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The Educators' Flashcards Can Be Used by an Educator to Help EDUCATORS’ FLASHCARDS Stem Identity Writing Nature The Educators’ Flashcards can be THEMES used by an educator to help enhance students’ experience and engagement with the museum collection and architecture. • Use the Self-LedStem Guide toIdentity prepare for Writing NATURENature Stem IDENTITYIdentity WritingStemSURROUNDINGSSurroundingsNatureIdentityImaginationWRITINGWriting Civilisation Nature Senses your visit. Animals, Plants, Relationships, Landscapes, Rural, Literature, Poetry, Seasons, The Elements: Beliefs, Opinions Urban, Architecture Calligraphy, Symbols • Select theStem Flashcards thatIdentity have themes andWriting Air,Stem Water,Nature Fire, EarthIdentity Writing Stem Nature Identity Writing Nature subject areas that fit your learning objectives. • Refer to the symbols and colours to identify themesSurroundings and subject areas.Imagination You can use theseCivilisation Senses Surroundings Imagination CivilisationSurroundings SensesImagination Civilisation Senses to link the selected artworks with your classroom needs. Surroundings Imagination CivilisationSurroundingsSENSESSenses Imagination CIVILIZATIONCivilisationSurroundingsSenses FICTIONImagination CivilisationSTEMStem (Science-Technology-Senses Identity Writing Nature • Each flashcard includes symbols, key facts, Feelings and moods, Cultures, Ancient Mythology, Fantasy, Engineering-Mathematics) thinking questions, in-gallery and classroom Music, Illusion Civilizations, Surrealism, Dreams, Technology, Film, Tools activities, as well as links to practices and Communities Imagination Innovation, Engineering, artists in the UAE and the region. Geometry SUBJECT AREAS Surroundings Imagination Civilisation Senses SOCIAL MUSIC & VISUAL SCIENCE SCIENCE/ MATH LITERACY DRAMA ARTS HISTORY The Educators’ Flashcards are suitable for all cycles/grades. PERMANENT COLLECTION CHIRISEI KYUBIKI Stem Identity WritingTHEMES Nature SUBJECT AREAS MUSIC & DRAMA Surroundings Imagination Civilisation Senses VISUAL ARTS LITERACY CHIRISEI KYUBIKI Kazuo Shiraga Japan 1960 PERMANENT COLLECTION Oil on canvas Louvre Abu Dhabi CHAPTER 11 © 1960 Kazuo Shiraga ©Department of Culture and Tourism – Abu Dhabi/ Photo by APF KEY FACTS CLASSROOM/HOME ACTIVITY • Kazuo Shiraga created this painting with his feet. GET MESSY • His method involved dangling from a rope attached to the ceiling and making swift, rhythmical movements on the canvas. • You will need Acrylic paint and • The painting technique was not limited to the hand or wrist but involved the body as a whole. large pieces of paper. • Play a piece of music and have students dance while painting with their feet on the canvas, THINKING QUESTIONS IN – GALLERY ACTIVITY following the rhythm of the 1. DESCRIPTION FEEL THE MOVEMENT HOW IS IT MADE? music, just as Shiraga did. • What do you see in • Ask the students to imagine the • In the same gallery, ask students the painting? movement of Kazuo Shiraga while to find the works of another artist: PAINT LIKE THE MASTERS • What are the making his work and act it out. Yves Klein. • Ask your students to research Then ask them what they think Then ask them to imagine Klein’s action painting artists, dominant colours? • • he felt while painting it. tools and working methods such as Jackson Pollock, and compare them with that Yves Klein and their unique 2. ANALYSIS of Shiraga’s. methods of working. Students • What technique did the should also learn about local artist use to achieve the and regional artists that use final effect? UAE & REGIONAL CONNECTIONS similar techniques. • What makes you say that? • Performance Art: Did you know that back in the 80’s Emirati artists such • Discuss with the students how as Hassan Sharif were creating performative art pieces as well? Pollock and Klein’s approach 3. INTERPRETATION • Abstract Expressionism: The Lebanese artist Shafic Abboud also made is similar to that of Shiraga. • How do you feel when you abstract works in a free and spontaneous way to express his emotions. • Ask your students to make look at Shiraga’s work? • To find out more about the artists, please visit: an artwork with action and • What words would you use Hassan Sharif: https://bit.ly/2pf2m3v gestural movements using to describe your feelings? Shafic Abboud: https://bit.ly/2O1sI3R different tools to paint, and to experiment with a range 4. OPINION of techniques. • Do you think this work is impor tant? SEE ALSO • Why do you think that? • Untitled Anthropometry (ANT 110) by Yves Klein in Chapter 11 • Untitled I-IX, series of 9 panels by Cy Twombly in the Main Hall of the galleries PERMANENT COLLECTION WOMAN DRESSED IN A WOOLLEN GARMENT: PROTECTIVE DEITY (?) Stem Identity WritingTHEMES Nature SUBJECT AREAS SCIENCE Surroundings Imagination Civilisation Senses SOCIAL SCIENCE/ Stem Identity Writing Nature HISTORY Stem Identity Writing Nature VISUAL ARTS Surroundings Imagination Civilisation Senses Surroundings Imagination Civilisation Senses LITERACY WOMAN DRESSED IN A WOOLLEN GARMENT: PROTECTIVE DEITY (?) Oxus civilisation Central Asia, Bactria 2300 - 1700 BCE PERMANENT COLLECTION Chlorite, calcite Louvre Abu Dhabi CHAPTER 1 ©Department of Culture and Tourism – Abu Dhabi/ Photo by Thierry Ollivier KEY FACTS CLASSROOM/HOME ACTIVITY • This fascinating statuette stands in front of us in a very powerful way. Her face has been fashioned very carefully. Her REPRESENT YOUR large eyes and eyebrows were probably inlaid with other materials such as lapis lazuli (a semi-precious deep blue stone) to OWN FIGURE enhance her gaze. • Create a three-dimensional • She wears a large and ample garment with puffed sleeved that was probably enriched with a large necklace. royal figure using crumpled • This statuette probably represents a major and powerful deity of Central Asia at that time. It could have been placed in a paper to model. grave to offer protection to the deceased in the afterlife. • Add visual elements to make it • This showcase represents the birth of figures in sculptures as man settled in villages for the very first time in history. possible to recognize a figure. • Cut and paste colored paper THINKING QUESTIONS IN – GALLERY ACTIVITY of these different visual elements. 1. DESCRIPTION EXCHANGING WORDS UNCOVERING THE IDENTITY • Use a marker to add details • What do you see ? • Divide the students into groups. • Discuss the identity of the person: to your model. • Take turns in describing the artwork Who do they think this person may • Describe the sculpture. using one adjective. be? What makes them say that? CREATE A ROBE • Encourage students to use words • Explain that the statuette is likely • Show the image of the artwork 2. ANALYSIS that describe emotions, texture, a representation of an important to your students. Try and focus • What type of materials were colors, shapes etc. deity from Bactria, Central Asia. on the detailed costume of used to create the artwork? • Make it more fun by timing it for • Compare and contrast their list the figure. • How do you think the 2-3 minutes for each game session. of attributes to that of the • Discuss the costume (form ad different materials were Bactrian figure. shape) and detailed line that placed and secured together? create a pattern. • How were the materials used • Ask students to draw the design manipulated to create texture of their own robe, including form within the artwork? UAE & REGIONAL CONNECTIONS and detailed texture. • Weaving: Emirati artists such as Khalid Shafar are influenced by the traditional • Model the costume with clay 3. INTERPRETATION Talli embroidery weaving. Khalid Shafar: https://bit.ly/2kl6nSO based on the drawing of their • Who do you think is • Representational Art: Kuwaiti Artist Munira Al-Kazi is one of the first female robe by using modeling tools represented in this figure? artists from the Gulf region who focuses on representations of femininity in to help create texture and design. her artwork. Munira Al-Kazi: https://bit.ly/2ZiGumz • How do you think this statuette was used ? SEE ALSO 4. OPINION • Two–headed monumental statue from Jordan in Chapter 1 • Plank Idol with two heads from Cyprus in Chapter 1 • Do you think this work is Tapestry of Daniel and Nebuchadnezzar from Flanders in Chapter 6 important? Why do you • think that? PERMANENT COLLECTION FUNERARY PORTRAIT OF A MAN WITH A CUP THEMES SUBJECT AREAS SCIENCE Stem Identity Writing Nature SOCIAL SCIENCE/ Stem Identity Writing Nature HISTORY Stem Identity Writing Nature Surroundings Imagination Civilisation Senses VISUAL ARTS Surroundings Imagination Civilisation Senses Surroundings Imagination Civilisation Senses LITERACY FUNERARY PORTRAIT OF A MAN WITH A CUP Egypt, Antinopolis (?) 225 – 250 CE PERMANENT COLLECTION Wax, paint on wood Louvre Abu Dhabi CHAPTER 3 ©Department of Culture and Tourism – Abu Dhabi / Photo by APF KEY FACTS CLASSROOM/HOME ACTIVITY • The man represented in the portrait is of high status, which is indicated through the white tunic with COLLABORATIVE PORTRAIT purple stripes on his shoulders. • Students create a collaborative • It was probably painted during the lifetime of the deceased and later attached on the mummy. portrait of an important • This portrait is a part of a distinctive series known as Fayum Mummy Portrait. The name refers to Fayum oasis historical figure. in Egypt where many works similar to this portrait were found. • Divide the classroom into • The word ‘funerary’ is defined as an adjective relating to a funeral or the commemoration of the dead. groups of threes. • Provide each group with a thin THINKING QUESTIONS IN – GALLERY
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