ISSUE CURRICULAR CROSS-

Vivid Volcanoes Free A2 Poster – The Magic of Flamenco Urban Landscape Mixed-media Portraits THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN AR

ST Inspiration and Ideas News, gallery round-up and reviews Taking the pain out of painting! Hundertwasser Early Years Egyptian art Plus T

Number 30, 2009 £7.50 2009 30, Number

T: 01249 714825 F: 01249 716138 www.nsead.org ISSN 1479-0459 1479-0459 ISSN www.nsead.org 716138 01249 F: 714825 01249 T:

NSEAD The Gatehouse, Corsham Court, Corsham, Wiltshire SN13 0BZ 0BZ SN13 Wiltshire Corsham, Court, Corsham Gatehouse, The NSEAD START  Number 30, 2009 Contents

Contents

Page 28 Using a gallery to support literacy in KS1 Page 2 Start news & editorial Page 4 Gallery round-up Page 7 Hands-on in the classroom – Mixed-media portraits inspired by Joan Eardley Page 10 Dance – The magic of Page 8 Flamenco Mixed-media portraits Page 12 After-school clubs – Egyptian art Page 15 Early Years – Mini-poster Page 19 KS2 collaborating with KS3 – Hundertwasser Page 21 Core skills – Taking the pain out of painting! Page 6 Page 15 Page 25 Gallery round-up Mini-poster RE in art – creative learning through religious education Page 28 Literacy KS1 – Art into words Page 31 Book reviews Poster – Vivid volcanoes

Page 12 Egyptian Art

Copyright ©2009 NSEAD. All rights reserved. With the exception of fair dealing for the purposes of research or private study, or criticism or review, no part of this publication may be reproduced, stored or transmitted in any form or by any means without the prior permission in writing from the copyright holder. Subscribers to START may make photocopies for teaching Cover image: Lighthouse Keeper collage purposes free of charge provided such copies are not resold. Authors’ views in this publication Please note: While every effort is made to check websites mentioned in START, some are not necessarily those of the NSEAD. may contain images unsuitable for young children. Please check any references Editor: Michele Kitto, [email protected] prior to use in the classroom. Please note that the username to access units of Design: SteersMcGillan Design Ltd: 01225 465546 www.steersmcgillan.co.uk Advertising Sales: [email protected] Please visit www.nsead.org for details and a booking form or use the flyer mailed separately work on the NSEAD website has changed to ‘gormley’ and the password to ‘drury’. Publisher: National Society for Education in Art & Design, The Gatehouse, Corsham Court, See page 33 for further details. Corsham, Wiltshire SN13 0BZ T: 01249 714825 F: 01249 716138 www.nsead.org

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN   News News/Editorial

exhibition in the café gallery at the An awards ceremony will be held in the world-renowned Royal Academy of Arts National Gallery of Scotland in June 2009. NSEAD launch a in London since November 2008. The 53 winning entries from 2008 will be Primary website From a captivating portrait of two family on public display at the Pentagon Centre, From the Editor START The Primary and Early Years section of the pets to an imaginative piece depicting Washington Street, Glasgow, from 10 website gathers together a wide range of good beating evil, the paintings were November 2008 to 15 January 2009 (open materials to support both subject leaders selected by the judging panel, led by daily 9:00am–5:30pm). The exhibition will and non-specialists in art, craft and design. Professor Cockrill, for their understanding then travel to the Raigmore Hospital, Old News of the theme, their use of colour and their Perth Road, Inverness, where it will run The National Developments section will Happy New Year! I hope that by now you of the museums and galleries do offer originality. Professor Cockrill praised the from 1 February to 31 May 2009. keep you updated, with government are well on your way to creating exciting teachers private views and teacher packs, winners for their vivid imaginations. reviews, reports and initiatives, to include The competition is sponsored by the Primary Review and Early Years art projects in the classroom. This issue and do want you to visit with your pupils, The 2009 Junior Painter of the Year Awards Scottish Widows. Foundation Stage review, and initiatives is a cross-curricular edition, with lots of so get in touch and talk to your local Free downloadable will be launched in the spring and details and opportunities from the cultural sector. ideas on how to sneak in extra time for art gallery and see what they can offer your will soon be available at The Resources section signposts you to through literacy, RE, dance and history. school. Even if you cannot take your class publications www.sightsavers.org/schools to an exhibition, going in your spare time Mega mosaic-makers 2008 START magazine, units of work, the online I hope that you will make the most of the is an important way of promoting your Supporting innovation in schools Over 90 schools participated in this year’s bookshop and a museum and gallery outdoors in your lessons as the seasons own CPD. competition. The standard was very high section. The Classroom Practice section begin to change and nature starts to The new handbook, Promoting provides you with ideas for the classroom, for Transformative Innovation in Schools, is and all the mosaics will be a source of pride awaken! I urge you to start a nature table On the subject of CPD, The NSEAD for years to come. In reaching their decision, teaching and learning outside the classroom in your school, perhaps with a modern START summer school is taking place in designed to prompt debate about the and for settings other than in school. nature and purpose of innovation in schools. the judges tried to balance several factors: name to give it a fresh feel. We called ours Winchester again this year, from 17 to It aims to offer evidence, insights, ideas and they wanted to recognise those projects This is a website worth checking out ‘the nature museum’. However old- 19 July. To book your place, go to the recommendations that can be built upon to that were clearly driven by the original ideas today! www.nsead.org fashioned the concept of a nature table website, www.nsead.org. The website support and nurture a culture of of the children, while acknowledging that it might seem, getting children to go also contains a brand new Primary transformative innovation within education was important that adult help was given, outdoors, to collect and display their section, which is full of practical ideas, and to share approaches and tools that can but with a light touch, and wanting to findings, and inspiring them to ask links, information and primary material to support innovative practice in schools. This reward the high quality of execution and questions, surely makes nature cutting keep you up to date with art education at handbook is available to download free from National Galleries finish that so many mosaics displayed. edge. Some of the most exciting projects the touch of a button. Please use it. I have undertaken have come from the www.futurelab.org.uk/handbooks The prizes totalled nearly £2600 in value, The next edition of START will have a of Scotland Art simplest of child-initiated starting points in the form of vouchers for mosaic materials ’textiles’ theme, and the summer edition a Early Years learning – from fossils found on beaches to birds’ Competition for and books. First prize (£600) was awarded ‘sculpture’ theme. We would love to hear wings that led to an exploration of flight. A new report, Perspectives on Early Years Schools 2009 for The Weir Link, by St Bernadettes Junior about any exciting projects that you have and Digital Technologies, based on School, led by artist Julie Norburn. Second Thank you to all those who have joined the undertaken in your school, however small. research from Futurelab’s PhD studentship Closing date Friday 8 May 2009 prize (£450), for Funny Jungle, went to readers’ panel. My new year’s resolution network, investigates the role of digital Yours in art Scottish school children are invited to enter Hiltingbury Infant School, led by artist is to email you more often! I am always technologies in Early Years learning. It this very popular annual competition, now Maylee Christee, and third prize (£350) thrilled to hear about anything that you considers how the design of digital in its sixth year. Full details can be viewed was won by Wendron Church of England might be doing in your school, have read, technologies might have a significant part on the National Galleries of Scotland Primary School, led by artist Kate Hale, seen or heard about, as well as questions to play in their effectiveness and explores website, www.nationalgalleries.org. for Cornish Wildlife Seat. you might want answered. This is very how we can use existing research much your magazine and we are keen to Follow the link to Education and click on The competition will run again in 2009 and traditions to create challenging new respond to your needs and ideas. Michèle Kitto Competitions. There are six categories, all schools are encouraged to plan now for directions for design and development in Editor each with a different theme. entry. Mosaics made in the last three years This is going to be an exciting year, with this field. This publication is available to [email protected] download free from Pupils are asked to view a small selection may be submitted, but may only be entered many impressive exhibitions to visit, and www.futurelab.org.uk/openingeducation of works of art online. Teaching notes and in the competition once. Hints on mosaic not just in London. Don’t forget that many discussion ideas are provided. In support making in schools can be found on the of the new curriculum for excellence, there Education page of the BAMM website, Four primary school are suggestions on cross-curricular www.bamm.org.uk. University of Winchester, Hampshire NSEAD STart Primary 17–19 July 2009 children exhibited at the approaches. Pupils are invited to make their Many thanks are due to Topps Tiles for own artwork, inspired by the theme and sponsoring this event. Summer School Two days of practical art experience Royal Academy of Arts works of art. relevant to the primary classroom. Four UK primary school children have been Following the very successful first selected by a panel including Professor NSEAD START Primary summer school Maurice Cockrill RA, Keeper of the Royal in July 2008, booking is now open for Academy of Arts, as the Sightsavers this year’s summer school. International Junior Painters of the Year for Fees: Residential: START subscriber 2008. Their paintings, depicting ‘the sight £260; non-subscriber £300. I would most like to see’, beat entries from Non-residential: START subscriber £200; almost 9000 primary school children from non-subscriber £240. Further details across the UK. The four are among the from Anne Ingall, Tel: (01249) 714825 youngest artists exhibited in a special www.nsead.org

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN  What’s on around the country in museums and  Gallery round-up galleries. To be included please send details to Gallery round-up [email protected] Gallery round-up

Tate Modern Roni Horn aka Roni Horn 25 February–25 May 2009 This exhibition, the most significant overview of American artist Roni Horn’s practice to date, will show her earliest works from the mid-1970s alongside Modern Art Oxford pieces from the intervening years and new sculptures. Horn has always defined Encounters: Raphaël Zarka the meaning of her work as the experience 31 January–29 March 2009 that the viewer has with it. As part of its established Encounters series, Many of Horn’s works are connected to Modern Art Oxford showcases the work of her ideas about identity. This exhibition Raphaël Zarka this spring, in what will be the will also look at her engagement with young French artist’s first exhibition in the UK. Iceland, a place in which geological identity is continually in flux. Since 1990, Paris-based artist Raphaël Zarka is a she has produced an extraordinary series collector of sculptural forms. His ongoing of books entitled To Place, with series, Les Formes du Repos (Forms of Rest) works made in St Ives during World War II, photographs of lava, geysers, glacial (2001– ), consists of photographs of The Royal Academy, Tate St Ives and the Cubist still lifes made between rivers, and hot pools, which will be remnants of unrealised constructions that 1945 and 1958 draw on a selection of key presented within a room of cabinets. litter the landscape: a stretch of unfinished London A Continuous Line: works to demonstrate his continuity of Adjacent to this display there will be the monorail, a concrete breakwater, a lone BYZANTIUM 330–1453 Ben Nicholson in England vision and approach. related photographic installation Pi (1998), pylon. Zarka captures the sculptural which explores geological, animal, and possibilities of these forms as part of a 25 October 2008–22 March 2009 24 January–4 May 2009 The exhibition is organised by Abbot Hall lexicon that runs from Plato to modernism human cycles of life around the Arctic The Royal Academy’s ground-breaking Ben Nicholson (1894–1982) was one Art Gallery, De La Warr Pavilion and Tate and post-minimalist sculpture. His series Circle. www.tate.org exhibition, Byzantium 330–1453, highlights of the most radical British artists of St Ives. www.tate.org Riding Modern Art extends his the splendours of the Byzantine Empire. the twentieth century and has long investigations further, combining the found The exhibition comprises over 340 been recognised as a leading exponent forms of public sculpture with ‘found objects, including icons, detached wall of the modern movement in Britain images’ from the sub-culture vernacular of paintings, micro-mosaics, ivories and between the wars. The first major the urban skateboarder. enamels, plus gold and silver metalwork. presentation in the UK of his work for For his exhibition at Modern Art Oxford, Many of the works have never been over fourteen years, the exhibition Zarka presents a new installation comprising displayed in the UK before. Byzantium concludes its tour at Tate St Ives. Les Formes du Repos, and his recent 330–1453 includes great works from P4 Most famous for his abstract paintings Left: Roni Horn, Ant Farm, 1974–75 (silent performance at sculptures Les Billes de Sharpe (Sharp’s the San Marco Treasury in Venice and studio, Providence, Rhode Island). Oak, glass, earth, and ants, and reliefs of the 1930s, Nicholson 47 x 70 x 4 in. (119.4 x 177.8 x 10.2 cm). Courtesy: Beams), (2008), eight solid-oak forms St Catherine’s Monastery, Mount Sinai, began his career as a figurative painter The artist and Hauser & Wirth Zürich London, scorched with geometric patterns, together with rare items from collections © Roni Horn and developed a deep and enduring described by the English astronomer across Europe, the USA, Russia and Centre: Rapha Zarka, Les Formes du Repos, relationship with the English landscape. No 1 (Rhombi), 2001, Lambda Print, 70 x 100 cm, Abraham Sharp in his 17th-century treatise Ukraine. The exhibition covers the creation The exhibition reconsiders his position Courtesy the artist and Galerie Michel Rein Geometry Improved. Zarka’s recent video and development of Byzantine art in British art history, offering a new Right: Unknown artist , Mosaic icon of Saint Stephen, c. 1108 Topographie Anecdotée du Skateboard, a between the foundation of Constantinople ?? 1113 , Tesserae on stucco, 218 x 118 x 7 cm, National understanding of the modern in art, Conservation Area St. Sophia of Kiev high-octane chronicle of the history of in 330AD by the Roman Emperor particularly in relation to national and skateboarding and its outsider status in the Constantine the Great, and the fall of the P5 local identities. Above: Ben Nicholson (1894 – 1982), 1947, November 11 use of public space, will be screened as part city to the Ottoman Turks in 1453. This is (Mousehole), Oil and pencil on canvas, 46.5 x 58.5cm, British of a series of evening events over the course the first major exhibition of Byzantine Art Focusing on Nicholson’s English years, Council, © Angela Verren Taunt 2008. All rights reserved, DACS of the exhibition. in the United Kingdom in 50 years. Left: Ben Nicholson (1894 – 1982), 1945, (Still Life), the three principal sections – Landscapes Oil on canvas, 83.8 x 66 cm. Tate. © Angela Verren Taunt 2008. www.modernartoxford.org.uk www.royalacademy.org.uk of the late 1920s; Abstract and landscape All Rights Reserved DACS

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN  What’s on around the country in museums and  Gallery round-up galleries. To be included please send details to Hands-on in the classroom [email protected]

Mixed-media portraits inspired by Joan Eardley

Karen Lloyd describes an exciting mixed-media portrait project she undertook with Year 4 children at Ghyllside Primary School, Kendal, Cumbria, revealing how sharing a personal visit to a gallery or exhibition with children can spark off interesting Oriel Myrddin Gallery, My Place Middlesbrough project work in the classroom. Carmarthen 28 February–28 March Institute of Modern Background Tony Cragg – New Stones, In the summer of 2008, Oriel Myrddin Art (mima) Gallery issued a call for film submissions, A long-time devotee of Scottish artist Newton’s Tones responding to the theme of ‘My Place’. The End of the Line: Joan Eardley (1921–1963), I was inspired 10 January–21 February 2009 Creating a film open was a new and Attitudes in Drawing to do this project after I visited the hugely exciting departure for the gallery. An impressive Retrospective of her work at On tour from the South Bank Arts Centre, expert panel was invited to help select 27 February–10 May 2009 Edinburgh’s National Gallery Complex in 2007. themselves, would make them inherently Tony Cragg’s colourful 1978 installation accessible as source material and the best films from those submitted. The End of the Line: Attitudes in Drawing will be showing at Oriel Myrddin Gallery Joan Eardley is well known for the two inspiration to eight- and nine-year-olds. www.orielmyrddingallery.co.uk presents new or recent works by eleven during January and February. The main strands in her work – firstly, her large highly acclaimed international artists, I was given the opportunity to explore this internationally renowned artist won the elemental landscape and seascape whose work has not been shown by Sue Clarke, deputy head and art prestigious Turner Prize in 1988 and his paintings, and secondly, her paintings of extensively in the UK. The exhibition coordinator at Ghyllside Primary School in prolific output since the early 1980s has children from the tenements of Glasgow, The project explores a diverse range of contemporary where she had a studio. In particular, she Kendal, and run a two-day project that deeply influenced work by contemporary As an introduction to the project, we approaches to drawing by a new generation befriended and painted the Samson would enhance and extend the children’s sculptors. New Stones, Newton’s Tones looked at the work of several contrasting of artists, whose works will appeal to the family, of whom there were twelve! These skills in using paint and other media. We features plastic debris arranged by colour portrait artists – talking about artists from imaginations of a broad public. works range from large mixed-media both felt that the idea of the children category on the gallery floor and is the fifteenth century up to today, pieces – collage and oil on canvas, for making portraits of themselves and their influenced by the scientist Isaac Newton’s In the Western tradition, drawing was including Bronzini, Van Eyck, Vermeer, example – to small, sensitive and intimate friends using Eardley as source material theories of colour. Despite the fact that it the foundation of art education and the Lucien Freud and Eardley – and discussed portrait drawings made using pastel. was very exciting. I therefore planned to is 30 years since the work was first made, essential discipline underlying all others. why people make portraits, and why I thought that the range of marks and incorporate a variety of experimental the theme of recycling and questions The medium, which floundered in the late people have portraits of themselves techniques that Eardley used, together techniques in the project, and to help the about industrial production are possibly 20th century owing to a more academic painted. We also looked at photographs with the naïve quality of the portraits children build up a repertoire of mark- even more relevant today. A great and conceptual approach to teaching and making experiences that they could take of Glasgow street children, to put Joan opportunity to see this important work art production, has recently undergone with them as they went up the school. Eardley’s portraits into social context. in west Wales. resurgence in popularity, partly as a result The pupils responded enthusiastically to of its accessibility as a tool for Preparation her work, and to the story of how children communicating ideas. would knock on her studio door and ask if The children were asked to bring in The exhibition explores a diverse range of she would paint them! (This was a time favourite photographs from home, when lots of children were made to be contemporary approaches to drawing by showing themselves, perhaps with a a new generation of artists, including Jan outside for most of the day – presumably Above left: Tony Cragg, New Stones, Newton’s Tones, sibling or a pet. In advance of the project, the fact that it was warmer in her studio 1978, plastic. Loaned by Arts Council Collection, Albers, Michaël Borremans, Garrett Southbank Centre, London I also went in to the school to take added to the kudos of having one’s Phelan and Naoyuki Tsuji. The End of the photographs of all the children involved, Above right: Monika Gºrzymala, Transition, 2006, Marian Line: Attitudes in Drawing is organised in picture painted!) Goodman, Gallery New York, three-dimensional drawing, in order to widen their choice of source 8.4 km black and white masking tape, group show Freeing collaboration with mima, Middlesbrough material and also to make sure that Work on our project started with pastel the line, curated by Catherine de Zegher. Courtesy of Marian Institute of Modern Art and The Bluecoat, Goodman Gallery everyone actually had at least one drawings, prefaced by me demonstrating Liverpool, in association with The Drawing Centre: Garrett Phelan, Mutant Finches I, 2008. Courtesy the photograph to work from. ways of using chalk pastels expressively artist and mother’s tankstation, Dublin. Room, London. www.visitmima.com

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blank at this stage, to be painted in last – for the whole school to see. It would be the proverbial icing on the cake. As acrylic an exciting project to take forward and paint dries quickly, we were able to move develop further! on fairly swiftly to begin applying the collage. A large selection of interesting Resources collage materials was available, but Photographs, chalk pastels, paper of individual choice was limited by what was various shapes and sizes, primer, pencils, provided on each table. This was because brushes of various sizes, objects for mark- I wanted the children to think about colour making, ready-mixed paint, acrylic paint, themes in their work, in a similar way to collage materials © with kind permission of the Eardley Estate 2009 what they had done when using only two colours in the mark-making experiments. and also in a more controlled, contrasting While this was drying, we undertook For their main portrait pieces, the children Background I was really pleased by the way in which way. We talked about using scale and two different activities. The first was began by drawing the outline of their Karen visited Joan Eardley (6th November the children took on board the spirit of cropping to make the compositions to make drawings using just pencils, portrait and/or composition in pencil. 2007 to 13th January 2008) at the Royal Joan Eardley’s use of collage – really tighter and more interesting. We looked at and to build up the drawings using Using acrylic paint (and of course wearing Scottish Academy. This is one of the thinking about placing each of the collage how the resulting drawings could be used short lines, rather like those found in protective shirts), they then painted in the largest Joan Eardley exhibitions ever materials carefully so that it added as ‘working drawings’ that could be Lucien Freud’s etchings. This contrasted under-painting. We talked about what this held, and it is also the first major exhibition something to the overall composition. changed or developed later on. with the qualities of drawings that we means, and how it gives an underlying of her work in nearly twenty years. had made so far. structure to the work. We left the figures Inevitably, some made a ‘frame’ around the portraits, but these were applied with Joan Eardley RSA (1921–1963) Born in ‘... the idea of the children The second activity was to experiment careful thought to the use of colour and Sussex, Eardley moved to Glasgow in with paint, using brushes in a variety of texture. Once the collage was at least 1940, studying at Glasgow School of making portraits of themselves sizes (3 inch, 2 inch and 1 inch household semi-dry, the children began painting in Art. Her paintings of children playing in and their friends using Eardley brushes, as well as smaller brushes) and their portraits and then augmenting their rundown Glasgow tenements, and her then different objects that could be used work by applying more paint using their landscapes painted in and around the as source material was very to make exciting marks in the paint (edges experimental techniques. The use of fishing village of Catterline on the of card to print with or to manipulate the primer with acrylic paints came into its north-east coast of Scotland, are among exciting.’ wet paint, sponges, kebab sticks to draw own at this stage, as the paint could be the most celebrated works in Scottish art. into wet paint, sticks to make dots, fingers seen to almost glow in places, particularly Her career was cut tragically short in 1963, I was keen to get away from using to make dots and sponge rollers). We where thin layers of paint had been when she died of cancer at the age of 42. standard A4 paper, so we used a variety used bottles of ready-mixed paint for this applied on top of one another. of shapes and sizes. Most children were exercise, but children were asked to use then given the chance to use primer – we only two colours. We put the chairs away In two days, the children produced work of talked about what this was for, how it can to facilitate movement, and the children both volume and quality. They were very strengthen the paper and allow the paint really enjoyed this dynamic activity, keen to talk about their achievements and to ‘sing out’ from the paper rather than to seeing for themselves some of the Above, top: Joan Kathleen Harding Eardley, Children and what they had learned, and were justifiably Chalked Wall, Oil, newspaper and metal foil on canvas, proud of their work, which was displayed sink in to it and therefore be less vibrant. possibilities. 1962–1963, © National Galleries of Scotland

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 10 Contact Visit 11 Dance [email protected] www.grtleeds.co.uk/ Dance [email protected] www.grthm.co.uk/ The magic of

tapping, moving hips, arms, hands and Flamenco The brief fingers). This exercise was the foundation Carla’s brief was straightforward: to deliver for group performances of longer tailor-made workshops on the theme of choreographies. These were supported by ‘The Gypsies and Flamenco’. Objectives rhythmical clapping and accompanied by were to highlight Gypsy roots and culture, flamenco music. The only things left were tackle prejudice and discrimination, and to to guess which animal had been presented enable children to choreograph their own and to critique the project. Several flamenco. The workshop began with live participating teachers noted the many flamenco music (percussionist on cross-curricular links, the excellent castanets and flamenco drum and a learning experience involving different guitarist) and an introduction from Carla in cultures and beautiful follow-up work. Spanish. A preview of the workshop, Some children were so inspired, they Kate Allen reflects on her meeting with Flamenco originated in Andalusia and is a questions and answers about the continued dancing after the workshop Carla Soto, a dancer of Cuban-Spanish musical expression of oppressed children’s knowledge of flamenco, a had ended… decent, who shares her art form with communities, from Arabic to the Spanish musical Gypsy story and a flamenco children. Kate describes Carla’s working classes. It is a fusion of dance, demonstration by Carla followed. A world Cultural awareness successful flamenco workshop at West drama, music and singing, heavily map enabled Carla to show children the Park Centre, Leeds, in which primary- influenced by Gypsies and Travellers. Gypsies, Roma and Travellers are the journey Gypsies made (bringing cross- school children learned not only about Carla’s art form, therefore, was a European Union’s largest ethnic minority curricular links to geography, history and another culture but also about the particularly apt choice for Education community and have enriched world citizenship), and authentic flamenco dress. wonderful rich cross- curricular arts Leeds’ Gypsy Roma Traveller culture immensely. However, they remain Many other cross-curricular links were it embodies. History Month (GRTHM) 2008 the most marginalised group. The need to made during the workshop, for example to in June, the first national raise awareness of these communities and Although born in Kent, Carla Soto spent 23 literacy via story-telling, to modern foreign celebration of its kind. their contributions has been supported by Useful links formative years in Venezuela. There she languages (MFL) through Spanish, to PSHE Carla’s three-day flamenco Lord Adonis, Parliamentary Under www.hull.ac.uk/cll/ufa/ufa-main.html received comprehensive dance training, & citizenship via ethnic identity, and to workshop with local Secretary of State for Schools and www.grtleeds.co.uk/ from classical to African. It was in music and PE. Children developed their primary-school children Learners. In addition, Education Leeds has www.grthm.co.uk/ Venezuela that Carla discovered flamenco rhythm through clapping, clicking, tapping took centre stage amid raised this initiative with the European – the true musical form of movement and and playing the drum and castanets, and a week-long festival of Union and the United Nations in the hope Carla Soto is a graduate of Catolica expression she sought. She has studied coordination, posture, balance and motor events, which included that GRTHM may become an international Andres Bello University, Venezuela. both the theory and practice of flamenco skills were nurtured through movement. story-telling, an art event. Furthermore, from 2010 it will be She is a professional flamenco dancer, and, as well as performing here and exhibition and compulsory for children from the age of dance teacher, Spanish tutor and overseas, now runs flamenco workshops music. Preparing and performing seven to 14 to learn a modern foreign community artist. for children in schools. [email protected] To prepare participants for developing their language, and in so doing to develop an own choreography, Carla set them to work interest in the culture of other nations. Kate Allen is the Trainee Teacher on an animal improvisation exercise. Carla’s flamenco workshops pave the way representative on the Teacher Education Children were split into groups of three, for creative, cross-curricular learning about Board of the NSEAD. four or five, with a particular emphasis on other communities and nations. Between [email protected] teamwork. Carla helped the children to professional performances in Caracas and mimic the movements of their favourite Estonia, Carla is developing her work in animals – the movement of animals being schools and hopes to foster more a primitive source of dance inspiration – children’s creativity and international and to draw on flamenco elements learned awareness via flamenco. during the workshop (clapping, clicking,

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Create2gether out-of-school project – Egyptian art

Kerry O’Brien talks about how her involvement in Create2gether, an initiative Silk-painting Papier mâché to bring artists and out-of-school settings At the first workshop, I encouraged the Papier mâché was next on the agenda. together, gave rise to a wonderfully children to share what they knew about The aim was to bring relief to the banners inspiring project about Egypt, linking the Egyptians. This enabled all years to by adding a 3D element. Some children with history and tying in with drama contribute and everybody had something used plastic masks as a base and built work on the musical Joseph. The aim beneficial to say. We talked about how them up using kitchen roll layered over of Create2gether was to help develop we could create two banners by making the top and attached with masking tape. confidence and skills through creativity, lots of different pieces of art. Then, using watered-down PVA glue, a by running a series of ten workshops. final layer of coloured tissue paper was Books were used as a reference tool and Experience of working with early years applied. Pharaohs, Egyptian women and aided the children when sketching ideas was essential, as this project was to be the funerary mask of Tutankhamun were in their sketchbooks. From these images, accessed by all children attending re-created in all their stunning glory! the children made their own drawings for after-school clubs. The project was Smaller papier-mâché artefacts, such a silk-painting, which included the scarab funded by the Big Lottery Fund for as mummified cats, ankh symbols, urns beetle, amulet designs of the eye of Children’s Play and supported by Jill and boats, were made using the same Horus and the pyramids. These were Musson at Newark and Sherwood Play technique as for the masks. Metallic drawn in black felt-tip pen on to a square Support Group and Anita Turtle from papers, gold paint and glitter added to of white paper. A square of silk was then Nottinghamshire County Council. their vibrancy! taped over each piece of paper. With A meeting was held between the out- gold and silver metallic pens, the children of-school-setting coordinators and the traced over their design, ensuring that all Weaving artists, in which the latter introduced lines were thick enough to resist any silk The next skill taught was that of weaving. themselves and their work. The artists’ paints applied. Once this had been done, Gold card cut into strips was used, with a portfolios were quite diverse, ranging the silk was pinned to a wooden frame. variety of green, gold, blue and orange from fine art to pottery and beadwork. While looking through the books, the papers and ribbons woven between the The coordinators were then able to children had taken note of the colours strips. A certain amount of dexterity was discuss with each artist their own used by the Ancient Egyptians. This then needed, which wasn’t always easy for individual thoughts and ideas. By the influenced their choice of colours when some, but with patience, results were end, coordinators and artists had been applying the paint. achieved, and they were well worth the paired up, with further meetings in the perseverance. Some children, showing Silk-painting was a big hit with all settings arranged to finalise the projects. wonderful imagination, commented that ages, as the results were instantaneous. the arrangement of colours depicted the I had been chosen to work with Dean To observe the sense of achievement sun shining on the sand and the colour of Hole C of E Primary School in Caunton in the children’s faces when the the sky and the Nile. Their creativity was near Newark in Nottinghamshire. Julie colour brought their images to life nurtured even further by a whole-school McGrath, the out-of-school coordinator, re-affirmed why I love sharing my and Ann Clark, a class teacher, had visit to the Tutankhamun exhibition at the skills with children so much! 2 combined their after-school and art clubs 0 Arena in London, which left them for this occasion. They wanted artwork buzzing with yet more inspiration. with an Egyptian influence, to tie in with the curriculum area they were studying and a forthcoming school performance of Joseph. Their chosen theme sparked an abundance of ideas in me, and the prospect of working with 28 children from Reception to Year 6 became a challenge I was keen to pursue.

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placed on top of the fabric and ironed in place, so the glue backing bonds to ‘Anything that can engage the the base fabric. The papier mâché, children as fully as this has got Llanfabon Art paper weaving and hieroglyphics were all stuck down with generous applications to be a good thing,’ of PVA glue. Extravaganza Headteacher John Dodd As with many of my projects, I am always The project culminated in a presentation at From good to outstanding – early looking at how the end results can be a local community centre. Each artist that enhanced. Although I felt the children had participated in an out-of-school setting years improvement through the arts had produced some wonderfully inspired took along one of the pieces of work made work, the banners just needed those during the workshops or photographic essential finishing touches. These took evidence to show other groups and invited the form of patterns made with glue guests what had been achieved. They also Jane Davies, art coordinator at Llanfabon • to invite parents, school governors, My role was to make sure that the between the artworks and sand and ran a workshop for visitors to sample an art Infants School in the village of Nelson in advisors, other schools and the local programme provided a variety of learning glitter sprinkled on top. The banners were activity that was undertaken by the the Rhymney valley of South Wales, tells community to the exhibition experiences and, wherever possible, now finally complete and ready to be hung children. I encouraged people to try their us how she has been proactive in raising • pupils to create invitations, posters and children worked from first-hand experience up in the school entrance. The school is hand at silk-painting; some adults who standards and achievements in art. She a catalogue to advertise the exhibition and learners focused on processes rather also a centre for the community to attend hadn’t experienced this before showed the takes us through her journey, from training • to invite the local press to take than on end products. classes and concerts, and the banners same sense of wonderment as the pupils had. staff and planning outcomes, to celebrating photographs and write an article about certainly made a striking feature to the achievements of all with an exhibition the exhibition. Planning welcome visitors. They have attracted for parents and the wider community – Resources See chart below. many compliments. a wonderful example of enriching the lives Developing a rationale Squares of white paper, silk squares, of teachers, pupils and parents. The results wooden silk-painting frames or embroidery The training highlighted the point that Project ideas hoops, gold and silver metallic pens, The Llanfabon Infants School in the providing creative learning experiences For the children to express their own silk-paints, fine nylon brushes, plastic Borough of Caerphilly has approximately is fundamental to the development of Make a Face (Nursery) views on this project, an evaluation masks, cardboard, kitchen roll, masking 180 pupils ranging in age from 3 to 7 years. the whole child. Specifically: Hieroglyphics Pupils were encouraged to: folder was compiled, to be kept as a tape, bleed-proof coloured tissue paper, We needed to provide a better environment • to develop self-confidence The banners were now beginning to take • make choices – colours of paint, paper visual record for others to view. Each metallic paints, glitter, metallic card and for creative learning and wanted the pupils • to make choices shape, but there was still more work to be • explore and experiment using their fingers child was given a sheet of A4 paper and paper, coloured papers, ribbons, stiff card, to have more opportunities to: • to solve problems done. In class, some children had studied and paint asked to write about and illustrate what strips of cotton fabric, black permanent • investigate the world around them • to communicate their feelings the art of the hieroglyph. We felt this was • explore and experiment with mark-making they felt they had achieved and the marker pens, sand, PVA glue, Bondaweb, • explore the properties of materials • to improve concentration an important area of Egyptian art and had using ICT highlights of the project. One child wrote, canvas or calico for banners • develop visual, tactile and spatial abilities • to explore and play to be included. Rectangles of stiff card ‘I have enjoyed doing all these fantastic • develop fine and gross motor skills in • to make sense of their world • develop and use understanding of colour, were cut and strips of cotton fabric were activities and am glad I had a chance to Useful books order to control materials and make • to improve behaviour texture, shape and line glued to them to represent papyrus. do them all!’ decisions regarding their use • to develop pupils’ natural curiosity. • experiment making enclosed shapes Research was done while we waited for Ancient Egyptians at a Glance by Rupert • use their imagination and creative using fingers and paint I was invited back to the school to watch In addition, it was important for us to the glue to dry, and we talked about how Matthews (Macdonald Young Books); potential • develop understanding of taking their superb performance of Joseph. understand that in our teaching we we could make these small panels look • communicate feelings photographs of each other The banners were used as a backdrop to A Visitor’s Guide to Ancient Egypt should demonstrate skills and how to use like something the intrepid explorers of • solve problems • reflect on the work of others, for example the show. The children had plenty to be by Lesley Sims (Usborne Publishing Ltd); materials, tools and techniques, but also yesteryear might have discovered. Most • make choices and talk about their work prints of Marilyn Monroe by Andy Warhol, pleased about and this project has provide opportunities for children to children decided to write their names The New Book of Pharaohs by Anne Millard and that of others. using the interactive whiteboard in this ancient writing form and used definitely helped their creativity shine (Aladdin Books Ltd); explore and develop skills independently. • make choices of colour for design of face permanent black marker pens to draw through. Dean Hole C of E Primary school The teacher may intervene to encourage or (background and image) The Usborne Encyclopedia of Ancient Egypt Plan of action on top of the fabric. Then, a mixture of have a committed staff, who dedicate refocus the child’s mind, but should never • create an image that communicates their by Gill Harvey & Struan Reid (Usborne bronze and gold metallic paint and themselves to giving the children an Consultation with the Headteacher, take over in such a way that the work is no face and features Publishing Ltd) water was painted over the top to all-round view of the arts, which made all Pat Wood, and the LEA art advisor, longer owned by the child. create artwork that resembled that the difference. The children have since Kerry O’Brien is a professional artist based Lorraine Buck, resulted in the following been to see Joseph and the Amazing of a long-forgotten civilisation. in the East Midlands. She runs art and craft plan of action: Year Theme Techniques Technicolor Dreamcoat at Nottingham’s workshops for children and adults and can • whole-school in-service training on Nursery Make a face Finger-printing Theatre Royal, which I’m sure was the be contacted at: progress in learning through print-making Assembling the banners Using sponge rollers icing on the cake for most of them! [email protected] provided by Lorraine Buck With the artwork completed, it was now Mono-printing www.kerryobrienart.co.uk • individual and practical in-service training the moment everyone had been waiting Create2gether enabled me to forge strong links with a school I perhaps would never for all staff over a two-day period Reception Our Homes Using sponge rollers for. Everything that had been created was Newark and Sherwood Play Support • an art week, in which pupils had Using stencils to be permanently attached to the canvas have had an opportunity to work with. Group’s website is: It also gave the school the chance to opportunities to explore and experiment Printing with stamps banners. To make the silk painting adhere www.newarkandsherwoodplay with print-making techniques while develop their creative skills and receive Year 1 Winter Using sponge rollers securely, I used Bondaweb, the fabric supportgroup.org.uk covering other aspects of learning artistic knowledge without the worry of Using stencils world’s equivalent of double-sided sticky • to create portfolios of work for each year trying to finance the workshops through Using cold-coloured printing inks tape. With the paper backing on, one side group, showing effective progression in limited school funds. Weaving with prints is ironed on to the reverse of the silk. The the process of print-making paper is then peeled off, and the silk • to exhibit the work of every child in the Year 2 Fantastic Creatures Using sponge rollers school in an Art Extravaganza Using block-printing tools

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• make mono-prints of their face using • arrange stencils of branch shapes to • We purchased thin board and suspended different chosen colours create an image using an over-printing it to display the large artwork. • reflect on their own work and that of technique and cold colours • We purchased frames to display some of others. • communicate and express their ideas the large pieces of artwork. of weaving and cold colours using their • We decided to provide refreshments and Our Homes (Reception) stencil print (these print weavings were create a calm, relaxing atmosphere, with combined to make a cloak for a Jack background music and comfortable Pupils were encouraged to: Frost display). seating areas. • communicate and express their Hundertwasser memories of their homes creatively, using a variety of mark-making tools Fantastic Creatures Advertising the exhibition • develop and use understanding of (Year 2) • Pupils in Year 2 designed invitations using closed shapes, including use of ICT PowerPoint. These were sent home to Exploring the urban landscape • experiment with a variety of materials Pupils were encouraged to: parents, families and friends. and tools to create a pattern, design or • explore and experiment with textures • Pupils also used the Intranet to invite the house picture by making ‘rubbings’ of objects in their school governors, advisors and schools • make choices using a variety of environment within the cluster. equipment, e.g. Logi blocks, 3D blocks, • reflect on the work of Max Ernst using • We are very fortunate to have a governor mosaic tiles, Lego to make 2D and 3D ‘frottage’ and develop their understanding whose work involves graphics and models of houses of pattern and texture printing. He offered his services to print • develop understanding of ‘hot’ and • communicate and express their ideas large posters to advertise the exhibition ‘cold’ colours using ICT and catalogues to show examples of the • experiment with sponge rollers to print • develop their understanding of ‘fantastic pupils’ work and briefly explain the units over a large surface using hot or cold creatures’ by creating a collage of of work. The posters and catalogues colours different animal parts and making looked very professional and enhanced • experiment with ‘stamp’-printing observational drawings of Greek the overall look of the exhibition. I techniques using a large shape or picture monsters displayed the posters in various shops Anne and Peter Wilford are heads of template • reflect on the work of the surrealist and amenities in the locality. art at, respectively, Queen’s College • reflect on the work of famous artists, Salvador Dalí • A local newspaper was invited to take Preparatory School and Queen’s College in e.g. Lowry’s An Old House • communicate and express their ideas to photographs of the exhibition. This central London. After a visit to the • design and make prints using shape create a ‘fantastic creature’, using line, resulted in a double-page colour spread. Hundertwasser House in Vienna, they felt stencils and hot and cold colours shape and texture, and a colour wash. that pupils would relate very well to • reflect on their work to add detail using a • explore and experiment with a variety of Assessment of the learning Friedensreich Hundertwasser’s exuberant variety of mark-making tools, e.g. bricks, printing tools to create patterns and use of imagery and colour, and set out to tiles, window sills, textures, and so on. textures outcomes devise projects for Year 4 and Year 9 that • collaborate within a group to choose a It was agreed by all that the exhibition had would enhance pupils’ visual creativity and ‘fantastic creature’ design for enlarging, been a resounding success. Everyone had involve them in enjoyable studio practice. Winter (Year 1) and create a block-print using a variety of worked together and the morale of both The Austrian artist Friedensreich Pupils were encouraged to: tools and techniques pupils and staff was lifted. It was wonderful Hundertwasser was born in Vienna in • develop their understanding of cold • reflect on their work and that of others. to see pupils using the skills learnt 1928. He is an artist who rejected theory colours using the outside environment independently, after the event. I can and dwelt in the world of the senses. He is • explore and experiment with tones of The exhibition honestly say that all pupils benefited, known as the initiator of Transautomatism, cold colours, including use of ICT After the staff had received the two-day concentration was improved and pupils which is a term given to the process by • make choices to create collages of in-service training for printing, they were full with behaviour issues were on task and which unconscious images enter into cold-colour words, write poems or short of enthusiasm, more confident and eager to involved. The written comments in our juxtaposition with the world of visual stories about Jack Frost do the work with the pupils. We decided on comment book were excellent and parents reality. There is little logic in his art and • reflect on the work of a Welsh artist Kyffin the dates for the exhibition and I set an were extremely impressed with the objects are presented in striking fuelling the creative imaginations of In the layer behind, there may be trees in Williams, e.g. painting entitled Snow agenda for work to be completed. Then collaborative work in Year 2. combinations of colours and pattern. children of all ages. parks and gardens and cloud formations • develop their understanding of cold came the mammoth task of mounting and His original and vibrant images are the circling the sun or moon. colours by mixing cold colours used by As a result of the project, Caerphilly County displaying every pupil’s unit of work. This is perfect catalyst for awakening and Year 4 project Kyffin Williams Borough Council has published an article Pupils could create their own holistic how we tackled it: • develop their understanding of pattern with photographs in their Newsletter. After looking closely at a range of landscape by starting on the outside edge • Work was mounted to reflect the themes. by listening to the story We’re Going on Importantly, I now, as art coordinator, have Hundertwasser’s imagery we discussed of the paper and moving round the sheet, • Quotes made by the pupils were a Bear Hunt (e.g. ‘over and under‘ for an excellent portfolio of work showing such elements of urban landscape as gradually adding on each layer and recorded, typed and printed. weaving) progression in learning in art and design. architectural structures, the use of green working towards the central space, which • Photographs were taken of pupils at work. • experiment with a variety of materials to spaces, changing weather forms and would contain the central sun or moon. • Key words were displayed. I would like to thank Mrs Wood, all the staff, develop their understanding of pattern systems, which could be incorporated (See example line drawing.) Once the • Large display books were used to display Lorraine Buck, the governors, parent and ‘warp and weft’ into an organic whole. Pupils were asked images had been drawn in pencil, pupils some of the pupils’ work (some parents helpers and most of all the pupils of • design and make a branch weaving using to recall the layering of a street scene were asked to go over their lines with a volunteered to mount and display the Llanfabon Infants School for such cold colours (fork-shaped branches where, for instance, you may have a fine line pen. They were then reminded work in the books). wonderful, inspiring work! collected from school grounds) railing or wall, followed by a building about Hundertwasser’s vibrant use of • Display boards were borrowed from • explore and experiment with sponge Lorraine Buck LEA Art Advisor with windows and doors, rooftops and colour and asked to devise their own the County Council and a neighbouring rollers using cold colours [email protected] chimneys that may be trailing smoke. colour schemes using a mixture of felt school.

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tip pens, pencil crayons and gel pens. collage using found magazine images Pupils had noted in discussion that and/or own photographs of buildings, Hundertwasser occasionally used sky, sun, clouds, cars, buses, trees, roads, metallic surfaces in his work, and some parks, people. decided to use gold marker and gel pens Taking the pain Week 2: Create a linear design, combining to create this metallic effect. The finished images from the homework collage and pieces were very exciting and greatly observational drawings of interior details enhanced pupils’ understanding of form, on A4. Use linear pattern to create forms colour, pattern and composition. and stylised imagery. Change formal out of painting! picture plane and depth of field to create Extension activities a ‘flatter’ image. Cut out architectural forms in a variety of Homework 2: Create drawn townscape vibrantly coloured fabrics and stitch on to from a section of earlier collage and use shape prevents spillage. This is not as you need to do is ensure that pupils have base of A5 black cotton using simple pattern and vibrant colour for added expensive a solution as you might think. access to the paint, paper, brushes, etc., stitch work and appliqué techniques. emphasis. Include signs and lettering They can be bought quite cheaply in bulk either because you have put them out in Use simple running stitch with bright as optional details. and if you make it clear to your pupils that one area, or because they have general embroidery threads or wool to form they will only get one per painting session access to them and know where they are clouds, sun, rain, and so on. At this point, Weeks 3–6: Draw out A4 image on to A2 (encouraging them to mix colours kept. You will have your own systems in refer to the stitch-work collages of Tracey and go over outline with black marker. sparingly and use what they mix), and place, but the following system works a Emin. The finished pieces can be Start to paint in vibrant acrylic paints considering that you will not paint every treat, the pupils love it because it puts displayed individually or joined together using metallic areas for emphasis, and so lesson, you will use far fewer plates that them in charge, empowering them and into a class hanging. on. Continue to completion. At this point, you might think. You could also use offcuts allowing them to take ownership of their examine finished painting and if outlines of card, or even paper, provided it has a learning, and you will love it because it is Resources require it, reapply marker. shiny surface to prevent it from soaking quick, easy and painless, allowing you to up the paint. put your energy into your teaching instead of Paper, pencils, fine line pens, felt tips, Homework 3 and 4: Two-week research into mess-management. I invite you to try it. pencil crayons, gel pens, gold markers, project on the work of Hundertwasser, images of artwork from the web (see with an emphasis on pupils’ personal You need buy only eight This project took four sessions of an hour below), calendars, postcards or books opinion of his work. colours of paint! and ten minutes to complete – one for such as Hundertwasser by Harry Rand mixing the colour strips and three for the Homework 5: Take a portrait photograph And you could put the savings you make (Taschen). collage. from a magazine. Cut it in half, vertically towards investing in some paper plates! down the centre, place on A4 paper and Lighthouse keeper collage If you teach your pupils to mix their own You will need: One set of colours between Year 9 complete missing half of face in linear colours by using the double primary four pupils, one water pot between four The Year 9 project was designed to last pattern and decorative shapes. Add system, then in addition to all the pupils, a paper plate, a brush and a piece of Loren Fenwick describes an interesting approximately six school weeks and vibrant colour, and so on, perhaps knowledge and understanding of colour tissue or newspaper per pupil (for drying colour-mixing painting project, which would include six half-hour homeworks to extending hair to make a surreal face. that they will acquire, you will economise brushes after washing to prevent the paint turns into group collage work. She also support the development of the project. on paint and storage space. The double fron becoming runny mud), as well as Homework 6: Complete a short shares some outragerous tips for The aim of the project was to assist pupils primary system uses a cool and a warm paper to paint on. You may want each pupil evaluation of the project and your Pupils of both age groups related very classroom management! in developing their visual sensibility and progress through it. version of each of the primary colours and to have a piece of newspaper to put their understanding of abstract form. The key well to Hundertwasser’s work. The We know that when we ask our pupils white, to mix all of the secondary and painting on, but I prefer to just wipe the visual elements covered by the project projects could be made simpler or more what we get when we mix blue and yellow, tertiary colours. I recommend the tables at the end. would be line/tone/shape and form/ Extension activities complex depending on the age group they are all going to shout ’GREEN!’ but following colours: for red, vermillion and Once pupils have put on aprons or colour/pattern. Through a variety of Opportunities arise at certain points in targeted. It is also possible to extend how often do we actually give them the crimson; for yellow, lemon yellow and whatever protective clothing you use, they processes, pupils should gain an the projects to introduce pupils to the these projects by using simple opportunity to do it? Painting involves huge ochre; for blue, brilliant blue and cyan or need to be arranged in groups of four. In awareness of the transition of realistic work of other artists, for instance when printmaking techniques, such as press amounts of preparation, a lot of mess and sky blue. (Because of the limitations of my experience, this is the ideal number to form to abstract form, and would explore discussing Hundertwasser’s use of print or monoprint, and then working into more than a little chaos, and is followed by pigment in ready-mixed paints, I include have around one set of paints. Each pupil is a complete visual process through metallic detail, refer to the decorative them with oil pastel and colouring pastels. lots of strenuous cleaning and washing. turquoise as a ’bonus‘ colour, but this is given a job: 1. Get the paint and remove design, drawing and painting, as well as work of Gustav Klimt. Later, when By using this method to translate Right? WRONG! It’s all a matter of having a not strictly necessary.) You will also need lids if there are any. 2. Get a paper plate experiencing the formal challenges of working on homework using pattern and representational form into more abstract system and training your pupils to use it, white, but not black. Black tends to and a piece of tissue/newspaper for each manipulating a variety of creative media. colour, refer to pop art and the work of structures, pupils become more attuned and you will find that they are very dominate and deaden colours. Mixing pupil in the group. 3. Get and fill a water pot Roy Lichtenstein. Both areas could lead to the notion of abstract picture-making. enthusiastic about it, because it means vermillion and turquoise or brilliant blue will Week 1: Introduce Hundertwasser’s (this pupil is also responsible for to further projects. The most exciting result of these projects that they get to paint a lot more. Here are result in a pretty dark purplish brown, which townscapes and discuss the transition of periodically emptying and refilling the was that every pupil, regardless of ability, some outrageous ideas for taking the pain looks much warmer and richer than black. representational forms and structure into water pot during the lesson). 4. Get a Resources produced a magnificent piece of work, of out of painting. stylised imagery and pattern. Begin by which both they and their teaching staff Get the pupils to set up paintbrush and painting paper for each looking closely and recording Cartridge paper, A4 and A2, black marker were very proud. Don’t use mixing palettes! pupil in the group. This may seem architectural details in the immediate pens, pencils, acrylic paints, including and clear away! complicated but I have done it with my vicinity, for example the studio interior gold, silver and bronze, magazine They take ages to wash and encourage youngest pupils, Year 3, and once they and the general building. photographs of cities, Pritt sticks, images pupils to mix far more of a colour than they Organisation is key in any whole-class have done it once or twice, it takes about of artwork from the web (see below), need. Use something that can be thrown painting session, but it does not have to three minutes: pupils come into the art Homework 1: (This could be started in calendars, postcards or books such as away or put in the recycling at the end of involve your giving up your break to set it room, get their aprons on and sit in groups the lesson if necessary.) Create an urban Hundertwasser by Harry Rand (Taschen) the lesson. I find paper plates ideal, as their all up or clean it all away. The only thing of four. While they are waiting for

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Mixing oranges

Mixing colours Mixing colours on paper plates everybody to be ready, they decide for A little demonstration goes a long way, Encourage pupils to paint the whole strip themselves what number or letter they are especially if this is the first time pupils are of paper provided, with the same going to be, and as soon as they are ready, using the double primary system. Show secondary colour in as many varieties as you tell them what job each number is pupils how to decide which secondary they can make using the primary colours responsible for. As long as they know colour they are going to mix, and then pick and white. If there is time, they could paint where everything is, it only takes moments up generous blobs of each of the primaries a second strip, using different primaries, for the whole lesson to be set up. that they will need and place them around either by getting a new paper plate, or by the edge of the paper plate. Remind them swapping plates with someone else. At the end of the lesson, everything is that the pots of primaries should be kept (Paper plates are quite robust, and will take done in reverse. After the paintings have clean, by washing their brush and drying it a lot of paint without disintegrating.) been put on the drying rack, each pupil is on the tissue or newspaper before putting responsible for putting away whatever If you are going to use the colour strips them into a new colour pot. Remind them they got out. I provide a bowl of water for for collage, you will want strips of primary that they have two or three of each primary the dirty paintbrushes, which prevents a colours too. After pupils have painted a colour at their disposal, as well as white. queue of pupils washing brushes, and if secondary colour strip, you might want Show them how to mix a colour by they have been left in water, it only takes to give them a tiny blob of black and choosing two of the primaries and me a moment to wash them all together. challenge them to see how many shades combining them in the middle of the plate. Each group is responsible for wiping their of primary colours they can mix, using Once a colour has been mixed, own table after it has been cleared of all combinations of the double primaries demonstrate painting a narrow strip of it painting equipment. Once pupils are used combined with black or white. Warn them onto the paper, before adding another to this process, it takes about five minutes against using too much black, as it will colour to the original, thus altering it, and from the time pupils stop painting until the dominate everything. I tend to give them painting another strip of colour. Show tables are clear and ready for the next a tiny spot and no more, so that they have them how the same mixed colour can be lesson. to ration it. added to, to get a huge variety of secondary colours, without the need to Colour-mixing mix a new colour on a new area. Using the colour strips This lesson allows pupils to experiment Encourage them to mix just enough paint Collage is a very exciting way of using all with the wide range of primary colours to paint a stripe, instead of covering their the wonderful strips of colour that your that can be mixed using the double paper plate with one colour. Remind them pupils will have produced by the end of this primary system. It is a good lesson to that they will get only one plate per lesson, lesson – far more interesting than most do while training pupils in the use of the and if they mix colours from previous papers that can be bought, and much more double primary system and getting them colours, then they will not need a new one. satisfying than trawling through magazines used to your organisational process, Pupils tend to get very excited about the for scraps of the desired colour. Although because you can vary the number of thrill of mixing colours. Remind them to pupils could do this activity individually, colour strips they create according to paint with each colour they make so that working on smaller collages, I have found the time available. they have a record of it before they change it very interesting to allow them to work it by adding another colour. collaboratively, in groups of four or five.

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Creative learning through religious education

Use a good quality glue, to stop bits falling off Each group member has a specific task

Anita Chamberlain and Maggie Although the RC scheme of work did ask Northcott, senior lecturers at Edge Hill for opinions and reflections from the Key aims of the project University, reflect on a recent art and children, most of the opportunities for this • to express personal opinions in religious education (RE) research project were in the form of writing, rather than a a variety of ways with Our Lady’s and St Edwards Catholic spoken or visual model. • to develop thinking skills Primary school, Preston. Just as RE is significant in the life of the • to encourage emotional literacy. The published Roman Catholic (RC) young people within this school, so does Religious Education Scheme, The Way, the art play an important role. The children Truth and the Life, is used widely in schools were not only exposed to different artists Learning objectives: RE throughout the UK and considered by many (within this scheme it was Marc Chagall), • to explore how the Church celebrates teachers to be a good way to teach the but were also allowed the freedom to the resurrection of Jesus at Easter Mixing greens Apply the glue to the base before sticking on the scraps Sunset french boat collage necessary doctrine of the RC Church. It express themselves through the medium • to know that Jesus appeared to his rest of the shape. Even if the area to be boat because my dad has a boat and I was produced after many consultations of art. They looked at the way paintings friends after he rose from the dead ‘It really is fascinating to covered is large, it is better to use smaller have drawn it loads of times.’ They let with teachers, priests and RC advisors and were done and the effects they had • to know that because Jesus rose from uniform scraps rather than sticking down him get on with it. its aim is to encourage the awareness and created. They were taught how to hold the dead to new life, Catholics have observe how pupils get on large chunks of colour. understanding of what it means to be a their brush, made figures using plasticine, hope that they will do so too Once the background and base areas have Roman Catholic. It contains a few art carved symbols into candles, planted • to understand how the coming of with the business of organising At this point I must say something about been covered, smaller details can be stuck activities, such as making posters, and so their Lenten promises, put their hand the Holy Spirit at Pentecost changed the glue: Glue sticks are convenient but on top. These do not need to be small themselves when they don’t on, yet mainly relies on activities that prints on flower pots, the disciples they do not stick paper very securely, and scraps. Individual pupils can create people involve writing and reading substantial text drew on to acetate • to reflect on the times when Catholics bits will start falling off before the project or birds or fish, or whatever is appropriate have organisation thrust in order to demonstrate what a child knows and expressed need the Holy Spirit is finished. It is much better to use a to their picture, and add it to the design. and understands about the RC doctrine through drawing • to consider and reflect on personal upon them.’ good- quality glue, like Berol Marvin It could be suggested that groups include that is being explored. The scheme what they ideas of Catholic doctrine. Feedback from pupils has also been Medium, in small pots with glue spreaders. something from each individual to contains two units of work per term, which thought positive. They enjoyed working with their The pupils can either apply the glue to the encourage involvement, but this will look at not only the significant events in the God’s love friends on a larger project than they could scraps, or to a small area of base paper probably happen spontaneously. Be aware RC calendar, but also the significant events looked like! Learning objectives: Art before covering it with scraps. (If they put of the group dynamics and try to ensure have completed alone. in a Roman Catholic’s life. • to explore colour-mixing the glue on the base paper, encourage that even the least confident pupil is • to develop interpretation For this activity, I allowed the pupils to them to use it sparingly and only apply as involved, but if you resist the urge to The research project was carried out over of personal thinking and select their own groups of four or five. much as they can cover before it dries.) We organise and impose democracy, you may six months and was collaboratively reflection skills through art They then had to democratically decide discussed working in layers, first covering be pleasantly surprised by how the pupils designed by Anita, Maggie and the class • to develop creative use of a variety what the subject of their collage would the whole design by filling in the basic organise themselves and how sensitive teacher; they wanted to explore whether of mediums to express ideas be. They were encouraged to listen to shapes, before adding details on top of the they can be to the needs and strengths a more art-based approach, taught • to produce art that is based on everyone’s ideas within the group and basic shapes. This is much easier than of everyone in the group. alongside the traditional text-based RC personal reflection although I expected to have to mediate, sticking down fussy details and then trying scheme of work, could meet the • to use the work of artists to enhance every single group managed to select a to fill in the spaces between them. objectives directed by the Diocese, and topic with agreement by all. Throughout ‘The pupils were very whether it could also develop a deeper children’s knowledge of art the project, I emphasised the value of Pupils discovered for themselves that it is impressed with what they had understanding within the children of what • to use the work of Marc Chagall each individual within the group, and more effective to have some tearing paper it means to be a Roman Catholic in today’s as a stimulus to thinking skills. was fascinated by the group dynamics while other stick, rather than each pupil achieved, and aware that the society. The sessions described have as the project developed. tearing and sticking as they go. They also been selected from a range of sessions regulated among themselves who would whole is definitely worth more Once the topic had been chosen, I and illustrate some of the amazing do what, naturally taking turns and sharing insights that resulted from the project. demonstrated for the pupils how to draw a responsibilities. I found it very interesting than the sum of the parts.’ very simple design, plotting out the basic to observe the groups deciding who would It was agreed by the three partners that an shapes on their page. I then showed them draw the initial design. One group made art-based approach would provide more how to tear the paper into small scraps, each member draw a guitar and then they opportunities for personal expression and and how to stick the scraps down, starting decided which one was the best and that interpretation of RC stories, events and with the edges, and lining them up against pupil drew the big one; in another group, teachings and would offer the chance to the edges of the shapes before filling in the one pupil said, ‘I can draw a really good discuss personal ideas and opinions.

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 26 Contact 27 RE in Art [email protected] RE in Art [email protected]

Observationfocus Catechism to Links 1169, 638,639, –64,641 1363 are they if see to Look themselves for thinking reflectingsimply or the think they what hear. to wants teacher are they if see to Look Catholicconnecting the Jesus’ of view the Resurrection to Are make. they designs to able children the able they Are empathise? as themselves to relate to witnesses? being collectObserver to particular in responses, the relate they if see to own their to catechism identity.Catholic Observationfocus Catechism to Links 696,699,700, 697, 731, 698,732,694, 701, 1076 1287, knowchildren the Do symbols the of some Spirit? Holy the for to able they Are reflectthenempathise to Spirit Holy the on themselvespersonally? findingchildren the Are and abstractthinking into interpreting it as form symbolic whatwriting difficult as think? they they are colours What why? and using of any linking they Are personal to say they what experience?

Language Resurrection witness Catechism? to Links lead. to Adult lead. to Adult ideascollect Observers to observationaboutfocus. lead. to Adult Language Pentecost andblessed/ outside inside/ imaginationfeelings/ lead. to Adult collectObserver to responses. lead. to Adult lead. to Adult

Conclusion The implications of this research project have been many, yet mainly it has provided opportunities for the development of skills related to emotional literacy and personal reflection. It has also provided a

fantastic method for assessing AT2 (Attainment Target 2, Learning from

Religion) in RE.

The project has also showed that the art

activities allow the children to reflect on their personal belief systems and develop he said to me, ‘Look at me Miss, I’m a

‘Well I done a cloud and a sun thinking skills. They expressed this real artist as my hands are full of paint.’ through a method that was not leading popping out because I didn’t them towards the ‘right’ answer, nor did The future

want to draw fire and the sun is they need an assortment of language It is hoped that in the near future Anita skills to express their innermost thoughts very bright as well and I drew a and Maggie will put what they have Objective 2 LESSON friends his to appearedJesus that Know scheme: CTS the from focus RE dead. the from rose he after to lentils and paint of use the through feelings their express To Art: stones.decorate Introduction the do Whatcandles. on based week, last from work children’s the Show represent?candles in order), in (put images boardsmart the using storyEaster the Retell appearing to then and dead the from rising Jesus of aspectparticular the apostles. the would images the in friendsJesus’ of one partners, how discusstalk In show to use they would colours What again. Jesus seeing about felt have feelings? these ActivityRE and Art messengers/witnessesfirst the Christ’s of of one were they Imagine fact celebrate the to stone this decorate you could Resurrection. How theapostles the show to and dead the from risen has Jesus that risen? has Jesus that message stone: a Decorate paint use – 1 Group lentils use – 2 Group Plenary Ask: ‘Resurrection’mean? does What ‘witness’mean? does What Ressurection?Jesus’ to witness a was Who anything? to witnessreligious a you Are Resources stones glitter, lentils, Paint, Objective 4 LESSON Holy the of coming the Understand how scheme: CTS the from focus RE disciples. the changedPentecost at Spirit cone. a throughimagination their express to able be To Art: Introduction Pentecost. of story the Retell Spirit? Holy the felt and saw they oncedisciples the to happenedWhat board. the on words key Write story. Role-play this partners:talk Discussin Spirit? Holy the by blessed be to disciples the for felt it think you do How Spirit? Holy the by blessed were you if feel you would How be? they would what feel they how represent to colours they use could they If when felt use? they would images of sortdisciples What the how represents cone ActivityRE and Art the Inside is that cone. cone a the of Spirit. Make inside Holy the is the it but same, that the experienced feelings is and cone the emotions of represents outside cone The this the how by is blessed it and are important. they important really when are feel that they see how don’t about cone people a make to prefer they If acceptable. is that Spirit, Holy Plenary a do to chosen has child a (especially if cones selectionof a Discuss share to pupils the ask and empatheticone) an than rather one personal did. they design the chose they why explain and created have they what Resources pens whiteboards and paper, card, crayons,crayons/ pastel Pencils/ (skills that many young children and learned about the natural relationship learners of English as an Additional hand and finger ‘cause I think the between art and RE into a teacher’s pack, Language may not have). Holy Spirit touches us. And I’ve with resources and planning ideas that The art activities gave the children focus on the key aims of this project. For the opportunity to express freely their done a heart because the further information about the pack or our innermost thoughts and personal research, please contact us: Holy Spirit is Jesus and it’s Observationfocus Catechism to Links 638,639,1169, 1363–64 on displayed is Image whiteboard. the their on Focus the to responses questions. discussion the on Focus main – groups the in children. 5 on is focus the discuss they Can they why and colours to them using are Easter? represent partners,seetalk In anyonewhether the understands how celebrates.Church creativity: nearly the same thing because Anita Chamberlain

‘When you light a candle [email protected] it love us.’ Lucy Maggie Northcott

Jesus is, like – in it!’ Chloe [email protected] The pieces of work and, when necessary,

‘Red, like an Easter egg wrapper the verbal responses, demonstrated that Language Celebration dead the from Rose image Explainyour expresscolours do How feeling? discuss. to Adult thecollect to Extraadult on write and examples are that bubblesspeech board. the on placed activity. art explain to Adult the around move to Adults to them asking groups, to and candle their explain ideas/thoughts any collect about words and the Easter, celebration of andcandles of meaning Easter. at Catholic a being explore. to Adult the children had achieved the skills that looks like a tombstone. required for a specific level of attainment

within the RE framework. Yellow the sun on Easter Sunday. ThreeThe Art is vital within a child’s learning Green is green grass.’ Lucy elebrating

experience of the world around him or C

‘It is the wind. It’s a gust of wind. her, and exposing them to the work of artists such as Marc Chagall was a

It [The Holy Spirit] feels like a gust fantastic and enlightening one, which in our opinion helped children develop

of wind.’ Ben

knowledge and skills and to express As the art responses to a religious theme themselves. The paintings we selected ChagallMarc by entecost or question were more honest, the children from him contained floating candles and P surreal representations of dream-like Theme: – lan were not only becoming more reflective P and insightful, but the teachers were also states. I will always remember one child

who, when we started this research, CandlesThree The able to gather evidence of AT2, which for they do questionsWhat painting. the DiscussChagall. Marc by RE can be a difficult target to prove: wanted to wash his fingers as he had got aster & & aster paint on them; at the end of the project, esson Objective 1 LESSON ExploreChurchthecelebrates how Resurrectionthe EasterJesusat of expresscolour to useemotion To ART: Introduction of painting a to children the Introducestimulus. the as art Use Candles have? painting the questionsabout Teacher Who painting? the in happening is What painting? the in see they on do going What is What it? of think you do What it? is What picture? the it? painted is Where if? made it is What mean? it does What picture? the in art and RE Relationshipwith do Why symbolise? they do What candles? significanceof the is What you If Easter? at church the in see we do What church? in candles see we would what celebrateEaster to home at have to candle a decorate to had colours)? (symbols; like look it experience. own my from examples few a class a the as Share about question a of think and painting the discuss partners, talk In Feedback. painting. activity. RE and Explainart ActivityRE and Art the celebrate to this decorate to asked and candle a given are They Jesus. of Resurrection celebration,using of images with candle the decorate to is task Their paint. celebration.representthat wish they colours any use can They collect and come will adults the art, through this exploring are they When work. their about have they thoughts or words any the use they how and used colours and images the compare to is aim The emotions.their express to resources Plenary candletheir explain to children 5 Choose work? their explainchildren Can used. have they colours the and how expresscolours use to childrenallowing and paint of use the Can Jesus? Resurrection of the about feel they What Easter? at candles use Church the does Why questions: Teacher ? representcandles of lighting the does Resources acrylicpaint oil, rubbingCandles, of Poster E L 2008 Project Research Skills Thinking RE and Art University Hill Edge and School Primary Catholic Edwards St and Lady’s Our

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 28 Visit 29 Literacy KS1 www.engage.org Literacy KS1

Art into words Using a gallery to support literacy in KS1

Gallery educator Lindsey Milnes and • to extend pupils’ speaking, listening and The activities included: the descriptions also appeared in the Watch this Space programme coordinator Introduction writing skills through responding to and Exhibition • discussing the sculptures in small formal written accounts, showing that Penny Jones describe how a gallery visit As an early-career gallery educator, my making visual art. Sandy Brown’s brightly coloured groups, with teacher/assistant input, recently acquired vocabulary such as can support literacy learning for Key Stage knowledge of the Primary Literacy sculptural ceramics exhibition Ritual: and choosing descriptive words, ‘exciting’ was being reused and embedded. 1, Level 2, pupils, through participation in which were then recorded Framework had been limited to online Pupil Learning Objectives The Still Point and the Dance at Gallery Because of their lack of prior knowledge Watch this Space. and text-based research when planning Oldham provided the stimulus. However, • working in pairs to draw the sculptures • to observe and evaluate literacy-hour and experience, the pupils had a literacy loans box resource. Now that the activities created were generic, with pastels without looking at them, Watch this Space is an England-wide lessons and cross-curricular approaches encountered some difficulty in describing the Primary Framework for Literacy and so that the techniques used could be by listening carefully to a partner’s professional development programme • to work alongside the teacher and the sculpture in the gallery session in terms Mathematics allows more freedom, applied to any exhibition. description (sitting back-to-back, they for teachers, artists and gallery educators, children to gain insight into literacy skills of texture and shape. However, being able teachers are being encouraged to embed took turns to describe a sculpture and managed by engage, the national and abilities in Y2 to handle specific pieces in the exhibition literacy and mathematics across all direct each other’s drawings) association for gallery education. It funds • to negotiate, plan and deliver appropriate Aim of the gallery session and making their own models assisted subjects and bring creativity into the • handling artworks, to inspire descriptions teachers and gallery educators to gain literacy activities within a gallery setting To extend speaking, listening and writing here, contributing to the following curriculum. I have been able to work with of how objects feel, look and smell first-hand experience of each other’s work, • to use techniques in the gallery to skills through a range of creative activities descriptive words offered by the class, a teacher, through Watch this Space, to • contributing to creative writing with peers through gallery placements and project- enhance pupils’ speaking and listening that would enable the children to make which I collected in the gallery session: devise a literacy-and art-focused session • transferring what they had seen and development opportunities that build and • to evaluate the appropriateness of personal written, spoken and modelled tall, like a spoon, colourful, like a key, stripy, for KS1, Level 2, pupils at Gallery Oldham, spoken about back into artistic form sustain gallery–school relationships. Every planned literacy activities, pupils’ responses to contemporary sculpture. spotty, with wavy stripes, pumpkin- with follow-up work in the classroom. through making their own models. partnership involves a gallery visit by pupils understanding of artwork and their shaped, round, patterned, 3D, like a and builds capacity in art galleries to experience of the project Activities number eight, rough, twirly, multi-coloured, deliver school education programmes Context • to observe the teacher’s transfer of the like a snake, it bends and turns. The exhibition of large, dynamic, brightly Back at school negotiated with teachers across the Limehurst Primary School is near Gallery gallery visit back in the classroom and coloured sculptural ceramics provided a Having been introduced to an acrostic curriculum. In 2007–8, 23 non-visiting Oldham, where the gallery visits took provide project resources for further use. Children recounted what they had striking and fertile stimulus for the poem by their teacher in advance, the teachers worked with 12 galleries, place. I worked with Julie Hirst, the school’s accomplished on the visit through a formal children. The activities were carefully children enthusiastically offered ways of and 18 early-career gallery primary art coordinator, who is Observations written account (often a requirement of KS1 chosen to include working individually, using their descriptions to form a poem, educators and artists were experienced in partnership working. The assessment tests). This also served as the Every day, pupils engage in building their in pairs, in small groups and as a class, SCULPTURE, some offering words, others placed with teachers pupils in the Year 2 class had a range of project evaluation exit point. They also speaking, listening, writing and reading with opportunities to communicate with short descriptive sentences. The pupils experienced in working with abilities. I observed Julie’s literacy hour completed their clay models. skills. After recording a number of teachers, other adults and classmates. clearly enjoyed having the freedom to galleries. lessons, as well as lessons in numeracy techniques used to teach literacy in the The children were given a learning make suggestions, with no right or wrong and physical education. Learning outcomes Lindsey Milnes participated in classroom, I started to plan the gallery journal and asked to write down what answers and without having to write them Watch this Space in 2007. She session. At initial meetings with Julie, I had they thought sculpture was before going At the start, many of the pupils did not down. They read or spoke the poem out spent three days observing a My aims for the project suggested using the artwork on display to in to the gallery. They then took part in a know, or could not write down or describe, loud, both during the gallery session and teacher in school, attended • to understand the requirements of inspire poetry-writing. Although the class series of fast-paced activities, followed what they thought sculpture was. But at the when recounting the visit back in the three days’ training, and teaching and learning KS1 literacy had not yet encountered poetry-writing, by a clay-modelling workshop in which end of the session, all pupils offered words classroom the following day. I made a large then planned a project to and to gain insight into literacy we agreed on this activity, and Julie they made their own sculpture. to describe the sculptures and had listened printed version of the group poem that we deliver elements of the KS1 teaching in Greater Manchester introduced the class to it before the carefully to each other’s descriptions, in took back to the classroom to use as a literacy and art curriculums primary schools gallery visit took place. order to make drawings of them. Some of resource for future work. through a gallery visit.

START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN 30 31 Literacy KS1 Book reviews

Class acrostic poem cross-curricular planning and that a lot can Sculpture is art be achieved, even in a one-and-a-half-hour Publications Cylinder shapes session! Pupils will always be excited by www.engage.org Up to the sky the gallery environment, the making Large and long activity, or even the journey there on the Watch this Space: Patterns, spots and zig zags coach, but will engage equally with the Galleries and schools in partnership Twirling and twisting required literacy objectives when these are £8.50 plus P&P Under arms hooped planned seamlessly into the visit. Book reviews The Watch this Space Toolkit Round like pumpkins Since participating in WTS 4, Lindsey has £7.50 plus P&P Exciting! delivered gallery and arts development I had planned for the children to write workshops for schools and young people individual acrostic poems and to describe and is now Education Development Officer Photography: Lindsey Milnes the sculptures with their bodies through at Gallery Oldham. She has also graduated movement, but these were abandoned owing with an MA in Heritage Studies from Faith in Art Lives of the Great Artists to lack of time. However, I would include Salford University. Valerie Evans Charlie Ayres these as part of a generic session plan. Published by Folens at £16.99 Published by Thames and Hudson 2008 After four annual rounds of Watch this ISBN 978-0-500-23853-0 Space, engage has published a handbook The Belair World of Display series adopts a £9.99 Impact of Watch this for teachers, artists and gallery educators cross-curricular approach to the primary Space 4 wishing to work in partnership. It contains curriculum through art, design and display. Lives of the Great Artists is an original, contributions from a gallery director, Books in the series are designed to create interesting book. It is especially good For the school: The project enriched the Ofsted, teacher-training providers and a starting point for the primary school for those children whose interest is literacy curriculum and offered an leading gallery education practitioners, as teacher wishing to combine several beginning to extend further into who the abundance of stimulus, which effectively well as four case studies of gallery school subjects in an effective and original way. artist was and what their motivation may assisted pupils in shaping texts both in the partnerships. have been. Its lavishly rich picture format The Faith in Art publication reviewed here class poem and the evaluative written is accompanied by highly informative is aimed at teachers of pupils aged 5 to 11. recount. The pupils engaged excitedly with text that extends both knowledge and It contains six colourful chapters that the literacy tasks in the gallery and were understanding of the individual artist. explore the major religions of the world: encouraged and praised by their teacher. The “Did You Know” and “Why Don’t Buddhism, Christianity, Hinduism, Islam, The setting and first-hand engagement You” sections are great additions that Judaism and Sikhism. Each chapter with the sculpture brought the speaking personalise the learning. The web contains relevant paintings, stories or and writing to life and allowed closely addresses and internet links extend it prayers. Themes within each chapter assisted small-group interaction and further into aspects of interactive cover the different aspects of each faith – whole-class work. The session learning. Charlie Ayres has included a beliefs, places of worship, stories, demonstrated that with careful planning a wide range of artists within the book, so prayers and paintings, and festivals and practical art activity could be fitted neatly the focus is not solely modern. It is also a ceremonies. Each theme includes with literacy objectives. Initially, I had been positive feature that the artists cited are background information to act as a worried that the quick pace of activities varied in nationality and style of painting, stimulus before beginning the suggested might result in children getting confused, although a large proportion of the work creative activity. A resource list and with insufficient time to embed the words listed is portraiture. The pictorial timeline step-by-step instructions for making the and vocabulary learned and recited in at the front of the book is very useful as is display or artwork are given in detail. the session. But through their the glossary and artist chronology, and The themes are suitable across the writing down the outcome in the the free poster you can send away for. primary age groups. poem framework, the learning This book would provide a valuable was transferred further in the The creative activities and the resulting starting point for any work about any of classroom. The large-format displays are impressive but most teachers the artists listed within its glossy pages. printed poem was a particularly would feel it necessary to supplement the It would certainly be accessible to KS3 well-received resource and was information given as starting points, for and with a positive, mature approach be used after the visit. The teacher voiced her example by providing artefacts to handle highly useful to any KS2 child, as The approval of the poetry-writing, along with or larger visual displays on an interactive Death of Marat, the foetal drawings of surprise at the pupils’ achievements. whiteboard. Teachers would also have to Da Vinci or the large scale David may For me, the gallery educator: I am confident decide whether the activities were trigger some interesting questions if the in the knowledge that the literacy activities suitable for the age group they were teacher was not prepared! teaching and whether the content fitted planned at KS1, Level 2, in the generic www.livesofthegreatartists.com with their particular stage of the Religious gallery session were directly related to the Reviewed by Amanda Flinton Barkston Education syllabus. However, the book is current national emphasis on speaking and Ash Catholic Primary School listening within the new Primary attractive and easy to use, with many Framework for Literacy, and can be further creative ideas and activities with which put to use. I have also recognised that most children would engage interaction with individual teachers to find enthusiastically and which could easily out their current literacy objectives prior to be incorporated into lesson planning. a school visit to a gallery is important in Reviewed by Headteacher Helen Barnard

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START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN START THE MAGAZINE FOR PRIMARY AND PRE-SCHOOL TEACHERS OF ART, CRAFT AND DESIGN Cards Calendars

The National Schools Art Foundation is committed to promoting art within schools, to recognise those who inspire and the children who participate. Not only do we help schools produce greeting cards, postcards and calendars, your school is entered into our national schools art competition. The winning school wins an all expenses trip for teacher(s) and pupil to be the first to unveil their work exhibited at a prestigious London art gallery, £1000 for your school, a framed certificate of achievement plus local and national press coverage. Greeting

Cards I just wanted to send in writing our thanks and appreciation for a fantastic job. Everyone is thrilled with the calendar – it is a huge hit.” Penny Smout. Springhill Primary School. Southampton. “Thank you so much. They have arrived and I am really pleased with them. I will definitely be ordering again next year.” Miss Emma Townsend. St George’s School. Ascot. Cards are a great way for Children to express themselves and can be a part of the QCA’s work programmes. For friendly advice on how we can help your school produce greeting cards, postcards and calendars, or to order your free no obligation entry form, information and sample pack

Tel Email Web 0800 328 4712 [email protected] www. schoolsartfoundation.org.uk