We are not afraid of the future

Teachers Notes • Information and practical ideas

www.bata-ville.com We are not afraid of the future

Notes compiled by Gilly Waller With thanks to the Bata Resource & Reminiscence Centre and Fiona Young

Contents

Aims of the pack ...... 2 Introduction to Bataville...... 3 Background information ...... 4 Key Themes in Bataville ...... 5 Themes in Focus ...... 7 a) Shoe sculptures – 3D ...... 7 b) Bunting making – textiles...... 8 Links to the curriculum ...... 10 Animation projects ...... 13 a) Flick Books ...... 16 b) Zoetropes ...... 17 Useful Links ...... 23

Photocopiable resources ...... 18-22 Storyboard sheet • flick book example • Bata shoes • KWL Grid • Travel images

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Aim of the pack

The aim of this pack is to provide an introduction for both you and your pupils to the exciting, stimulating and unique artists’ project – Bata-ville. It includes information on the project and suggested themes and issues to consider, with examples of possible classroom and homework based activities. The notes have been developed to explore areas within the Bata-ville film and project that complement and work alongside the guidelines of the National Curriculum.

Through watching the documentary pupils will have the opportunity to:

• Gain knowledge and understanding of art and design as defined in the National Curriculum AT2 (Knowledge and Understanding)

• Collect reference materials and information that can act as a stimulus for their own practical work as defined in the National Curriculum AT1 (Investigating and Making)

This pack suggests ways in which pupils can:

• Record and analyse first hand experience of a video based artwork.

• Discuss, question and select information from this and other suggested artworks.

• Explore cross-curricular themes within the work.

• Focus on a particular theme that relates to work already studied or planned.

• Use themes discovered in the work and link them to other artists, designers and craftspeople.

• Extend their experience of a range of materials and processes (see Themes in Focus and Animation projects)

• Evaluate and develop their work through group and individual activities.

• Schools involved with the animation workshops with Fiona Young will have the opportunity to experience first hand the working methods of a contemporary animator.

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Introduction to Bata-ville

Bacckground information on the project

Artists Nina Pope and Karen Guthrie went to art school together and have since worked on joint projects since 1995. These have included projects with lots of different groups of people from computer games players to model railway enthusiasts. They are best known for their work using new technology like TV Swansong (2002) and /broadcast/ (29 pilgrims, 29 tales) (2000). Further informtion can be found on their website www.somewhere.org.uk

In 2003 they were commissioned to create an artwork for East in . A community developed in the 1930’s which created housing, employment and social activities for the employers of the Bata Shoe Company. The resulting art piece formed two parts.

Stage I (December2003)

The artist Nina Pope opened a ‘single destination’ Bata-ville Travel Agency in the former factory buildings of Bata in . This building was based on a ‘model’ created by the Bata shoe company in Zlín in the in the 1930s. The Bata-ville Travel Agency offered poten- tial travellers who have lived or worked for the company the chance to find out more about the sister site in Zlín which mirrored their own town and yet few had ever visited. They could also apply for a place on the Bata-ville coachtrip (see form with pack.)

Stage II (12th - 19th September 2004)

45 passengers from the the UK were driven across Europe to Zlín. The journey, its passengers, dialogues and adventures formed the focus for a documentary film.

On the sides of the bus were the provocative words "We are not afraid of the future". Words spoken by the shoe entrepreneur Tomas Bata (d.1932), whose far-reaching social ideals inspired Pope and Guthrie to create this pilgrimage to Bata's origins in Zlín, in the Czech Republic.

The coach party's destinations included a , the former company headquarters (a building site), a cemetery, an aeroplane factory and an animation studio. All these destinations shared links to the Bata company and its charismatic founder. The passengers were former Bata employees from the small towns of East Tilbury () and Maryport (Cumbria). They were joined by a number of people from other walks of life, all who shared their companions' fascination with the Bata story.

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Background Information • A Bata-ville brainstorm

By brainstorming questions, thoughts and feelings about the documentary pupils can begin to consider issues and ideas raised by the film, helping them to develop ideas for future work. This activity can be undertaken individually during the viewing of the documentary or afterwards as a whole class or as a small group activity. As with any exploration of an artwork it is important that students understand the importance of their own interpretations of the works as well as those of the artist. They should therefore be encouraged to develop their own opinions of the work and to make reasoned judgements.

• A KWL grid can be given to pupils in groups which they can fill in at the start of the project and added to through group / their own research. Sentence starters / gap fills can be added to differentiate the task (see sample.)

• Ask pupils to write / speak about their notes for one or two minutes without stopping. This can begin to free up anxieties about written and spoken dialogue. The notes can be used for future evaluations and reviews of the documentary.

Who was Tomas Bata? Tomas Bata founded the Bata Shoe Organisation in 1894. The traditions of shoemaking had been in the family for eight generations and spanned 300 years. He built a shoe factory in Zlín in former . As the factory grew he built homes for it’s employees, schools, cinemas, theatres, hotels and shops.

What is Bata-ville? The artists Nina Pope and Karen Guthrie took a film crew and 2 project organisers, 14 travellers from Maryport and 16 travellers from East Tilbury - including ex employees, residents and family, 12 ‘others’ - including filmmakers, artists, writers, czech speakers and a teacher.

Why was the project undertaken? As a response to an invitation to make a ‘public artwork’ for East Tilbury.

Where did it take place? Maryport - East Tilbury - Best (Netherlands) - Zlín

When did it take place? 12 - 19 September 2004 which coincided with Tomas Bata’s son’s 90th birthday.

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Key Themes in Bata-ville

Many themes which present themselves in the documentary can be used to support ongoing projects in the classroom or can be used as the starting points to new artworks. Links to the Curriculum section and Themes in Focus explore and suggest ways of developing some of the ideas below. The suggestions may act as a springboard for other areas of research, or overlap with more generic areas of study. Students could work individually or as small groups researching one area and then reporting back to others. These examples will potentially encourage pupils to look for their own themes within the work.

Journeys / travel / memory / immigration Many workers from Bata in Czechoslovakia known as ‘Batamen’ travelled to East Tilbury to work at the factory, with many permanently settling in the town.

Consider: How would you feel arriving in a new country? (the language barriers and cultural differences) What experiences / knowledge of immigration do you have?

Pilgrimage A few of the passengers were returning to Zlín after a long period of time, to meet family and to renew acquaintances, most had only heard of Zlín as the place where their own communities had originated.

Consider: What is a pilgrimage? What pilgrimages have you heard of? (Religious - Hajj) Do you know anyone who has been on a pilgrimage?

Holiday For many the trip was seen as a holiday, time away from work and home commitments.

Consider: What is meant by the term ‘holiday’?

Memory / nostalgia For all the travellers the long journey presented a time for thought and contemplation. Memories of past careers and events presented themselves through the events that occurred. For many the trip to Tomas Bata’s grave evoked emotional responses. For others simply the act of spending time alone in an anonymous hotel room brought back memories of past travels.

Consider: What memories do you have of a trip? Do you often delete negative memories of a trip and focus only on the positive?

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The future Tomas Bata had a clear vision of the future for his company, employees, and mankind. His words ‘we are not afraid of the future’ forming the focus for the trip.

Consider: What is the future? How far into the future do you think ? How do different generations in your family view the future?

The built environment / landscape / architecture / regeneration The East Tilbury (Bata) Conservation Area was built in the 1930s, with the buildings and layout directly copied from the model community developed by Bata in Zlín.The creation of the factories in both towns dramatically altered the landscape of the areas. The factories in East Tilbury were sited in an area of high unemployment creating thousands of new jobs. With the decline of the industry in East Tilbury the is now sighted as an area of regeneration.

Consider: How has your local area changed? How could you visually improve it? What is meant by the term regeneration? How do you imagine your area looked before many of the buildings were erected?

Celebration/customs The passengers on the bus were all asked to bring with them an activity to entertain their fellow travellers. Many chose activities with regional references, from the Northern game of ‘egg dumping’, to folk singing and Scottish dancing.

Consider: What activities with regional / cultural / religious links could you bring to the journey?

Collaboration The artists often work with other people both in the development of an idea (eg. visitors to the travel agency) and in the production of the artwork itself. It is easy to imagine that artists work alone, yet they find the collaborative process inspiring, taking them in unexpected directions. Students own involvement in collaborative work is important in the development of their knowledge, skills and understanding. An awareness of professional practioners involvement in similar situations will heighten their understanding of its importance.

Consider: The positive and negative sides of working with others on an artistic project.

Do artists have to make their work with their own hands, or is it enough that they have the ideas and direct the work?

What do you think about the idea of artists taking on a range of roles such as curators (of the travel agency), directors (of the film) and writers (of the documentary itself)?

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Themes in focus

From the themes suggested Journeys and Celebration are explored here in more detail with possible outcomes

Journeys – a day trip / holidays

Shoe making From visits to the Bata Shoe Factory in Best to the decoration of shoes on the bus, shoes formed an important image for the trip. This starting point for a scheme of work uses drawing, collage and basic sculptural building techniques to create 3D shoes with the theme of journeys as the starting point.

1 • Pupils can begin by brainstorming ‘journeys’. Where have they been ? What did they see? How do they feel before a journey / holiday? How did they get there? What did they do to fill the time?

Encourage pupils use of adjectives and metaphors to describe their ideas and feelings.

2 • Collect pictures of travel and key words from there brainstorm to create a collage of their trip. Encourage the use of drawings, rubbings, photocopies and scanned images to record objects that can not be permanently added to the collage.

3 • Look at images of shoes from the Bata collection and examples of historical and contemporary designers and artworks which reference shoes. Consider: Vivienne Westwood, Nike, Andy Warhol, Lisa Milroy.

4 • Study in detail examples of shoes in surrealist art, emphasising their distorted forms.

5 • Pupils to make a drawing / collage of own shoe design incorporating images from brainstorming collage ie heel - Eiffel tower, tongue - wave from sea, body of shoe - bus/ train/aeroplane.

(To speed up process / differentiate task photocopies of pupils collages can be made for them to cut up and paste.)

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6 • Building methods

Withies (pliable willow branches) can be used to create large scale shoes in groups or individually. The withies can be easily formed and bound with masking tape to create 3D shapes and covered with tissue paper before decoration.

Smaller models can be made using cardboard and paper mache.

Simple 3D wire sculptures can be made using Calders wire sculptures as a focus.

7 • Evaluation of project.

Homework / Extension ideas • Study drawing of shoe • Collection of collage materials • Research on shoe styles (images from magazines, internet and library) • Vocabulary sheet: distortion, surrealism,collage, photo montage • Written and illustrated diary entry from journey.

Adaption of scheme of work This unit can easily be adapted to use architecture / built environment as the starting point altering the scheme of work accordingly. Examples of functionalist architecture in Zlín in particular Building 21 with it’s mobile office, which was at one point the tallest building in Europe can be studied. Pupils can also look at buildings in East Tilbury and use the archives in the Bata Resource and Reminiscence Centre to study other examples of this style of architecture where the principle of form following function is used. Architects Le Corbusier. and Charles Holden (who designed many of London Undergrounds stations) worked in this style.

Celebration – bunting making Passengers were engaged in the creation of a piece of bunting to decorate the Bata Foundation for the occasion of Tomas Bata‘s birthday. The travellers were free to choose their own subject for their individual ‘pennant’ and worked with basic materials to create their final image.

Many chose images and words that related to their own reasons for making the journey while others chose images that were prominent from the journey itself – examples included:

• A cinema projector • A shoe • A portrait of the artists • Functionalist architecture - ie the Bata factory in East Tilbury • Written words • A bus

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1 • Brainstorm as a whole class / small group or as individual the ‘Bata-ville’ film. You may wish to use some of the ideas suggested in Key Themes as subheadings to help with the process ie. travel, landscape etc. Expand the brainstorm to look at ‘celebration’ asking pupils to consider types of celebration and decoration.

2 • Look again at the examples of bunting made on the trip and at examples of African Asafo Flags which demonstrate applique techniques of cutting and sewing different fabrics together and a simple bold use of colour. Pupils can also look at contemporary Western artists working with cloth and stitch. Consider: Tracy Emin, Michael Raedecker, Yinka Shonibare and Tracy McKenna.

3 • Pupils should choose an idea for their pennant from their brainstorm that will create an interesting image and collect pictures from newspapers/magazines, the internet and library as visual references from which to design their artwork e.g. for travel pictures of buses, roads, signs etc. Pupils can also make drawings from primary sources as well as from their imagination.

4 • Give pupils a copy of a bunting template or ask pupils to draw a triangle using your own measurements.

(It is important to state which is the top of the ‘pennant’ so that the final pieces fit equally together.)

5 • The chosen image for the ‘pennant’ should be simplified in pupils sketchbooks and drawn onto the paper pattern.

Possible outcomes:

• These paper pieces can either be viewed as the final piece and the chosen image drawn directly onto the paper and painted / collaged / sewn.

• The paper pattern can act as a stage in the design process and can be traced and used to cut out fabric shapes which can then be sewn onto a piece of background fabric. Different stitches can be demonstrated as ways of decorating the cloth.

• The paper pattern can be traced and a simple stencil made which can be used to make a repeat printed image onto the cloth.

• The bunting can be made in small groups, telling a ‘story’ from the journey or can be viewed as a whole class ‘decoration’.

6 • The final pieces can be attached to a length of ribbon.

7 • Evaluation of project

Homework/Extension ideas

• Textile work has many different technically specific words that can easily be misinterpreted i.e. pattern (this can be used to describe a design on fabric or the paper prototype used to make up the finished work.) Inclusion of such words in a vocabulary sheet will avoid any misunderstandings. Other words might include embroidery, functionalist architecture, embroidery – blanket stitch, chain stitch etc (as required), applique

• Discuss the similarities and differences surrounding Art and Craft.

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Links to the Curriculum

The following questions, ideas and activities offer starting points to art based projects, homework and extension activities, whilst encouraging pupils to make links with other subject based enquiries.

English

Tomas Batas words ‘ We are not afraid of the future’ created a starting point for the project.

• Is a title important to an artwork?

• Why did the artists choose these words? This could lead to discussion around the future. Especially considering the unemployment that has occurred at Bata.

• Do titles alter our perception of an artwork, aiding our understanding or do they hinder us from making our own interpretation of the work?

• Do you think that the passengers on the trip were drawn into thinking about the future as these words were chosen to guide the trip?

Suggested activities

• Ask students to think of their own title for the film. If pupils have watched the whole documentary they could choose one particular scene to focus on.

• Individually or as small collaborative groups ask them to write on cards their own titles for the film. They should then explain to the rest of the group their choice of words. These ‘word cards’ can then be used as starting points to future art works.

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Technology (Textiles/ICT)

• The techniques and construction methods involved in the large scale production of shoes as seen at the visit to the BATA factory can be further understood through pupil or teacher led research into the use of CAD and CAM.

Suggested activities

• A shoe can be ‘disassembled’ to demonstrate the making process. Pupils can then draw their own a shoe and work out how many parts are used to make it up. Developing their awareness of structure and form.

• Use a CAD programme to layout the shoe pieces.

• Collect samples of shoes that students can handle and study the structure. Encourage them to study the reverse of the fabric as it can inform of the making and joining processes involved.

• The image of a turtle for Bata shoes was chosen for its associations with protection. Discuss with pupils the importance of logos. Pupils can collect samples of logos helping them with the design of their own for a shoe company.

Geography/Maths

An awareness of the geography of the UK and Eastern Europe will develop pupils understanding of the coach trip undertaken.

Suggested activities

• Study maps of the UK and Eastern Europe, asking pupils to work out the distance travelled and countries visited.

• Pupils to create a ‘collaged map’ of the journey. Adding images from a range of resources (the internet, ‘object trouvea eg. stamps, coins, (can be from photocopied / scanned) to record the journey and it’s events.

• Pupils to research the countries where Bata operates now and in the 1950’s and discuss why production of Bata shoes has moved away from the UK.

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History

Individual or group research on the history of both Bata and the communist period in the Czech Republic will extend pupils understanding of the company and Czech history.

Suggested activities

• A visit to the Bata Reminiscence Centre.

• Online research @ www.Batamemories.org.uk where images can be downloaded of Bata, East Tilbury, Zlín for visual and written resources.

• Pope and Guthrie looked at different aspects of ‘Bata Life‘ re-enacting / revisiting events from its history. Choose an event, pilgrimage or journey from history and explore how you might ‘revisit’ it as an art work. Pupils can look at the artists own website www.somewhere.org.uk where other journeys have been ‘re-enacted’ including /broadcast/ (29 pilgrims, 29 tales) which looks at Chaucer’s Canterbury Tales and A hypertext Journal which looks at Boswell and Johnson’s ‘A Journey to the Westeren Isles’. Pupils can extend this research to look at the work of other artists who quote or appropriate art from the past.

Media Studies

A weekly newsletter the ‘Bata Record’ was produced for it’s UK employees. Suggested activity

• Pupils to design their own front page of the newspaper for September 2004 to include stories, interviews and pictures of the trip to Zlín.

• To advertise the trip travellers Pope and Guthrie created leaflets and application forms for potential travellers.

Pupils to design a poster advertising the travel agency and coach trip. Encourage the use of persuasive language, interesting fonts and images. Pupils could work with the Bata colours of red, white and black developing an understanding of design. The text could be produced on the computer expanding links with ICT.

Film and TV

Throughout the trip a film crew documented the journey.

Suggested activities

• Design a storyboard for part of the journey, to include information on sound, lighting etc.

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Animation Projects

The Bataville visit to the Zlín Film and Animation Studios ‘Ateliery Bonton’ will have introduced pupils to the workings of an animation studio. As an extension to this part of the documentary pupils can create their own pieces of moving image through the basic animating techniques used in a ‘Flick book’ and ‘Zoetrope’.

Introduction

• Discuss/ brainstorm with pupils what they know about cartoons and the different types of animations that they have seen.

• Highlight the different types of animation:

Computer generated – Toy Story or Shrek Drawn – Tom and Jerry 3-D – Wallace and Grommit

• Discuss why film makers / animators make ‘moving pictures’ and thedifferent experience of reading / looking at a book compared to watching a tv or cinema screen. As well as emphasising the scale, sound, techniques (fades/ colours/ split screen) of the moving image itself itself, emphasise the idea of an audience and a shared experience.

A Practice Storyboard

As an introduction to animation and the notion of a ‘visual story’, pupils can create a storyboard from the many possible themes that present themselves in the film (see Key Themes). However the most successful animations are those that have a simple storyline and artwork, so encourage pupils to work with simple visual ideas.

Animation Studio

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A story-sequencing activity

• Cut up images from a well known cartoon, story or nursery rhyme and ask pupils to put them in order.

• They can then progress to drawing four boxes (or more) to tell their own story. Discourage pupils from adding too many words so that they learn the power of the drawn image.

Making the story board

• A story board is a way of conveying an idea using mainly pictures in the sequence that they will appear. On this version soundtrack details, speeches or technical instructions can be added to give more detail. It also provides the opportunity to edit and structure ideas and develop skills in visual narrative.

• Emphasise the importance of a storyboard and it’s role in communicating an idea for an animation. If pupils have completed their ‘Practice Storyboard’ then they can progress to a more complex version.

• A group storyboard could be produced by the whole class. This could be drawn on large sheets of paper and pinned up for all to see. This would encourage less confident pupils to become involved and also promotes a greater understanding of the sequencing techniques needed to tell a story. This technique will allow for flexibility as extra details and changes can be added throughout, and should help younger pupils understand how a story board is produced and what its function is.

* For those schools involved with the Animation Workshop it will also coincide with a trip to the Bata Reminiscence Centre.

The following activities will introduce your class to the concept of creating the illusion of a moving image which is the basis for animation.

• Flick Books • Zoetropes

For either type of animation the following starting point can be used

• Pupils should brainstorm the activities that they saw on the documentary. Encourage pupils to think of ideas which are visual and simple to draw e.g.

• departure/arrival of bus – somebody waving

• scottish dancing – a person kicking their legs

• egg dumping – an egg cracking in a persons hand

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1• Pupils should begin by making study drawings in their sketchbooks of the main elements of their animation e.g. studies of hands by Escher and Schiele can be shown to pupils to extend their knowledge of different styles of drawing. Simple studies of line drawings by Calder and Giacommetti can be made, emphasising the use of simple / continuous line.

2 • Encourage pupils to collect images of their chosen subject e.g. hands / feet from magazines to extend their awareness of possible shapes, textures and tone.

3 • Pupils to draw from first hand observation their own / partners hands in different positions.

4 • Pupils to simplify their drawn images into stick drawings or very simple line drawings in preparation for their animated sequences.

Extension/Differentiation

Pupils can research other artists working with ‘hands’ in moving image. For example the 1996 Turner Prize Winner Douglas Gordon who explored opposites at war in his video of hands apparently wrestling with one another (they were actually his own left and right hands). This can act as an introduction to the ‘Turner Prize’ and issues relating to contemporary art.

Visit www.tate.org.uk for more information.

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Flick Books

• Pupils should simplify their drawings, focusing mainly on the shape of the actions on a practice page in a sketchbook.

• Use the photocopiable sheets (see pack) Photocopy at least four of these sheets per flick book so there will be twelve or more images for their animation.

• Pupils need to draw their action bit by bit in each square so by the 12th square the action has happened.

• Number the squares and cut them out, stapling together at the X.

• As the book is flicked, the animation takes place.

Extension / Differentiation

• Draw on both sides of the paper so when the book is turned upside down, another animation takes place

• To aid pupils tracing paper can be used to quickly redraw parts of the animation that remain constant. Work in pencil initially so that mistakes can be altered easily.

As the book is flicked, the animation takes place

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Zoetropes

• Pupils should simplify their drawings, focusing mainly on the shape of the actions on a practice page in their sketchbook.

• Using a long strip of paper, pupils should draw the first stage of their chosen movement.

• They should then redraw their movement all the way along the ‘strip’, leaving a gap in between each drawing. Each image should represent the next stage of that action.

• The strip of paper is then put inside a spinner similar to an open top drum and spun around. If you look in to the drum you will see the animation take place. The spinner can be made out of card curved into a circle with paper clips to clip the strips of paper to it. This could then be put onto a record deck to make it spin round.

Extension / Differentiation

• A simple line of coloured dots can be created, the simple cracking of an egg from the egg dump activity would be an easily accessible image.

• To extend pupils knowledge of animation in a wider historical context, a brief history / time line can be discussed or displayed in the classroom. From the creation of the Bayeux Tapestries in 1066, to the first flick books in the West in the 16/17 centuries right through to the computer generated animations of today. This activity could be added to by groups or individuals for extension work or homework.

The zoetrope was invented in 1834 by William Horner

example of bouncing ball

www.bata-ville.com We are not afraid of the future Storyboard sheet

Name • Title •

1 2 3

4 5 6 We are not afraid of the future

KWL Grid

The idea of this grid is to record what pupils already know (K), what they want to find out (W) and at the end of the project what they have learnt (L).

Sentence starters can be given to pupils to help with the start of the process.

This is what I have learnt This is what I This is what I have learnt about the Bata company would like to find out about the Bata company and contemporary art. about the project. and contemporary art.

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Flick book masters

X X

X X

X X

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Bata Shoe Images

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Travel images • Images by John Podpadec and Gilly Waller

Back on the bus Pope and Guthrie

Building 21, Zlín View of Zlín

Tomas Bata‘s party Filming in Prague Dance practice, at the Bata Foundation

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Some useful links www.somewhere.org.uk Pope and Guthries own site with links to this project and other of their works. www.bata.com The Bata Companies official website. www.batamemories.org.uk The Bata Resource and Reminisence Centre (based at East Tilbury).

Journals that may provide students / teachers with further insight into Pope and Gutheries work and that of other contemporary practioners include: Artists Newsletter, Art Monthly and Frieze.

Other artists, designers and crafts people to look at:

Video Artists: Gillian Wearing – documentary style video artist Douglas Gordon – Turner Prize winning video artist

Artists who work with technology Heath Bunting • www.irational.org Susan Collins

Artists who work with people Anna Best, Jeremy Deller (Turner Prize winner, 2004)

Other artists and designers mentioned in this pack Vivian Westwood Andy Warhol Tracy Emin M C Escher Egon Schiele Le Corbusier Charles Holden • www.charlesholden.com

Animation resource The Animators Handbook by Tony White Cracking Animation by Peter Lord and Brian Sibley Your Animation Time by Rolf Harris Make Your Own Animated Movies by Yvonne Andersen A Super 8mm Animation Handbook by Terry Quirk and Marshall Matee

Other useful links For further information on African Asafo flags • www.ghana.co.uk/history /flags

Willow withies for sculptural forms can be obtained from www.somersetlevels.co.uk

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