:

LITERACY

-          Storyboarding: Pupils will develop their ability to sequence a story, construct a plot, and learn about conventions of print, such as captions.

-          Interview: Pupils research a potential character (possibly topic related e.g. Katie Morag), record questions and answers and stage the interview.

-          Play writing: Pupils create a trailer for a play they have written by illustrating the setting, props and characters.

-          Adverts: Design an advert using words and drawings for a topic related task e.g. a new space theme park.

 MATHEMATICS

-          Create a freeze frame style piece of film using pattern and shapes to create a kaleidoscopic effect. Experiment with symmetry.

-          Develop data collection by interviewing pupils to collect information.

 ART & DESIGN

-          Bring the works and techniques of artists to life by studying their style and then using this knowledge as a stimulus for film creation.

 SCIENCE

-          Explore biology topics through flip book creation e.g. the human eye.

-          Create a piece of film which instructs the rest of the class how to carry out a certain science experiment.

 GEOGRAPHY - Weather or news report.  

 MODERN LANGUAGES

- Create a short informative piece of film using the language being studied.

 MUSIC 

- Pupils could create a sound track for their film in groups, record the track and apply to film.

 TOPICAL WORK

- Possibly as an end of topic group assessment task. A problem could be set and then solved by the team e.g. volcano topic - create a persuasive piece of film to convince the villagers (your peers) that the volcano is dangerous and that they should flee from the town.

  BENEFITS OF MOVING IMAGE EDUCATION (MIE)

  - Waugh and Jolliffe (2013) highlight that MIE is a form of active learning where children will actively extend their current knowledge levels by applying what they know to the project.

- Pupils will develop their ICT skills within a relevant context (Waugh and Jolliffe, 2013).

- I think that children would enjoy working with moving image as they are familiar with this media due to a high exposure both from home and their local environment. This would bridge the gap between the classroom and the wider world.

- Children would be encouraged to collaborate and work as part of a group. Pupils would develop their independence and decision making by adopting roles within the team.  This also involves listening to others, discussion, respecting others’ opinions and formulating decisions.

- Pupils would develop their skills in sequencing events.

- Pupils would develop their ability to manipulate a range of art materials.

- Solving problems during the creation of the artwork.

- Sharing the results of film with peers and reflecting upon the process.

- Evans (2004, p.35) highlights multiple benefits including, ‘negotiation, thinking, reasoning and risk-taking…’

  References

Evans, J. (2004) Literacy Moves On: Using Popular Culture, New Technologies and Critical Literacy in the Primary Classroom. Routledge: London.

As stated by Education Scotland (n.d.) the purpose of Curriculum for Excellence (CfE) is, ‘to enable each child or young person to be a successful learner, a confident individual, a responsible citizen and an effective contributor’. Upon reflection of our recent GoMA workshop, I feel that the following aspects of the visit respond to the needs of CfE’s attributes and capabilities of effective learners:

  -          ‘Enthusiasm and motivation for learning’: The workshop can be personalised to suit the topics being taught in class. This can range from Art and Design to Health and Wellbeing, which supports the aim of CfE to provide a rich and relevant interdisciplinary learning environment (Education Scotland, 2011).

-          ‘Use technology for learning’: Teachers are presented with a DVD of video evidence recorded by the pupils themselves during the peer discussions. This is an invaluable resource as it allows for further extension of the activities back in the classroom, as well as sound evidence for the class file demonstrating the benefits of gallery visits. This supports CfE’s emphasis on Assessment for Learning.

- ‘Think creatively and independently’: Dewsbury (2012) promotes questioning as a way of extending creativity by encouraging learners’ thinking to be challenged and extended. Questioning and discussion was at the heart of the workshop, hence supporting the values of CfE.

-          ‘Learn independently and as part of a group’: Children tend to enjoy sharing their thoughts and opinions about topics and therefore the opportunities to discuss the works of art with their peers will further extend the learning.

-           ‘Communicate in different ways and in different settings’: Taylor (2006) highlights that the role of the gallery setting further enhances these skills by removing time limits which are part of school life. Children are free to create, think and make use of the space provided without the distraction of school bells and pupil movement. Taylor (2006, p.9) also suggests that there is an opportunity for them to ‘work outside labels and judgements applied in school’.

-          ‘Apply critical thinking in new contexts’: The Learning Assistant facilitates the workshop in a manner which encourages pupils to connect their own ideas independently through question prompts and the use of a sketchbook.

  Overall, I feel that the gallery setting not only provides resources to encourage discussion and thinking – such as paintings and sculptures – but the gallery itself is a key resource to develop learning across the curriculum and support the values of CfE.

  References

  Dewsbury, A. (2012) Curriculum Briefing. [Online] Vol. 10, No. 2. Available:

http://www.capeuk.org/wp-content/uploads/2012/03/Curriculum-Briefing-10_2.pdf [Accessed: 6th April 2013].

  Education Scotland (n.d.) The Purpose of the Curriculum. [ONLINE] Available at:

http://www.educationscotland.gov.uk/thecurriculum/whatiscurriculumforexcellence/thepurposeofthecurriculum/index.asp [Last Accessed: 7th May 2013].

  Education Scotland (2011) Curriculum for Excellence Factfile – Overview of Key Terms and Features. [ONLINE] Available at:

http://www.educationscotland.gov.uk/Images/CfEFactfileOverview_tcm4-665983.pdf [Accessed: 9th April 2013].

Personal Response: I thoroughly enjoyed the experience of working with friends, creating artworks with materials I had never worked with previously and being outside in the sunshine. I realised during the practical activity that when we work in teams we each bring our own skills and viewpoints to the experience. This is extremely beneficial to the creative process which requires problem solving and being able to adapt to situations. Our whole team which included my friend, Abigail, an exchange student, Katri from the University of Lapland, and myself, would not have gone on the same artistic 'journey' if we had completed the task individually. Instead, we needed to work together to bind the willow and make decisions. This made it a valuable and enjoyable experience. 

Child's Perspective: I am sure that pupils would enjoy experiencing environmental art for the following reasons: 

- The opportunity to work with peers. 

- There is no set answer, which radiates a sense of freedom.

- Working in an external environment - especially if the weather is nice!

- Experiment with hands on materials.

There are many advantages of taking learning outdoors. Learning and Teaching Scotland record a quote from a Principal Teacher of art and design (2010, p.19):

‘I enjoy seeing students outside of the classroom doing something which I know is within their capacity but which is perhaps outside of their previous experience . . . people who might excel in the classroom find themselves outside of their comfort zones on a much more level playing field, and pupils who can be ‘invisible’ in school can find their own feet, and sometimes take the lead.’ This highlights the educational benefits which the pupils would enjoy from working outdoors.   

Educator's Perspective: A key fact which I learned from our lecturer this session was to ensure that there is always a problem at the centre of your art lesson planner. Problem solving is at the core of art and design and encourages active enquiry and hence develops enquiry based learning. We were also encouraged to set artistic design challenges in the future instead of setting it to the confines of problems which have already been solved. Furthermore, we were encouraged to reflect upon our experience of creating environmental art and to pinpoint which areas of the curriculum had been addressed. 

Abigail and myself thought that the following learning intentions could have been applicable: 

L1: Pupils can work collaboratively to make decisions and create a piece of 3-dimensional art. 

L2: Pupils can adapt their ideas and structure as it progresses (trial and error). 

Upon reflection, the following CfE outcomes could be applied and adapted:

I have the opportunity to choose and explore an extended range of media and technologies to create images and objects, comparing and combining them for specific tasks. EXA 2-02a

I can use exploration and imagination to solve design problems related to real-life situations. EXA 1-06a

I can develop and communicate my ideas, demonstrating imagination and presenting at least one possible solution to a design problem. EXA 2-06a

When I engage with others, I know when and how to listen, when to talk, how much to say, when to ask questions and how to respond with respect. LIT 1-02a

I explore materials, tools and software to discover what they can do and how I can use them to help solve problems and construct 3D objects which may have moving parts. TCH 1-12a

 REFERENCES

Learning and Teaching Scotland (2010) Curriculum for Excellence Through Outdoor Learning. [ONLINE] Available at:

  I had heard about Room 13 prior to this session but had not fully grasped the extent to which the organisation has transformed creativity and art education for many pupils. The following is an excerpt from Room 13's website: 

Room 13 International represents a growing network of student-run arts studios in schools and community settings worldwide. The story of Room 13 began in 1994, when a group of students established their own art studio in Room 13, Caol Primary School near Fort William, Scotland. They ran the studio as a business, raising funds to buy art materials and employ a professional Artist in Residence to work with them. Slowly and organically, Room 13 has gone on to establish a network of creative studios and a thriving community of young artists and entrepreneurial thinkers that stretches around the globe. (Room 13 International, n.d.)

Personal Response: I enjoyed working in pairs to analyse a piece of artwork using the 'Content, Form, Process, and Mood' headings. I enjoyed analysing pieces of artwork in art and design classes both at college and at school, and always try and think outside of the frame. However, being given a list of questions to further prompt thought was extremely helpful and allowed us to further explore the photograph in greater depth. This will act as a useful resource to analyse artwork in both art and social studies lessons. 

In relation to Room 13, I enjoyed learning about how an art studio could be set up within a school. The educators within the school were inspiring as they allowed, and encouraged, the children to take charge of their learning and become independent individuals which supports the values of Curriculum for Excellence (Scottish Government, 2009). 

Child's Perspective: I think that the children would enjoy the luxury of being able to 'get messy' and work collaboratively with their peers. Furthermore, in relation to my experiences of questioning imagery with children and witnessing them enjoying the process, I feel that the 'Content, Form, Process and Mood' headings would be helpful for them. 

Educator's Perspective:  We were shown video footage of the art studio and  I noted the following important features which I acknowledged as being unusual, yet both advantageous and liberating, within the traditional primary school setting:

- Lack of tables and chairs in art space: this does not hinder art creation and instead encourages artists to get in contact with the materials. 

- Realistic looking art studio: a creative and 'messy' looking space which banishes the idea of artworks always having to be completed and 'neat' pieces of work. One artist in residence was quoted as saying that, "The space is organised in an artistic way."

- Paintings and sculptures lay around the perimeter in piles: the focus is on the process and not on the product. Paint flecks on the floor further reinforce this. 

- Pupils are referred to as 'artists' within this space. 

- Availability of 'real' art materials. 

- Presence of artist in residence: supports children's thoughts and ideas. 

- High quantity of contemporary artworks inspired by the study of contemporary artists.

I felt that each of these points was relevant to providing an environment which truly facilitates a sense of creativity and high order thinking. Upon reflection, I learned that the best creative educators provide structure. Without this, lessons would be turned upside down. Furthermore, many CfE experiences and outcomes are covered within the Room 13 environment; talking and listening skills (LIT), the handling of artistic materials (EXA), product design (TCH), problem solving (MNU) and health and wellbeing issues are explored through the studio environment and processes. 

REFERENCES

Room 13 International (n.d.) About Room 13 [ONLINE] Available at:

http://room13international.org/about/ [Last Accessed: 26th April 2013].

Scottish Government (2009) Curriculum for Excellence, Building the Curriculum 4, Skills for Learning, Skills for Life and Skills for Work [ONLINE]

Available at: http://www.scotland.gov.uk/Resource/Doc/288517/0088239.pdf 

Workshop 5: Wednesday 17th April: Film Before Film

During this session we worked collaboratively with the Post Graduate Secondary Art students at various stations to create animations using materials which would be accessible to us in schools. The stations included creating flip books, sand animation and charcoal sketches in the style of Willliam Kentridge. Our group was stationed at the charcoal animation table.

  Personal Response: I thoroughly enjoyed the hands on aspect of this session and felt that I learned a lot about the process of film creation. I also enjoyed learning about a new style of film used by the artist William Kentridge, and enjoyed having an outcome to celebrate at the end of the process. I have been inspired and would love to trial this with primary pupils.

  Pupil’s Perspective: I felt that using nursery rhymes as a starting point to film creation was very child friendly as it means that each child is starting out at the same knowledge level of the sequence of events. I think that children would enjoy working as part of a group, and would particularly enjoy being assigned ‘important roles’ such as photographer or illustrator. Children work to their highest potential when they are enthusiastic about an activity therefore I think the fun aspect of this process would appeal to them. Most importantly, I feel that they would be learning a lot without realising it. Skills such as sequencing events, listening to others and manipulating art materials are only a few of the areas which would be developed making the process extremely beneficial.

  Educator’s Perspective: I felt that the process of creating our ‘Incy Wincy’ film contained all the core elements of the creative process which we should aim to achieve in the classroom:

-          Working as a team to make decisions.

-          Discussion to come to an agreement over the content.

-          Storyboarding.

-          Viewing the work of an artist as a stimulus prior to creating film.

-          Learning about a specific style by physically trying it out.

-          Exploring new art materials.

-          Editing artwork and solving problems during the creation of the artwork.

-          Adopting roles.

-          Listening to others’ ideas.

-          Experimenting with new technology to create digital film and overcoming issues during this process.

-          Working with sequencing and sound.

-          Sharing the results of film with peers.

-          Reflecting upon the process.

Workshop 5: Wednesday 17th April: Film Before Film

SCOTTISH ENVIRONMENTAL ART: SPEY BAY WHALE AND DOLPHIN CONSERVATION CENTRE

During the Easter holidays I visited the small village of Spey Bay on the north east coast of Scotland. My Gran stays in this area and I have partly grown up there so it is a place that is close to my heart. However, this trip we discovered a community garden which has been created at the Whale and Dolphin Conservation Centre. The sea life is such a key element to the life and culture of this region, and is something which has always intrigued me. I was amazed by the way that beach materials had been used to create environmental artworks, while still retaining a natural effect. 

The BBC (2011) provides further information:

'The Whale and Dolphin Conservation Society attracts over 60,000 visitors each year... and teeters right on the magnificent mouth of the Spey as it tumbles out to sea, in the best position to watch the dolphins. Also part of the site is a 19th century Ice House, the largest of its type in the UK. The Society want to create a welcoming garden around their site and around the Ice House for visitors and locals to enjoy and to take some shelter from the elements.  This is a seaside garden with a difference. Full of wildlife themes and images...'

  Further information available at:

http://www.wdcs.org/connect/wildlife_centre/index.php

During this session, we had an introductory discussion on ‘film before film’ to prepare for next week’s session. We were encouraged to ‘seize the opportunity to be creative’ and went outside to draw a tree on the UWS campus. We also browsed the reading materials available in the art room and discussed our progress on pinpointing our final area of research, with our lecturer.

Personal Response: I felt greatly refreshed after spending time in the fresh air and doing one of my favourite past times: drawing. I was interested by our discussion over the difference between drawing and photography. Our lecturer’s definition of drawing helped to highlight one difference: 

‘Drawing is a meditation. Photography is an action.’

Photography is so openly accessible to us now and is used frequently as an instantaneous method to capture a moment or object. After our discussion I realised how essential it is to keep drawing alive. From my own experiences within art, the mental image which I have of any object which I have drawn is transformed as you explore it in far greater detail.

Drawing not only allows us to explore a composition in detail, but has proven benefits for children. Studies have shown that drawing can improve young learner’s reading and counting (Sudarmo, 2012).

  Child’s Perspective: I think that children would have enjoyed the outdoors aspect of the session. The learning suddenly feels more natural and there is a sense of freedom as you are removed from the confines of the classroom. These thoughts are reinforced by Education Scotland (n.d.) who state that, ‘learning outside can take learning far, but it needn't be far away’. The playground is often only several steps away so it is advantageous to make use of this space which the children are familiar with. I would like to make greater use of the outdoors during my upcoming placement in Year 4.

  Educator’s Perspective: Upon reflection, I feel that I am beginning to grasp the key elements which are necessary to allow an educator to facilitate a creative lesson. Dewsbury (2012) addressed the main themes of facilitating creativity which were expressed through this session’s format: encouraging exploration, reflection, questioning and curiosity. Our lecturer also gave us instruction on using viewfinders to support drawing. He suggested setting pupils at different levels along a large window. Issue learners with a small viewfinder and ask them to focus upon specific areas of the composition. Results can then be compared, and this also removes the overwhelming factor of trying to fit everything into your drawing.

  References

Dewsbury, A. (2012) Curriculum Briefing. [Online] Vol. 10, No. 2. Available: http://www.capeuk.org/wp-content/uploads/2012/03/Curriculum-Briefing-10_2.pdf [Accessed: 14th April 2013].

  Education Scotland (n.d.) School and Centre Grounds

[ONLINE] Available at: http://www.educationscotland.gov.uk/learningteachingandassessment/approaches/outdoorlearning/placestolearnoutdoors/schoolgrounds/index.asp

[Accessed: 14th April 2013].

To initiate the enquiry of my chosen area of research – Take One Picture – I read the handbook guide created by the National Gallery (available to download online at http://www.nationalgallery.org.uk/take-one-handbook). I had some background knowledge on Take One Picture, which I discovered during the Art Module in B.Ed 2. Upon reading this document, I learned that Take One is a similar process but is more open as it involves the central object of research to be either an historic document, site or building, instead of solely a painting. 

  Upon reflection, I noted the following advantages that this format of learning provides for both pupils and educators:

 -  Learning is all inclusive; all learners are more likely to be engaged by the range of visual stimuli and museum visits.

 -  The active, hands on learning supports the ethos of Curriculum for Excellence (CfE). Opportunities for active thinking are also provided.

 -  Topic areas can naturally be dealt with in an interdisciplinary manner by being linked to the art object or painting being explored. 

-  Learning is enquiry based which encourages pupils to become independent learners, and provides educators with the opportunity to lead more and facilitate less.

- Children's higher order questioning and answering is challenged and extended.

- Children can make meaningful and relevant connections with the learning as it all links back to the central historical object.

National Gallery, Take One Picture Initiative