'Landscapes of Exploration' Education Pack

Home , Alfred Cheetham, British Antarctic Survey, Carsten Borchgrevink, Fossil Bluff, Gauss expedition, George Murray Levick

Landscapes of Exploration February 11 – 31 March 2012 Peninsula Arts Gallery

Education Pack

Cover image courtesy of British Antarctic Survey

Cover image: Launch of a radiosonde meteorological balloon by a scientist/meteorologist at Halley Research Station. Atmospheric scientists at Rothera and Halley Research Stations collect data about the atmosphere above Antarctica this is done by launching radiosonde meteorological balloons which have small sensors and a transmitter attached to them. The balloons are filled with helium and so rise high into the Antarctic atmosphere sampling the air and transmitting the data back to the station far below. A radiosonde meteorological balloon holds an impressive 2,000 litres of helium, giving it enough lift to climb for up to two hours. Helium is lighter than air and so causes the balloon to rise rapidly through the atmosphere, while the instruments beneath it sample all the required data and transmit the information back to the surface. - Permissions for information on radiosonde meteorological balloons kindly provided by British Antarctic Survey. For a full activity sheet on how scientists collect data from the air in Antarctica please visit the Discovering Antarctica website www.discoveringantarctica.org.uk and select resources www.discoveringantarctica.org.uk has been developed jointly by the Royal Geographical Society, with IBG0 and the British Antarctic Survey, with funding from the Foreign and Commonwealth Office.

The Royal Geographical Society (with IBG) supports geography in universities and schools, through expeditions and fieldwork and with the public and policy makers. Full details about the Society’s work, and how you can become a member, is available on www.rgs.org

All activities in this handbook that are from www.discoveringantarctica.org.uk will be clearly identified.

Supporting Partners

www.ukaht.org How to use this pack

The Landscapes of Exploration education pack has been designed by Peninsula Arts, Plymouth University to offer a rich resource of information and activities which complement the Peninsula Arts Landscapes of Exploration exhibition showing in the Peninsula Arts Gallery during February 11 – 31 March 2012.

Teachers are invited to use the resources within this pack and the information on the exhibition to enhance their pupils’ understanding of contemporary art and to provide context by introducing a geographical, historical and biological perspective to Antarctica and the legacy of human interaction within its history.

Where this education pack is constructed by a collection of resources and images provided by an external facility we aim to give full acknowledgement to this contribution. When viewing this document online users are able to access the original source/image by clicking on the mouse icon found in the top right hand corner of the page. In some instances these activities have an online interactive format for educational use in the classroom.

British Antarctic Survey and Discovering Antarctica British Antarctic Survey www.antarctica.ac.uk and its partner website www.discoveringantarctica.org.uk

British Antarctic Survey: Antarctic Fact File Being There Writing Home Antarctica’s Food Web Who’s Eating Who? Who’s looking at you? Think Deeper The Race to the Pole The biggest seasonal change on Earth! What time is it?

SCOTT100 PLYMOUTH Plymouth City Council: www.plymouth.gov.uk/scott100 The Heroic Age of Antarctic Exploration Expedition Crew

Plymouth City Museum and Art Gallery From Plymouth to Pole: Scott, Science and the Men who sailed South National Scott and Polar Party Crew Memorial

Living Coasts: www.livingcoasts.org.uk Penguins in the Antarctic Penguins: What do you know? Useful Keys

Whenever you see the SCOTT 100 Exhibition: Plymouth City Museum and Art Gallery penguin logo this means you can find artefacts or more information related to the activity by visiting the Museum's From Plymouth to Pole exhibition. This logo also indicates when Plymouth City Museum and Art Gallery has provided information and/or activity ideas for this pack.

Look for the scissors box when something is useful to stick in a workbook or just useful to keep.

Look for the mouse box in the top right hand corner of activity pages. If you are viewing this pack online you can click this symbol and it will take you to

the original activity or an interactive version for use at home or in the classroom.

When you see a film reel this means that to accompany the activity or information there are supporting videos available online for you to watch in the classroom.

Note: Peninsula Arts is not responsible for the content of external websites

Navigation

Introduction

SUPPORTING PARTNERS ...... 2 HOW TO USE THIS PACK ...... 3 USEFUL KEYS...... 4 NAVIGATION ...... 5 WELCOME ...... 7 BOOKING YOUR SCHOOL VISIT TO PENINSULA ARTS ...... 8 WORKING TOGETHER ...... 9 EVEN MORE TO SEE AND DO ...... 9 FROM PLYMOUTH TO POLE: ...... 10 SCOTT, SCIENCE AND THE MEN WHO SAILED SOUTH ...... 10 PLYMOUTH CITY MUSEUM AND ART GALLERY ...... 11 SCHOOL GROUP VISITS ...... 11

Educational Resources

THEMES ...... 0 ANTARCTICA: THE FROZEN CONTINENT ...... 1 ANTARCTICA: THE FROZEN CONTINENT ...... 2 BRITISH ANTARCTIC SURVEY (BAS) ...... 3 BRITISH ANTARCTIC SURVEY: ANTARCTIC FACT FILE ...... 4 BEING THERE ...... 5 BEING THERE: WORKSHEET ...... 6 WRITING HOME ...... 7 THE BIGGEST SEASONAL CHANGE ON EARTH! ...... 8 ACTIVITY: SIZING UP ANTARCTICA ...... 9 ACTIVITY: SIZING UP ANTARCTICA ...... 10 WHAT TIME IS IT? ...... 11 ANTARCTICA - STILL MOVING ...... 12 NATIONAL SCOTT AND POLAR PARTY MEMORIAL ...... 13 MOUNT WISE PARK ...... 13 NATIONAL SCOTT AND POLAR PARTY MEMORIAL ...... 14 MOUNT WISE PARK ...... 14 ACTIVITY: NATIONAL SCOTT AND POLAR PARTY MEMORIAL ...... 16 ON SITE ...... 16 IN THE CLASSROOM ...... 16 THE LEGACY OF ENDEAVOUR ...... 17 THE HEROIC AGE OF ANTARCTIC EXPLORATION ...... 18 EXPEDITION CREW ...... 19 THE RACE TO THE POLE ...... 22 ACTIVITY: THE RACE TO THE POLE ...... 23 CREATIVE INSPIRATION ...... 27 CREATIVE INSPIRATION ...... 28 MEET THE ARTISTS ...... 29 DAVID WHEELER ...... 29 LAYLA CURTIS...... 29 MEET THE ARTISTS ...... 30 PHILIP HUGHES ...... 30 JOHN KELLY ...... 30 MAKING ARTWORKS IN A COLD CLIMATE ...... 31 ANNE BRODIE ...... 31 MAKING ARTWORKS IN A COLD CLIMATE ...... 32 MAKING ARTWORKS IN A COLD CLIMATE ...... 33 MAKING ARTWORKS: ACTIVITY ...... 34 RECORDING THE ARTISTIC JOURNEY ...... 35 RECORDING THE ARTISTIC JOURNEY ...... 36 ACTIVITY: PROJECT FREEZE ...... 37 ACTIVITY: PROJECT FREEZE ...... 38 ACTIVITY: PROJECT FREEZE ...... 39 CREATIVE INSPIRATION PENGUINS IN THE ANTARCTIC ...... 39 PENGUINS OF THE ANTARCTIC ...... 41 PENGUIN FACT FILE ...... 42 ACTIVITY: WHAT DO YOU KNOW? ...... 43 ANTARCTICA’S FOOD WEB ...... 44 ACTIVITY: WHO’S EATING WHO? ...... 45 ACTIVITY: WHO’S EATING WHO? ...... 46 WORKSHEET: WHO’S EATING WHO? ...... 47 ANSWERS: WHO’S EATING WHO? ...... 48 ACTIVITY: WHO’S LOOKING AT YOU? ...... 49 ANSWERS: WHO’S LOOKING AT YOU? ...... 50 ADAPTING FOR SURVIVAL ...... 51 THINK DEEPER ...... 52 PHOTOGRAPHIC ACKNOWLEDGEMENT ...... 53 PHOTOGRAPHIC ACKNOWLEDGEMENT ...... 54 SPECIAL THANKS ...... 54

Welcome

The history of Plymouth University is suffused with ideas of exploration and discovery, growing out of a rich educational heritage that dates from the founding of the Plymouth School of Navigation in 1862. The university’s coat of arms incorporates the dictum Indagate, Fingite, Invenite - Explore, Dream, Discover, reflecting not only Plymouth’s long and continuing association with seafarers and explorers, but also its current ambitions for its students and staff. As the university celebrates 150 years of higher education in the city, it continues to champion the enterprise of enquiry which fosters innovation - including new research collaborations, for example, between the arts and the University’s Marine Institute, a leading international research centre in marine sciences.

As the public arts programme of the university, Peninsula Arts offers a year round platform for cultural events, including exhibitions, music, film, public lectures, theatre and dance. Situated within a broad-based, multi-discipline university, Peninsula Arts has a particular interest in supporting creative initiatives which explore the relationship between art, science and technology. Peninsula Arts programming draws direct inspiration from the expertise and specialist knowledge of researchers and practitioners working across a range of art and science subjects. This collaborative approach to stimulating new knowledge ensures that the cultural programme has a currency and a critical edge. It brings to the South West region an international network of artists and experts recognised for their significant contributions to their field – as well as encouraging emerging voices whose fresh perspectives provoke new insight.

As the University celebrates its 150th anniversary, Peninsula Arts is delighted to showcase the exhibition Landscapes of Exploration. Curated by Liz Wells, Professor in Photographic Culture in the School of Art & Media, the exhibition features the work of artists whose practice in visual art, music and writing, reflects on the physical and conceptual impact of working in the remote and very special environment of Antarctica. The title Landscapes of Exploration perhaps belies the determined, tenacious spirit of enquiry essential to working in such extreme locations, but does evoke a sense of discovery, of imagining then confronting the unknown which has been typical of this kind of human endeavour over the centuries.

It is fitting, therefore, that the exhibition should begin in Plymouth in 2012, as the city and university mark the centenary of Captain Robert Falcon Scott’s historic expedition to the South Pole. Born and educated in Plymouth, Scott’s story, despite its tragic conclusion, epitomises the physical courage, the mental endurance – but above all the belief in the possible – so necessary to embark on such a venture. Indagate, Fingite, Invenite…

Professor David Coslett Executive Dean, Faculty of Arts Plymouth University

For the full programme of Peninsula Arts events visit: www.peninsula-arts.co.uk If you would like to be added to our mailing list please contact: [email protected]

Booking your school visit to Peninsula Arts

Peninsula Arts has a growing commitment to making the best in the arts world accessible to young minds. During British Art Show 7: In the Days of the Comet Peninsula Arts Gallery welcomed over 2000 pupils and teachers from across the South West to see the exhibition and receive tours, talks and activities on the art works. We welcomed all ages, from Primary through to pupils in Further Education and we hope to see them again for Landscapes of Exploration, exhibiting within the Peninsula Arts Gallery during February 11 – March 31 2012.

Before you book your visit we are happy to discuss your visit with you before you book, so please contact us with any queries or concerns before making your visit. All school groups must be supervised by an appropriate number of staff members from the visiting school and we advise teachers to visit the gallery space before making your visit. Peninsula Arts Gallery is fully wheelchair accessible.

Visiting the Peninsula Arts Gallery could not be easier and we welcome school groups of all ages. Our free talks and tours can be amended to suit any timeframe or learning stage and we can tailor your visit to incorporate activities and workshops which complement the exhibition.

Booking your visit for Landscapes of Exploration is essential, you can do this by emailing [email protected] or by telephoning 01752 58 50 36.

For more information on the arts outreach opportunities with Plymouth University please visit www.plymouth.ac.uk/artsoutreach

Peninsula Arts Gallery Visiting Hours: Monday – Friday 10.00 – 17.00 | Saturday 11.00 – 16.00 (closed Bank Holidays)

How to find us: the Peninsula Arts Gallery and office are situated in the Roland Levinsky Building on site of Plymouth University campus; opposite the Drake’s Circus shopping centre and adjacent to Plymouth City Museum and Art Gallery on North Hill.

Peninsula Arts, Plymouth University, Roland Levinsky Building, Drake’s Circus, PL4 8AA Web: www.peninsula-arts.co.uk Tel: 01752 58 50 50 E: [email protected]

Working Together PENINSULA ARTS PLYMOUTH CITY MUSEUM AND ART GALLERY SCOTT100 PLYMOUTH

Peninsula Arts, Plymouth University are pleased to be working closely with Plymouth City Museum and Art Gallery on the SCOTT100 PLYMOUTH celebrations to ensure that schools and colleges can enjoy a valuable and informative educational trip away from the classroom environment.

In creating this education pack Peninsula Arts would like to acknowledge the support of Plymouth City Museum and Art Gallery whose generosity and advice through educational and informational contributions to resources has been invaluable. When booking your school visit to the Landscapes of Exploration exhibition in the Peninsula Arts Gallery we strongly recommend visiting Plymouth City Museum and Art Gallery (it’s just across the road!) to experience the From Plymouth to Pole: Scott, Science and the Men who sailed South exhibition. You can find information on this complementary exhibition on the next few pages alongside details of how to book your school or college in for a visit with Plymouth City Museum and Art Gallery.

Even more to see and do

Why not make a day of it and visit the National Scott and Polar Party Memorial located at Mount Wise Park, Devonport, Plymouth.

Mount Wise Park - Visitor Information Directions: Nearest Postcode: PL1 4JQ OS Grid Reference: SX456541 (LL 50.37, -4.17) Once in Devonport (south) look for signs to Mount Wise. Vehicular access is via the residential George Street. There is restricted turning for large vehicles at Mount Wise.

Access & Toilets: The Park contains steep steps and slopes. Pedestrian Access is available from Richmond Walk via Mutton Cove. Public toilets are located on the waterfront, north of Mount Wise Pool and near Mutton Cove.

Please note: Peninsula Arts cannot facilitate visits to external sites, however, if you chose to make a visit you can find an activity based on your trip to the memorial in this pack under the Great Explorations section here

From Plymouth to Pole: Scott, Science and the Men who sailed South PLYMOUTH CITY MUSEUM AND ART GALLERY SCOTT100 PLYMOUTH

From Plymouth to Pole: Scott, Science and the Men who sailed South

14 January to 14 April 2012

2012 marks the centenary of Scott’s British Terra Nova Antarctic Expedition (1910-13) and commemorates Scott’s death, along with his Polar party colleagues. Events are taking place around the country and Plymouth City Museum and Art Gallery will be presenting the exhibition ‘From Plymouth to Pole’.

This exhibition will offer a chance to discover the story of Scott of the Antarctic. At the same time, it introduces the Antarctic region and explains why it became, and remains, of such interest to man and science. Captain Scott heads South in 1911 © Plymouth & West Devon Record Office The focus will be on the ‘Heroic Age’. This was the timeframe for Scott’s two expeditions South – with the Discovery (1901-04) and the ill-fated Terra Nova Expedition. Besides being the birthplace of Scott, Plymouth was also well placed to provide a number of skilled men in support of Antarctic exploration. As an established trading port and home to the Royal Navy, there was a culture of seafaring adventure and exploration. In addition, in the early 1900s, some of the world’s leading marine biologists were based at the Marine Biological Association on Plymouth Hoe.

The exhibition will feature a unique assemblage of objects, photographs, documents and film to help illustrate the story of Scott, his Expeditions and Antarctic science, within the context of the ‘Heroic Age’ – with links to the present day. Exhibits will include loan items from the Scott Polar Research Institute, Cheltenham Art Gallery and Museum, the Natural History Museum, the Marine Biological Association and private collections.

Visit www.plymouth.gov.uk/scott100 for more information or sign up to www.twitter.com/Scott100Plym for regular updates. Plymouth City Museum and Art Gallery School Group Visits

Plymouth City Museum and Art Gallery offer a wide range of ideas and activities in connection with our galleries and exhibitions to support the school curriculum. We believe that enjoyment, inspiration and creativity are central to this.

We offer free staff-led sessions to both primary and secondary schools, colleges and universities and can tailor each of these guided sessions to your needs. Sessions can be tied into touring exhibitions, permanent displays, or our handling collection objects - or can be a combination of all three.

We also offer the opportunity to bring your group and study in your own way in any of our galleries. We call these self-guided sessions and in many cases we can support your visit with teachers' notes or further information. You can find these on our resources page.

Booking Our gallery sessions are very popular, meaning that it is essential for you to book in advance of your visit. If you are interested in booking a group visit, please email [email protected]. Remember that all visits are free!

We recommend that all teachers visit before making a gallery booking, for planning and risk assessment purposes. Planning your visit Museum opening times: Tuesday to Friday - 10am to 5.30pm Saturday and bank holiday Mondays - 10am to 5pm Closed on Good Friday (6 April 2012) Location: Plymouth City Museum and Art Gallery, Drake Circus, Plymouth, PL4 8AJ Find us on North Hill, next to Plymouth's Central Library and opposite the Plymouth University. Our main entrance door is situated on North Hill. Please visit our museum webpage for detailed information on directions and travel links, access, facilities and travel maps: www.plymouthmuseum.gov.uk

www.ukaht.org Themes

Landscapes of Exploration offers young people the chance to unlock the various ways in which artists respond to their environment and how the outside world can influence creative practice. To bring context to the historical, geographical and environmental influence on the featured artists and writers this education pack has been split into four themes:

Alien Landscape introduces students to the frozen environment which inspired our featured artists and asks them to think about how surviving in a hostile environment changes our perspective on daily life.

Taking the lead from the Scott100 celebrations Great Explorations takes students through the history of the many explorers who have tried to conquer Antarctica, putting Captain Scott in the spotlight.

Creative Inspiration examines the ways in which our fourteen featured artists found inspiration in the vast frozen landscape of Antarctica. With focus on how outside extremities can influence the creative mind we unlock the potential for pupils to find inspiration in unusual places.

Sub Zero Species focuses on the wildlife that lives in Antarctica and highlights the unique ways in which some creatures are able to thrive in conditions that man finds so challenging.

Antarctica: The Frozen Continent

Alien Landscape

The Great White Antarctica is the world’s last great wilderness. It is a continent almost entirely buried by snow and ice. It is so hostile and remote that it has no permanent residents. Surrounded by the Southern Ocean, Antarctica covers nearly 9% of the Earth’s land, and is 25% bigger than Europe, making it the fifth largest continent. It is also the least polluted of all the continents.

East and West Antarctica is divided into two main areas -East Antarctica (sometimes called Greater Antarctica), and West Antarctica (Lesser Antarctica) separated by the Transantarctic Mountains that stretch 3,540 kilometres across the continent. West Antarctica is the smallest of the two and has a peninsula that sticks out nearly 1,000 kilometres from the South Pole towards the southern tip of South America.

Highs and Lows About 99% of Antarctica is covered with a vast ice sheet. It is the largest single mass of ice on Earth and is bigger than the whole of Europe. At least 3 million years old (and possibly as much as 30 million years old in places), the ice sheet averages 2,450 metres deep and holds about 70% of the world’s fresh water. With such a thick layer of ice, Antarctica is the highest of all the continents. The average altitude is about 2,300 metres above sea level, although in places, the bottom of the ice can be as much as 3,000m below sea level. If they weren’t filled with ice, large parts of Antarctica would be under the sea. Vinson Massif is Antarctica’s highest point, rising to a height of 4,897 metres.

1 Antarctica: The Frozen Continent

Alien Landscape On the move Antarctica’s ice sheet is constantly on the move. Huge rivers of ice known as glaciers are pulled slowly by gravity from the interior towards the sea. Along the way, the ice cracks, breaks and is ruptured by underlying rock. Crevasses up to hundreds of metres deep can form on the surface. On reaching the sea, the glaciers spill out over the water’s surface and create gigantic floating blocks of ice called ice shelves. The largest, the Ross Ice Shelf, is the size of France. Sometimes pieces of an ice shelf break off to form icebergs. Beyond the ice shelves, much of the surrounding ocean freezes over during the winter. With this extra sea winter sea-ice, Antarctica almost doubles in size.

Antarctic Islands Antarctic islands are located south of 60°S. Most lie close off shore from the Antarctic continent but a few form discrete island groups 100–500 km from the mainland (e.g. South Shetland Islands and South Orkney Islands). Discovered by nineteenth century sealers and whalers before landfall was made on the Antarctic continent itself in 1820, many islands now provide accessible sites for the location of scientific research stations in the Antarctic. The islands support a rich fauna of seals, penguins and marine birds as well as a variety of mosses and lichens. Several have been designated as protected areas.

They range in size from clusters of rocks and small (< 100 m long), low-lying islands to single large islands such as Alexander Island and Thurston Island (about 430 and 220 km in length, respectively). Most are ice-covered, with ice-free ground limited to low-lying peninsulas (as in the South Shetland Islands). Several of the larger islands rise to over 2000m in height and have rugged rocky ridges and smooth, ice-covered peninsulas (Alexander Island).

Two islands have active volcanoes (Deception Island and Ross Island). Their names commonly reflect the history of Antarctic exploration. For example, Ross Island was discovered by Sir James Clark Ross in 1841 (RRS James Clark Ross vessel pictured).

2 British Antarctic Survey (BAS)

Alien Landscape

All of the work you will see in Landscapes of Exploration is the result of our 14 artists taking a residency in Antarctica between 2001 -2009. These residencies were made possible by Arts Council England and British Antarctic Survey. British Antarctic Survey (BAS) is a component of the Natural Environment Research Council (NERC). Based in Cambridge, United Kingdom BAS has, for over 60 years, undertaken the majority of Britain’s scientific research on and around the Antarctic continent. It now shares that continent with scientists from over thirty countries. The close linking of their science programmes with essential logistics support makes them very effective in carrying out the complicated and sophisticated scientific field programmes that are necessary today.

As a major research Centre of the Natural Environment Research Council (NERC) they:  Provide a national capability for Antarctic science and logistics  Carry out scientific research, long-term observations and surveys that cannot be done by anyone else in the UK  Provide a focus for international co-operation and programme co-ordination  Concentrate on issues fundamental to NERC’s science strategy and conservation of the Antarctic environment

British Antarctic Survey operates four research stations throughout the year in the Antarctic. The stations are:  Bird Island, South Georgia, King Edward Point, Cumberland Bay, South Georgia, Rothera, Adelaide Island and Halley, Coats Land. In addition during the summer months biological research is carried out at: Signy, South Orkney Islands.

In support of aircraft operations based at Rothera research station, two important logistics facilities are opened each summer, providing depots and staging posts for fuels and field equipment: Fossil Bluff, Alexander Island and Sky-Blu, eastern Ellsworth Land.

Field huts and hides have been built on Bird Island, Signy Island and Alexander Island, and on two islands close to Rothera in Ryder Bay, Lagoon Island and Léonie Island. Since its inception the British Antarctic Survey has occupied 19 research stations. The stations no longer in use are managed according to the Protocol on Environmental Protection to the Antarctic Treaty. BAS also operates Ny-Ålesund research station in the Arctic, on behalf of the Natural Environment Research Council (NERC). For more information abput the work of BAS visit: http://www.antarctica.ac.uk/

Pictured: Rothera Station

3 British Antarctic Survey: Antarctic Fact File

 Antarctica is a continent 58-times the size of the UK. Capped by an ice sheet up to 4.8 km thick, Antarctica holds 90% of the world’s fresh water and only 0.4% of the surface of Antarctica is free of snow and ice

 Antarctica is the highest, driest, coldest and windiest continent on Earth

 Antarctica is surrounded by the Southern Ocean, around half of which freezes in the Antarctic winter, covering an area around one and half times the area of the continent

 The lowest temperature recorded in Antarctica – -89oC – was logged at the Vostock research station

 Although there are no native peoples in Antarctica, up to 10,000 scientists and support staff work there in the Antarctic summer, and around 1000 in the Antarctic winter

 Eighteen countries operate year-round research stations in Antarctica

 British Antarctic Survey operates four year-round research stations in and around Antarctica, and one summer-only station

 Ozone has been monitored at British Antarctic Survey research stations for nearly 50 years – the longest record of ozone measurements in the Antarctic. British Antarctic Survey scientists discovered the hole in the ozone layer above Antarctica in 1985 – a discovery that paved the way for the Montreal Protocol

 There are no polar bears in Antarctica, but it is home to around 5 million penguins

 The Antarctic Treaty designates the continent as a ‘natural reserve, devoted to peace and science’

 Antarctica contains unique ice core records that have unprecedented detail about the causes and results of climate change.

4 Being There

Alien Landscape

Adapting to any new environment can be a challenge and Antarctica offers the most extreme environment on earth. How do you think you would cope with all the open space and no television?

Look at the four pictures above taken of the Antarctic landscape and complete the ‘Being There’ activity on the next page.

The City Museum’s ‘From Plymouth to Pole’ exhibition features selected photographs, moving image and paintings by Edward Wilson - all capturing the Antarctic Landscape.

5 Being There: Worksheet

Alien Landscape

Can you imagine what it would be like to live or work in Antarctica? Look at the four pictures and imagine you are a photographer trying to take pictures of the landscape. Where are you standing? How would you describe what it is like to be there? How do you decide what makes the best photograph? Use five adjectives to describe what you see or how you feel – look at the word bank below for a choice of adjectives or choose some of your own.

Beautiful Barren Cold Exhilarating

Breath-taking Bright Silent Lonely

Freezing Harsh Hostile Inhospitable

Isolated Peaceful Remote Scary

Spectacular Strange Stunning Colourful

Once you have decided on the words that best describe how you would feel share them with a classmate. Did you have the same words? Did you come up with any of your own?

If you did, put them in the boxes below and make sure you share them with your partner. You may want to use these for another activity later on.

6 Writing Home

Alien Landscape

Most of our artists spend many months away from home away from their families and friends. If you were away from home exploring Antarctica what would you like to tell everyone you know back home? Write to a friend or member of your family about living and working as an artist or writer in Antarctica. Use the questions in the postcard to help you structure your writing.

 What’s the hardest part

about living and working there?  What’s the most fun part about living and working here?  What do you do in your spare time?

 What (if anything) do you miss about home?

You can design your own postcard with a picture of an Antarctic animal featured on the front or an explorer. If you feel like you will have lots to say then why not write a letter?

Tip: If you completed the ‘Being There’ activity you can use some of the adjectives that you used to describe your surrounding in your writing home to a friend or relative.

At Plymouth City Museum and Art Gallery: Examples of expedition clothing and equipment help to illustrate how the pioneering explorers lived and worked in such an alien environment. An exhibition trail of ‘Amazing Antarctica’ facts helps to highlight and re-enforce some key information about the Continent. Original letters and greeting cards written and sent by members of Scott’s Expedition teams link to the theme of ‘Writing Home’ There’s even some rare stamps!

7 The biggest seasonal change on Earth!

Alien Landscape

During the winter months, Antarctica’s surrounding waters freeze over. A salty kind of ice known as sea-ice stretches out over the surface, making the continent that much bigger. Can you work out approximately how much bigger?

March (summer) September (winter)

 Each grid square represents one million square kilometres.  Count up all the whole squares and add together bits of squares to make whole ones.  Approximately how much bigger is Antarctica in September compared to March? Answer: Antarctica is ______bigger in September compared to March.

Pair and Share:  What’s the coldest weather you’ve ever experienced?  What did it feel like?  How did you keep warm?

Think carefully about your answers and discuss with a classmate.

8 Activity: Sizing up Antarctica

Alien Landscape

Look at the maps below – have a guess at approximately how many countries the size of the UK would fit into Antarctica … is it: About 40? About 60? About 80? Or about 100?

Total land area (square kilometres)  Antarctica 13,829,430 km2  UK 224,820 km2 Now calculate about how many countries the size of the UK would fit into Antarctica.

9 Activity: Sizing up Antarctica

Alien Landscape

How does Antarctica compare in size to the world’s other continents? Antarctica is about half the size of Africa, but about twice the size as Australasia!

Re-order the continents from the biggest (number 1) to the smallest (number 7). Where does Antarctica come?

Rank Continent Size

10 What time is it?

Alien Landscape

The time of day for nearly everywhere else in the world is set by its line of longitude. But the lines of longitude join together at the South Pole. An Antarctic research station usually sets its clock according to the time back in its home country.

Country Research station Time UK Rothera 9 am South Korea King Sejong 6 pm Australia Mawson 7 pm India Maitri 3 pm USA McMurdo 4 am

Kevin is a scientist working at the British research station, Rothera. To compare his research findings he needs to phone other scientists at King Sejong, Mawson and Maitri research stations. If Kevin calls at 9 am, at which station:

 Might the scientists be having breakfast?______

 Might the scientists be thinking about lunch?______

 Might the scientists be thinking about dinner?______

Sally is another scientist working at Rothera. She’s best friends with Duane, an American working at the McMurdo research station. They both have to work in their laboratories all day – why might they find it difficult to communicate?

11 Antarctica - Still Moving

Alien Landscape

Scott’s Expedition discovered a fossil Because the same plant once grew in plant that indicated that 250 million Australia, Tasmania, India, Madagascar, years ago the Antarctic temperature South Africa and South America, the had been mild enough to support trees discovery of the fossil also supported a new theory of continental drift and plate tectonics

During the Cambrian period, Gondwana had a mild climate. West Antarctica was partially in the northern Around 450 million years ago parts of hemisphere, and during this period large amounts of Antarctica were actually north of the sandstones, limestones and shales were deposited. equator, and Antarctica was part of East Antarctica was at the equator the supercontinent Gondwana.

During the Permian period the By the start of the Devonian period plant life became dominated by (416 Ma) Gondwana was in more fern-like plants such as southern latitudes and the climate Glossopteris, which grew in was cooler, though fossils of land swamps plants are known from this time

Over time Gondwana broke West Antarctica is currently moving away apart and Antarctica only from the East Antarctic in a north/north- arrived at its present position at easterly direction (approximately in the the South Pole within the last direction of the South Georgia Islands) at 70 million years or so a rate of about 2mm per year or on kilometre every 500,000 years!

12 National Scott and Polar Party Memorial Mount Wise Park Great Exploration

The Memorial offers an exciting and unique opportunity for students to consider varied factors relating to Scott’s expedition. It can play a role in underpinning ‘Scott 100’ exhibition visits and school based learning.

The memorial can be valuable to young people’s understanding of Scott’s legacy because:

 The statue represents Courage, supported by Devotion and crowned by Immortality.

 The panels are visually stunning in presenting an Edwardian response to the mythical and dramatic endeavours of Scott and his team.

 Synoptic and iconic the panels offer schools an exclusive theatre to investigate, debate, study, sketch and record Scott’s journey.

 Each panel has a large bronze relief depicting a certain theme of Scott’s voyage to the pole.

 Each panel is headed with an emotive descriptive title capturing the dramatic cast imagery.

 Each side is inscribed with a patriotic reasoned statement of why the expedition was undertaken.

13 National Scott and Polar Party Memorial Mount Wise Park

Side / Panel 1:

Title: „To Seek‟ Statement: „For Brotherly Love‟ Imagery: Arrival of the boat - Pony - Boxed suppliers – Sledge – Costume.

Side / Panel 2:

Title: „To Strive‟ Statement: „For Country‟ Imagery: Men-hauling sledges – Full Blizzard – Plenty of action and movement

14 Side / Panel 3:

Title: „To Find‟ Statement: „For Knowledge‟ Imagery: Planting the flag – Making Records and Science – Sledge & Kit

Side / Panel 4:

Title: “And not to Yield” Statement: „For King‟ Imagery: Large snow-capped grave, topped with a cross – Shovels – Ski sticks and sledges

15 Activity: National Scott and Polar Party Memorial Great Exploration

On Site

Split the class into four groups or pairs. Each party is assigned one of the above panels to focus on. The emphasis for each group is to search for the reasons why we remember Scott and to consider factors that may have contributed to Amundsen getting the Pole first and, afterwards, contributed to the deaths of Scott and his Polar Party colleagues.

1. Introduction to site and the memorial 2. Class split into four groups determined through the drawing of numbers. 3. Each group presented with an unmarked large envelope containing a part image and title quote from the four bronze panels. 4. Each group observes; records, describes and photographs their panel. (literacy)

In the classroom

Art workshops using recorded sketches, Discussions on why Scott failed - using his diary, imagery presented on bronze notes and observations to complete panels and selected photographs. large panels to be used in closing Comparisons with modern Arctic and presentations. Print making workshops Antarctic exploration to script print acted lines in closing presentation Good for: Good for: Evaluation (risk, circumstances and equipment). perceptions and communications

Closing drama performance. Discussions on why we remember Scott - Each group choreographs a one minute using the statement inscription as a scene from their chosen panel. Each talking point, along with other period scene performed in front of a projected archival extracts. The legend of Scott – black and white background. Four fact and fiction? backgrounds based on the four panels featuring the environment and key Good for: historical opinions and elements. Good for: Drama interpretation

16 The Legacy of Endeavour

Great Exploration

We are not now that strength which in the old days

Moved earth and heaven; that which we are, we are,

One equal temper of heroic hearts,

Made weak by time and fate, but strong in will

To strive, to seek, to find, and not to yield.

The final three lines of this poem are inscribed on a cross at

Observation Hill, Antarctica, to commemorate explorer Image © Michael Van Woert: Cross Robert Falcon Scott and his Party, who died on their on Observation Hill erected as return trek from the South Pole in 1912. The famous memorial to Robert Falcon Scott and quote – “To strive, to seek, to find, and not to yield" his South Pole Party comes from a poem called "Ulysses" by the Victorian poet Alfred, Lord Tennyson (1809– 1892), written in 1833 and published in 1842. A copy of Tennyson’s In Memoriam Maud and Other Poems (1906) was found with the body of Edward Wilson.

Think Deeper

Why do you think the lines of this poem are particularly appropriate as we try to remember Robert F. Scott and his fellow explorers?

Why do you think it is important that we remember people from the past that have attempted brave or pioneering acts?

These powerful words and the ethos behind Scott’s voyage of discovery still lives on in the spirit of those who endeavour to push the limits of human achievement:

challenges: At the 2012 London Olympics, the final line has been chosen to be carved into the long wall at the entrance to the athletes' village – an organiser says “The aim was to find a line of poetry that somehow encapsulated the endeavour, the glory and the dance with failure that Olympic sport entails.”

17 The Heroic Age of Antarctic Exploration Great Exploration SCOTT100 PLYMOUTH

The Heroic Age of Antarctic Exploration is the term used to describe the 25-year period from 1897 to 1922, during which there was an international focus on the scientific and geographical exploration of the South Polar regions.

In total, 16 major expeditions were launched from 8 different countries during this era. Each expedition took place before advances in transport and communication had revolutionised the work of exploration. As a result, they were all feats of endurance with limited resources. The "heroic" label acknowledged the adversities faced by these pioneers, 17 of whom did not survive the experience.

During the course of these expeditions the geographical and magnetic poles were both reached, much of the continent's coastline was discovered and mapped, significant areas of its interior were explored and large amounts of scientific data and specimens were generated.

Here is a list of the 16 major expeditions that took place:

1897–1899 Belgian Antarctic Expedition, led by Adrien de Gerlache (Belgium)

1898–1900 Southern Cross Expedition, led by Carsten Borchgrevink (UK)

1901–1904 Discovery Expedition, led by Robert Falcon Scott (UK)

1901–1903 Gauss Expedition, led by Erich von Drygalski (Germany)

1901–1903 Swedish Antarctic Expedition, led by Otto Nordenskjöld (Sweden) 1902–1904 Scottish National Antarctic Expedition, led by William Speirs Bruce (UK)

1903–1905 Third French Antarctic Expedition, lead by Jean-Baptiste Charcot (France)

1907–1909 Nimrod Expedition, led by Ernest Shackleton (UK)

1908–1910 Fourth French Antarctic Expedition, led by Jean-Baptiste Charcot (France)

1910–1912 Japanese Antarctic Expedition, led by Nobu Shirase (Japan) 1910–1912 Roald Amundsen’s South Pole Expedition, led by Roald Amundsen (Norway)

1910–1913 Terra Nova Expedition, led by Robert Falcon Scott (UK)

1911–1913 Second German Antarctic Expedition, led by Wilhelm Filchner (Germany)

1911–1914 Australasian Antarctic Expedition, led by Douglas Mawson (Australia)

1914–1916 Endurance Expedition, led by Ernest Shackleton (UK) 1921–1922 Shackleton-Rowett Expedition, led by Ernest Shackleton (UK)

18 Expedition Crew

Great Exploration SCOTT100 PLYMOUTH

After Ernest Shackleton failed to reach the South Pole on his Nimrod expedition of 1909, Robert Falcon Scott was determined to try and achieve the honour himself making the attainment of the South Pole a major and public objective. By 1910 he had secured funding to purchase the vessel, Terra Nova, and was departing for the Antarctic as commander of a British Expeditionary Force.

©Plymouth City Museum and Gallery Image: Discovery Expedition Crew

There were 8,000 applicants for the Terra Nova Expedition, 65 of which (including replacements) were selected. The crew included 6 veterans from Captain Scott’s 1901-04 Discovery Expedition. The crew members all had specialist knowledge to give the expedition its best chance of success and with hope that they could return having made a significant contribution towards scientific and geographical discovery.

The crew of the Terra Nova (pictured is the previous Discovery Expedition crew) was split into four categories: shore, scientific, crew and ship’s party. You can see a list of each crew members’ responsibility over the page.

SHORE

Captain Scott, Expedition Leader (front, middle in the crew picture)

Lieutenant Edward R G R ‘Teddy’ Evans, Second-in-Command

Henry Robertson Bowers (‘Birdie’), Royal Indian Marine Lieutenant

Lawrence Oates (‘Titus’), Army Captain, 6th Inniskilling Dragoons Victor Campbell, Leader of the King Edward VII Land Exploration Party George Murray Levick, Surgeon-Lieutenant Edward L Atkinson, Surgeon-Lieutenant

SCIENTIFIC

Edward Wilson, Chief Scientist and Biologist

George Simpson, Meteorologist Charles Wright, Physicist From the base camp hut T. Griffith Taylor, Senior Geologist set up at Cape Evans on Frank Debenham, Geologist Ross Island these scientific Raymond Priestley, Geologist staff carried out Edward William Nelson, Biologist investigations in a wide Apsley Cherry-Garrard, Assistant Zoologist range of fields, including Herbert Ponting, Expedition Photographer meteorology. Tryggve Gran, Ski Expert Bernard Day, Motor Engineer Cecil Meares, In Charge of Dogs

CREW

George Abbot, Petty Officer

Tom Crean, Petty Officer Edgar Evans, Petty Officer Robert Forde, Petty Officer Patrick Keohane, Petty Officer Thomas Williamson, Petty Officer Frank Browning, Petty Officer, 2nd Class Harry Dickason, Able Seaman William Lashly, Chief Stoker W W Archer, Chief Steward F J Hooper, Steward Thomas Clissold, Cook Anton Omelchenko, Groom Dimitri Geroff, Dog Driver

SHIP’S PARTY Lieutenant Harry Pennell, Navigator and Ship’s Commander once the shore parties had landed Francis Drake, Secretary and Meteorologist Dennis Lillie, Biologist in the Ship William Williams, Chief Engine Room Artificer William Horton, Engine Room Artificer Wilfred Bruce, Commander Henry Rennick, Lieutenant Francis Davies, Leading Shipwright Alfred Cheetham, Boatswain (Bosun) W H Neale, Steward Robert Brissenden, Leading Stoker

William Burton, Leading Stoker

Edward McKenzie, Leading Stoker

Bernard Stone, Leading Stoker Albert Balson, Leading Seaman Thomas McLeod, Able Seaman Robert Oliphant, Able Seaman Mortimer McCarthy, Able Seaman James Paton, Able Seaman James Skelton, Able Seaman Charles Williams, Able Seaman Charles Lammas, Fireman William McDonald, Able Seaman William Knowles, Able Seaman Joseph Leese, Able Seaman John Hugh Mather, Petty Officer Frederick Parsons, Petty Officer Arthur Bailey, Petty Officer, 2nd Class

William Heald, Former Petty Officer

Angus McDonald, Fireman

Thomas McGillon, Fireman James Dennistoun, In Charge of Mules

Think:

Who is the most important member of the ship’s crew?

Which job would you like if you were to go on this journey?

21 The Race to the Pole

Great Exploration

Reaching the South Pole has captured the imaginations of explorers for almost 250 years. The early recorded voyages south of the Antarctic circle were undertaken by James Cook from 1772-1775. Since Cook’s first attempts there have been many

explorers who have attempted to uncover the territory of the South leading to historic tales or bravery and adversity. Using the activity sheet, read about 12 key events in Antarctica’s discovery and exploration. The red dots on the map show where they took place.

Need help with using the co-ordinates? On a world map or globe, latitude lines run horizontally. Think of them like rungs of a ladder – ‘ladder-tude’! Meanwhile, lines of longitude run vertically, like segments in an orange. To make sense of the latitude number you need to start from the equator, which is 0 0. To the north, they are numbered degrees North until you reach 900 North at the North Pole. To the south, they are numbered degrees South until you reach 90 0 South at the South Pole (the centre of this map).

22 Activity: The Race to the Pole

Great Exploration

 Decide what you think are the five most important of these events.  Use the co-ordinates to find the matching red dots for each on the map.  Use arrows and words to label captions on your map to describe your five most important moments in Antarctica’s history.  Compare your map with your neighbor – have you chosen the same events?

Location Date Information A 70 SOUTH UK Captain James Cook 106 WEST 1773 and his crew were the first people to cross the Antarctic Circle, although they never saw Antarctica itself.

B Weddell Sea UK British seal hunter, 74 SOUTH 1823 James Weddell 45 WEST sailed further south than anyone had ever gone before – 345 kilometers further south than Cook’s expedition fifty years before. The waters that he reached are now called the Weddell Sea.

C Ross Island, UK Following orders to Ross Sea 1841 discover the South 78 SOUTH Magnetic Pole, 166 EAST British Royal Navy commander, Sir James Clark Ross, reached the sea now named after him. He also discovered Ross Island, Mount Erebus (named after Ross’s ship) and the Ross Ice Shelf.

23 D Cape Adare Norway/UK Norwegian Carstens 78 SOUTH 1899 Borchgrevink set sail 170 EAST from Tasmania, southern Australia to lead the ‘British Antarctic Expedition’ even though there were only three British members of the crew. They were the first group to spend winter on the Antarctic mainland. They were also the first to use teams of dogs to transport them across the ice.

E Snow Hill Island Sweden A Swedish 64 SOUTH 1902 geologist, Otto 57 WEST Nordenskjold, and five other men undertook the first exploration by sledge. Nordenskjold’s team covered 650 kilometres but in the meantime their ship was crushed and written off by ice. They spent two winters stranded on Antarctica before being rescued by an Argentinian ship in 1903.

F 82 SOUTH UK Robert F. Scott, 165 EAST 1902 Edward Wilson and Ernest Shackleton set off for the South Pole. They covered 5,000 kilometres but snow blindness and illness forced them to give up after two months.

24 G 88 SOUTH UK Ernest 162 EAST 1908 Shackleton had another go at reaching the South Pole, this time accompanied by Frank Wild, Eric Marshall and Jameson Adams. Although they got further than Scott’s team illness and hunger forced them to give up just 180 kilometres from their destination.

H Coulman Japan Lieutenant Island, Ross Sea 1911 Nobu Shirase 73 SOUTH led the first 169 EAST Japanese expedition to Antarctica. They got as far as Coulman Island before heavy storms and treacherous ice in the water forced them to abandon their expedition.

I South Pole Norway Norwegian Roald December 14 Amundsen and four 1911 other men were the first to reach the South Pole thanks to a new route that only took them 57 days (although the ground was unknown) and his use of dogs. Amundsen planted a Norwegian flag and wrote two letters – one for the king of Norway, and one for the British Antarctic Expedition team led by Robert F. Scott.

25 J South Pole UK Robert F. Scott, January 18 Edward 1912 Wilson, Edgar Evans, ‘Birdie Bowers’ and Lawrence Oates finally reached the South Pole only to discover that the Norwegian, Amundsen had got there 33 days earlier. Scott and his companions all died on their return journey.

K Commonwealth Australia, UK, First expedition Bay NZ that had science 67 South 1912 as its major 142 East objective, exploring the stretch of Antarctic coastline between Cape Adare and Mount Gauss. Leader, Australian scientist, Douglas Mawson survives a 311 miles (501 km) lone trek after his companions died. Ninnis fell down a crevasse taking most of the supplies and Mertz died later of vitamin A poisoning from eating dog livers.

L Weddell Sea UK Ernest Shackleton 75 SOUTH 1916 led a team that 40 WEST intended to be the first to cross Antarctica from coast to coast by sledge. Their ship, ‘Endurance’, was crushed by ice and sank in the Weddell Sea. Then the most amazing story of survival in Antarctica’s history began. Shackleton and his men had to camp on floating ice for five months. Finally, a break in the ice enabled Shackleton and five others to take a very small boat 1,300 kilometres north in search for help. The rescue team didn’t reach the remaining men for 105 days.

26 Creative Inspiration

An Introduction

One of the most extreme places on Earth, Antarctica pushes the human capabilities for thought and survival to the limit. So what is it about Antarctica that so many artists find so fascinating? When writing of his residency as an artist in Antarctica, David Wheeler (pictured left and below © David Wheeler) encapsulated the magnitude of the experience, saying: ‘Antarctica is an extraordinary place to explore the imagination. The extreme environment and physical conditions combined with the psychological effect of spending time in the remote desert landscape make it an inspiring and almost mythical place to work’. Antarctica is the final frontier of creative inspiration, it is not only a challenge to the body but the mind, stretching the human capabilities for thought and artistic production. Through the Landscapes of Exploration exhibition we discover the ways in which artists have interpreted the landscape through personal, physical and spiritual reactions in their work. This exhibition is not only about the physical journey that each artist undertook but the personal journey – the results of which are permanent in their artistic reactions.

Such severe conditions appear to reiterate the notion that the human presence in this extreme location is not always welcome and that perhaps it is naïve or arrogant to assume that any person could attempt to translate such an overwhelming landscape into art: ‘Being an artist here has often seemed beside the point’ says exhibiting artist Anne Brodie. ‘The Antarctic is the point’ she continues ‘it should always win, it does everything you could possibly imagine from subtle mark makings to crashing exuberance…it fills you up inside your head and soul but simultaneously strips you bare leaving you standing reeling trying to work it all out’*.

*Taken from Anne Brodie’s blog from Antarctica, February 2nd 2007 www.annebrodie.co.uk ©David Wheeler

27 Creative Inspiration

But that challenge to ‘work it all out’ is one that the artists, writers and musician within Landscapes of Exploration have delivered upon. Antarctica holds a legacy within its vastness that spans thousands of years and influences the very climate we live in every day. It is the source of legend, of adventure and tragedy – so often recorded in human struggle as the ambition © Neville Gabie to defeat or understand Antarctica pushes humankind to face overwhelming challenges. How better to explore such an unwelcoming but inspiring space than through the perspective of contemporary art? The exhibited works and contributing artists translate their experience of this massive continent to produce an encapsulation of the sights, sounds and various viewpoints of the landscape. Whether that be from the view of a kite (Neville Gabie pictured right), the constant watch of a satellite GPS (Layla Curtis), the sounds of Craig Vear’s composition (pictured bottom right) or the nibs of our three contributing writers, Landscapes of Exploration dwells upon the opportunities that art can unlock when faced with the most fascinating and frightening frontier. Through Landscapes of Exploration Antarctica is no longer an unwelcoming host but beautiful muse.

The Creative Inspiration section of this education pack hopes to introduce the ways in which our contributing artists have recorded, reacted and been inspired by Antarctica’s turbulent waters, isolation, high latitudes and overwhelming beauty. The information and activities provided Image © Craig Vear hope to unlock the paths each artist took in capturing this foreign landscape through worksheets that cover a range of topics from working in a cold climate to how modern technology has changed the face of contemporary art (and the landscape) forever.

Meet the Artists

Creative Inspiration

There are ten visual artists, one musician and three writers featured in the Landscapes of Exploration exhibition. Some of the featured artists have provided a short welcome to the exhibition, with detail about their experience. David Wheeler

Hello, I’m an artist and I work as Artistic Director for a company called IOU. My job is to bring together other artists, musicians, composers, performers and makers to create performance, visual and music-based work.

Going to Antarctica was a fantastic experience – there was something new and amazing to see every day. From breaking through thick ice on the ship to swooping over massive icebergs in a tiny aircraft and seeing whales, penguins and seals – it was all extraordinary. I used photography, video and sculpture to explore what the experience meant for me personally. You can see some of this in Landscapes of Exploration.

I’m still using ideas from Antarctica and you can see this work on IOU’s website: www.ioutheatre.org

Layla Curtis

I spent three months in the Antarctic. My seven-week journey on the RRS James Clark Ross took me to three of the British Antarctic Survey’s research stations: Signy Island, Bird Island and King Edward Point on South Georgia.

I continually recorded my entire 90-day journey using a hand- held Global Positioning System (GPS) and Polar Wandering www.polarwandering.co.uk continuously charted my progress and the positional data, represented on the website by a thin red line, eventually grew into a 27,856 mile long interactive web-based drawing populated with over 1000 photographs.

29 Meet the Artists

Creative Inspiration Philip Hughes

“My work as an artist is mainly based walking through the landscape, doing drawings which are the source of paintings done back in my studio.

I particularly like wild and remote areas like North Scotland, Central Australia and, of course, Antarctica.

I am also interested in ancient sites like the stone circles, tracks and hill forts of Britain.

The seven week visit to Antarctica was the supreme wilderness. I am often asked how it is possible to work in such cold. Whilst it was not possible to go on long walks, it was possible to sit and draw and of course photograph while wearing protective clothing. The paintings of Antarctica were all done back in my studio in London.

I have recently been working on a book of my work to be called: ‘TRACKS: walking the ancient landscape of Britain’. This will be published May 2012.” www.philiphughesart.com

John Kelly

“Hello! As an artist and writer I was selected to go

down to Antarctica in 2003.

My time there was spent on the South Orkney island of Signy, where I produced daily drawings in the form of a ‘visual diary’.

I worked with the scientists, helping them to monitor the chinstrap penguins, seals and elephant seals.

My experiences are described in my book, ‘Due South’. My other book ‘Flood Cycle’ describes my travels in the Arctic Polar regions.”

www.axisweb.org / www.signalbooks.co.uk

30 Making Artworks in a Cold Climate

Creative Inspiration

Making artwork in the harsh conditions of Antarctica poses great challenges to artists. Mediums such as acrylic or watercolour painting that are so popular at home face troubles in Antarctica. Artists then have to become creative As beautiful as it is, Antarctica is with their materials and prepare for the challenge. constantly dangerous and often For example: if an artist is planning to use deadly place to be. Never let watercolour as a medium, then mixing some clear your guard down; it can mean alcoholic spirit in with the brush water will keep it your life. – William Stout (artist) from freezing.

Artists may also have to adapt to new mediums due to the fact that the oils and acrylics that they normally use at home can’t be used in Antarctica, due to the difficulty of carrying around all the equipment and to the environmental impact of spilling oils, turpentine and thinner. What becomes clear is that the ability to adapt as an artist begins long before they set foot on the ice! Starting with Anne Brodie, here we feature some of the artists who found innovative ways to be creative when the odds were against them.

Anne Brodie

Anne Brodie’s experiences demonstrate the ways that artists have to adapt to the climate, finding ways around the limitations imposed by such difficult conditions. Speaking through her online blog Anne talks about how she went to Antarctica with the idea of making glass in a custom built furnace:

Image © Anne Brodie Waiting to get up to temperature

I've transported piles of refractory bricks and materials all the way from the UK so that I can build a small glass furnace on the base, I'm going to try and get the temp to 1200 C and melt some of the waste glass bottles to do some experimental work with the hot glass and ice.

31 Making Artworks in a Cold Climate

The cold proved a challenge for Anne but good results were achievable:

I've built my furnace and have had lots of successful firings, from taking 4 hours to get the glass up to a good melting temperature (around 1150 C), I've perfected the

burner, flue and insulation combo to now only take 2 and a half hrs....and believe me when you're sitting outside on a pile of stones in the cold Antarctic sleety snow waiting, it makes a difference.

Image © Anne Brodie Molten Burns night whiskey bottles and ice

Here we can see how Brodie has taken waste materials (whiskey bottles) and transformed them into something new. But this wasn’t easy:

The beer/wine bottles melted down make really difficult to work glass, when the glass is finally at a temp to use, the cold wind is very efficient at

cooling everything down again.... very quickly.

Anne Brodie therefore turned to the materials directly to hand, working with stones and snow in the landscape.

32 Making Artworks in a Cold Climate

Creative Inspiration

As you can see Anne Brodie didn’t only use ‘natural’ found objects but also man made products, in particular, plastic. She says ‘its transparency and abundance seem as much part of the base as the ice and snow.” With the ‘Wastegloo’ sculpture, she has used offcuts from a man-made igloo. Is this material natural or manmade?

Image © Anne Brodie: ‘Wastegloo’ Image © Anne Brodie: Split stone and plastic

Plastics can also be used to record the impact of the climate. Using the familiar object of a polystyrene cup, Brodie demonstrates the drastic results of plunging it into the freezing Antarctic waters. Can you imagine how cold the water must be to do this?

Polystyrene cup before being submerged Polystyrene cup after being submerged 400m.

Inspired to continue using found objects, Brodie asked workers at Rothera camp to fill a glass vessel with, “whatever they wanted about themselves/ the Antarctic”. The responses were varied, and, in some cases, shocking!

Take a look at the Making Artworks activity and think about what you would put in your jar!

33 Making Artworks: Activity

The scientists that Anne worked with in Antarctica put objects and materials into their jars that represented their work there and how they felt. Think about where you live or go to school: What found objects would you put in a glass vessel, to say something about yourself and the environment you live in?

Draw your object in the empty glass jar below

What’s in your jar?

Why have you chosen this?

34 Recording the Artistic Journey

Creative Inspiration

As we have established: working in an extreme climate can be a challenge! But the artists within Landscapes of Exploration have used magnificent ways to document their artistic journey. For example Layla Curtis used a personal GPS tracking device to record her journey (no pen or paper required!) meaning that people could view her journey from anywhere in the world. The result was Polar Wandering, a live interactive web- based drawing where people can view Layla’s journey with fantastic rare insight into the hidden depths of an artists’ experience in Antarctica.

The red line represents where Layla travelled and each red dot shows an image captured at each destination (detailed in the image to the left). This is innovative evidence of how modern technology cannot only help humans navigate the globe, but also record our travels and transform them into creative inspirations. You can see all of Layla’s fascinating images by visiting Polar Wandering and downloading the entire journey*.

Technological innovation to Artistic creation

Hand-drawn maps of Antarctica date back to the times of Roman geographers and astronomers. In 2012 any person who has access to the internet can span across Antarctica with Google Earth. It's even possible to download high-definition images of ice and mountaintops.

Such technology means that we can capture aerial satellite images such as this one of Antarctica (right) giving a new perspective of the landscape – meaning new perspectives on our creative influence. Why not create artwork that captures the landscape from hundreds of miles away?

Images © Layla Curtis *Link can take a few minutes to download

35 Recording the Artistic Journey

Creative Inspiration

Whilst in residency with the British Antarctic Survey in 2003, John Kelly kept a journal of his experience in Antarctica. As a selected artist for residency, John produced a visual diary and conducted studies of the landscapes and wildlife. It was from this diary that John wanted to create ‘an impression of what being in Antarctica was actually like’. In his book Due South (2004) John’s collection of journal entries, sketches and poetry are a touching chronicle of his experience as an artist within the ‘great white expanses and spell binding beauty’ of the Antarctic landscape. John then used his journals when he returned home alongside other collected materials to create his contribution to Landscapes of Exploration.

Neville Gabie used film as a medium to record his work, which involved flying kites over the landscape as a means for documenting something outside human understanding. Using small video cameras attached to the kites, Neville filmed the landscape. By using a kite he was able to fly close to the ground and view the marks on the surface of the landscape such as ‘tyre tracks, foot prints, or the lines of a ski left in the ice; the traces which are often overlooked or left unrecorded’. Neville also found that the physical activity of moving across the landscape and guiding the kite above him, and filming himself doing this, meant he became part of a performance. Click on the images below to watch Neville’s kite in action! Or visit http://oneminuteweek.tumblr.com/

In addition to Neville Gabie’s work in the Peninsula Arts Gallery, to highlight the importance of the artist’s connection to home, a small display of emails from

Antarctica and the associated artistic responses, by Neville and Joan Gabie can be seen at Plymouth City Museum and Art Gall ery.

36 Activity: Project Freeze Creative Inspiration

You have been chosen to live in the Antarctic and create a piece of artwork. You must select one of the following to create:

Painting Photograph Sculpture

Painting:

What kinds of paints would you take, considering that you must be careful about waste products?

How would you stop the water freezing?

How would you transport the materials? What would you paint on?

Bear in mind the winds which can get as strong as 190 miles per hour!

37 Activity: Project Freeze Creative Inspiration

A Sculpture:

Would you bring materials with you, if so what types?

Would you work with found materials?

Would you send materials home?

Think about the Antarctic landscape, can it create its own sculptures?

38 Activity: Project Freeze Creative Inspiration

A series of photographs:

How many cameras would you bring? How would you transport them?

Would your batteries work?

How would you work with the blindingly bright light reflecting off all that ice?

Look at the image above that Layla Curtis profiles on her digital travel log and think about the different places to can capture images.

What do you think about the colours?

What do you think you would like to capture? Maybe it is the local wildlife, if it is what do you have to think about when planning your pictures?

39 Penguins in the Antarctic

Sub-Zero Species

There are 17 species of penguins in the world, penguins are only found in the

Southern hemisphere - one species living on the equator. Of the 17 species only six

are found in Antarctica: Adelie, Chinstrap, Emperor, Gentoo, Macaroni, and King.

Adelie Penguins: Adelie penguins were named after the wife of the English explorer Dumont d'Urville. They are relatively small birds standing on average 27.5 inches (70 centimetres) high and weighing 10-11 pounds (5 kilos).

Chinstrap Penguins: Chinstrap penguins get their name from the thin line which circles under the chin, looking a lot like a strap on a helmet. They are approximately 27 inches (68 centimetres) high and weighing 10-11 pounds (4.5-5 kilos).

Emperor Penguins: Emperor penguins are the largest of all penguins. They average 44 inches high (1.15 meters) and 66 pounds (30 kilos) in weight. Emperors are also the most colourfully outfitted species.

Gentoo Penguins: Gentoo penguins range in size from 27 inches high (68 centimetres) and 12 pounds (5.5 kilos) in the south to 30 inches high (71 centimetres) and 13.5 pounds (6.2 kilos) in the north.

40 Penguins of the Antarctic

Sub Zero Species

Macaroni Penguins: On average, Macaroni penguins stand 27.5 inches tall (70 centimetres) and weigh 9 pounds (4.2 kilos). They typically frequent the islands around Antarctica and don't venture onto the main continent.

King Penguins: King penguins are on average 95cm tall and weigh 16kg although they look similar to emperor penguins they rarely meet as king penguins live in the warmer regions of the Antarctic

Here are a few ways in which Penguins have adapted for survival:

• Short wings reduced to flippers, ideal for use underwater. • The dark coloured feathers of a penguin's dorsal (back) surface absorb heat from the sun, so helping them to warm up. • Short, very densely packed feathers help streamlining in the water and help to insulate them on land. • A counter-current system in the legs means that the feet are kept just above freezing • Penguins tightly packed feathers overlap to provide waterproofing and warmth. • They coat their feathers with oil from a gland near the tail to increase waterproofing • Penguins have a layer of fat under the skin to help keep them warm

This sheet will help you answer the questions in Penguins: What do you know?

Living Coasts, Torquay’s coastal zoo and conservation charity , have kindly provided all of these fascinating facts about Antarctic Penguins. You can find out all about their work and making a visit by exploring their website: http://www.livingcoasts.org.uk/

41 Penguin Fact File

Sub Zero Species

Penguins are black and white; this is a type of camouflage. When swimming in the water if a predator, like a seal, is looking down on them the penguins black backs are well hidden against the darkness of the seabed. If a predator like a shark, is looking up from below the penguins white bellies well hidden against the lightness of the sky. This makes them very difficult for hungry predators to spot.

Penguins have more feathers than most birds, they are curved and overlap each other like roof tiles. Because they are so small and tightly packed they are often mistaken for fur.

Penguins are streamlined and well adapted to life in the sea. They use their wings to swim through the water. Their legs, feet and tail are used to help them steer as the swim and dive.

Penguins catch all their food at sea. They eat fish, krill, crabs and squid.

Penguins have no teeth. On their tongues and inside their beaks they have small backward facing spines that help their food slide easily down their throats.

Penguins have two layers of feathers. The underneath layer is very soft and keeps them warm, the top layer is made of longer feathers, which are oily and stiff. The special oil coating the feathers keeps them waterproof.

There are 17 different species of penguin. All penguins live in the southern hemisphere.

Why not use this Penguin fact file to answer the questions in the ‘What do you know?’ activity. You can write the answers in yourself or cut out the facts and match them up!

42 Activity: What do you know?

Sub Zero Species

Why are penguins black and white?

Do penguins have fur or feathers?

How do penguins swim?

What do penguins eat?

What is special about their mouths to help them eat slippery fish?

How do penguins keep warm and waterproof?

How many types (species) of penguin are there?

43 Antarctica’s food web

Sub Zero Species

There would be no life in the Southern Ocean around Antarctica without energy from the sun. Through photosynthesis, microscopic plants called phytoplankton that float near the water’s surface trap and use the sun’s energy to grow. Phytoplankton are called producers because they produce their own food and form the first ‘trophic level’ (stage or feeding position) in the food web. The word trophic means the place an organism sits in the food chain. A food web tells us what organisms eat and whether they get eaten!

Apart from the producers every organism in Antarctica’s waters depends on plants or other organisms for their food as part of the marine food web. On the next trophic level up are the primary consumers that feed on the producers. In Antarctica’s waters, these include Antarctic krill. Primary consumers are in turn fed on by secondary consumers and so on up the chain. When an organism has a meal, the energy that originally came from the sun is passed through the food chain, helping each organism to grow. But the links in the chain do not always join in one straight line. Many animals have a mixed diet and, in turn, serve as food for a variety of other creatures that prey on them, so it is more like a web made up of interlinking chains. Who eats who in marine Antarctica’s food web is not as complicated as in other environments as it is made up of few trophic levels.

44 Activity: Who’s Eating Who?

Sub Zero Species

Can you complete the Antarctica food web by putting the creatures in the correct places on the Antarctic food web? Read the facts about each animal and then cut out the small pictures below and fit them onto the ‘Who’s Eating Who? Worksheet’. When you are finished you can compare your web with a classmate and find out Who is Eating Who on their sheet!

Phytoplanktons are at the bottom of the chain. We’ve put them in already to start you off!

Antarctic Krill: these small shrimp-like crustaceans feed on the phytoplankton.

Fish: most of the species of fish in Antarctica feed on krill, and are eaten by penguins, seals, sea birds and squid.

Squid: there are 18 different species in Antarctic waters. They feed on small fish and krill, and are eaten by whales, seals and sea birds.

Sea birds: sea birds, such as albatross and petrels, are scavengers in the sky. They swoop down to catch fish or squid near the water’s surface.

45 Activity: Who’s Eating Who?

Sub Zero Species

Penguins: there are six species of penguin in Antarctica. They feed on fish and krill, but are a favourite food for killer

whales and seals.

Leopard Seal: one of the six species of seal in Antarctica, leopard seals usually hunt alone, feeding on penguins, young crabeater seals, fish, squid and krill.

Crabeater Seal: they feed on Antarctic krill (not crabs!), and collectively may even eat more krill than blue whales. Crabeater seals are a tasty meal for Leopard Seals when they are young, and killer whales are a danger no matter how old they are.

Blue Whale: they feed on a lot of krill – up to 3 tonnes in a single meal! Their only potential danger is the killer whale.

Killer Whale: travelling in family ‘pods’, killer whales feed on seals, penguins and fish near the water’s surface. Occasionally they hunt other types of whale.

Worksheet: Who’s Eating Who?

Sub Zero Species

Who are the Who are the Which predator vegetarians? carnivores? is top of the food

chain?

47 Answers: Who’s Eating Who?

Blue Whale Squid Sea Birds Crabeater Seals Killer Whales Penguins Antarctic Krill Leopard Seal Fish Killer Whale

48 Activity: Who’s looking at you?

Sub Zero Species

Here are four pictures of creatures that live in Antarctica’s marine environment. Can you guess who is looking at you?

A B

C D

Clues: A: ‘I produce a blood-borne antifreeze protein to protect my body from freezing’ B: ‘I am the largest of all of my species at around 45 inches (115 centimeters) tall’ C: ‘I am one of the fastest creatures in the sea, traveling up to 30 miles per hour. D: ‘My snout inflates to impress a mate and to warn of other males’

49 Answers: Who’s looking at you?

Sub Zero Species

A B

C D

Answers

A: Antarctic Cod C: Killer Whale B: Emperor Penguin D: Young Elephant Seal

Adapting for Survival Sub Zero Species Each of the marine species in the ‘Who’s looking at you?’ activity is adapted to survive the Antarctic conditions. Here are some fact boxes showing two ways in which each species is adapted – can you match them up to the four creatures?

A Apart from hibernating animals these are the only creatures that can slow down their

heartbeat to as low as 10 beats per minute to save energy and to survive in the cold waters all

year round.

B A layer of fat called blubber stops them from losing too much heat from their bodies. Extra warmth comes from the air that is trapped in their fur

C They are born big and fat, and grow very quickly. They can put on as much as 10 kg a day. By being bigger they can conserve heat more efficiently.

D On land during the long, dark winter, the males huddle together in groups (sometimes in thousands) to keep warm, taking it in turns to stand on the outside of the group.

E To hunt in the dingy depths of the Southern Ocean, they make high-pitched clicking sounds that bounce off objects. This way, they can more easily find prey in the dark.

F Their black and white colouring helps to camouflage them from predators in the water.

G They have no red proteins known as haemoglobin in their blood. Amongst other things, this makes their blood thinner which helps them slow down their metabolism. Lower metabolism enables them to live longer.

H During Antarctica’s winter when there are few krill to eat, they move north to warmer waters.

51 Think Deeper

Sub Zero Species You have to be tough to survive in Antarctic waters. That’s why its inhabitants are well adapted to this cold environment. Adaptation can happen in two ways: Physical adaptation: features of an animal’s body that help them survive. Behavioural adaptation: how animals act (feed, breed, mate, move) that help them survive.

Using the fact boxes can you re-sort the characteristics of the four marine species into

either Physical or Behavioural adaptations?

Put the two letters that represent the physical and behavioural characteristics in the

boxes next to the species they belong to. We’ve done two boxes for you.

C B, Seal Elephant Young H E, Whale Killer D F, Penguin Emperor

G A, Cod Antarctic

Answers

52 Photographic Acknowledgement

The following images have been reproduced with kind permission of British Antarctic Survey http://www.antarctica.ac.uk/ and its partner website www.discoveringantartica.org.uk. You can view the British Antarctic Survey and Discovering Antarctica image archives here.

Themes: Sub Zero Species (Emperor Penguin), Creative Inspiration (Ice Core), Great Exploration (Scientist) and Alien Landscape (Landscape)

British Antarctic Survey (Rothera Station)

Being There (four landscape images)

Antarctic Food Web (all images)

Who’s Eating Who? (all images)

Think Deeper (all images)

The Race to the Pole (all images and map coordinates)

Antarctica: The Frozen Continent (all images)

Project Freeze (‘A series of photographs’ Icebergs)

The Following images have been reproduced by kind permission of the following Landscapes of Exploration artists:

Photographic Acknowledgement

The following images have been reproduced with the following permission

The Legacy of Endeavour (Image © Michael Van Woert: Cross on Observation Hill erected as memorial to Robert Falcon Scott and the Polar Party sourced by Wikipedia Commons)

Special Thanks

Nigel Overton, Plymouth City Museum and Art Gallery Sherrie-Lee Evans, Plymouth City Museum and Art Gallery Rosie Langridge (graduate intern) Peninsula Arts Clare Rugg, Living Coasts Content collated and edited by Emily Packer, Peninsula Arts

Peninsula Arts Plymouth University Room 1A Roland Levinsky Building Drake’s Circus Plymouth PL4 8AA 01752 58 50 50 www.peninsula-arts.co.uk [email protected]