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A high-profile European collaboration in the field of visual arts education. Sainsbury Centre for V isual Arts for multi-cultural studies, art and creativity across the. Apart from the context of our joint project, the above points also address needs and necessities. By working on their development in both methodological and.

What follows is a summary of approaches and philosophies which are held in common. The gallery is a valuable educational resource. The Sainsbury Centre for V isual Arts. This is an art gallery on the campus of the University of East Anglia, which includes art.

Quality and clarity of display. The labelling is minimal, as the benefactors who gave the collection intended it to. It is important to outline this background, as. A wide range of teacher-training activity is conducted in the gallery , ranging from:. W e also work directly with schools in partnership with various funding agencies involving.

For the purpose of this Comenius project we are focussing on the Masters level. This course and its underlying. It is now being supplemented by new applied-arts and. Some developments for the future. It is quite noticeable. They can, in the long-term, continue involvement with the gallery and its in-service. During the course of this Comenius project, however , we have been looking into possibilities. There have been one or two significant instances already.

One such story , Jenny Ladusans relates in her case study. There are other examples of schools where the boost to confidence from the rising quality. The future of the county. This kind of demotion of the subject is only possible. Art is perceived, in England at any rate, all. There is all the more reason therefore, for specialist training for teachers in order to help. Only by this means, by strategic planning and concerted.

Our courses are intended for non-specialist teachers who wish to familiarise themselves. Learning to be reflective about art in a way that may yield the most valuable. Our methods are based on careful training during regular.

T eachers who work with us are supported through research. Our aim is to acknowledge the importance of the learner who is working constructively and. An important next step is the process of. Puzzling around the evidence of what the works represent; how. Responses, reflections, questions, and puzzles provide. Developing an appreciation of the ways in which classifications and connections can be made.

Approaches to understanding objects in terms of. Knowing or discovering places of origin, and the social and cultural. This kind of analytical approach need not detract from the more immediate. Even when people come. Lack of experience leads them not always to recognise. In deciding to look at an object, observers will bring to it a particular attitude of mind, or. They might have a set of perceptions about the particular works of art — for example about subject.

All kinds of social and cultural factors may play a part in the processes of interpretation and. Religious beliefs or exposure to religious images. Capacities to interpret facial or. No-one really knows how these cultural factors may influence response, taste, judgement,. What we suggest is that a level.

A wareness of the possible implications of cultural, temporal and historical variables is. The viewer might begin the process towards understanding with knowledge about how. Receptiveness to stimuli from the work of art, a sensitivity towards looking and. There may be particular interests or a defined agenda brought to the encounter with art. A painter might be interested in the devices. Those people who approach art from the perspectives and attitudes of other disciplines, such.

They will seek their. An art historian can be especially. Someone interested in religious. The more general and broad-ranging approach to developing understanding — beginning from. Initial contact with the objects will be affected by previous experiences and personal.

There will be some preconceptions about what can be gained from the works of art and. Someone encountering a museum or gallery collection might prefer to develop an approach. W orks of art can open up an immediate range. Understanding different aspects of art objects can be accompanied by an appreciation of. The non-expert might not want or need to construct their knowledge in the same way as. They might want freely to roam around a range of questions as well as posing their.

Individual interests and perceptions will direct the viewer in certain ways. But we want to. This kind of flexible foraging for understanding might. They will however probably be directed by levels of experience and range of interests,. Children have less experience of the world, yet it is. For the non-specialist teacher ,. If the teacher can develop a flexible. One set of assumptions that we have adopted is that these creative developments will be best.

It is now widely accepted that such. Some have argued that the development of understanding is gradually cumulative,. The search for similarities in artistic purposes, or in principles of design, or concern with. As well as asking how styles and traditions and related social and cultural contexts change across. Our approach to visual arts education is an attempt to humanise the discipline. It is not just. Several complex aspects of knowledge.

They need to attend. These tasks tend to happen without a neat sequence, but. W e aim to assist teachers to:. Seeking to develop some understanding and practice of educational action research is part. Thinking about what teacher research implies, and about what to research. Ideas are changed according to circumstance and rethinking,. These new ideas are assimilated into.

A commitment to systematic questioning of teaching is characteristic of. In turn, such prudence will result from careful handling of evidence of. Professional development based on such assumptions involves teachers in identifying the. The emphasis is on a sharing of interpretations and. The focus on the potentials for pupils is a permanent and paramount concern.

How could it be fitted into the topic for the Spring term? Which objects, artists and cultures have the greatest potential for engaging the interests of pupils? How will 4 year. W ill they be able to reach up to see the objects? These kinds of self-searching, practical and thought-provoking questions show that this is. They are interspersed with questions about the meaning of action. What kinds of data might be useful?

Where will I find them? How should I record them? Is the research topic too broad or too. Brief summaries of projects undertaken by four teachers who were students of the. In their different ways, they each. A very large part of their work was entirely. But the significant differences from the normal routine of their teaching roles were as.

These case studies have been transcribed from verbal presentations. I came to this course knowing nothing. That is the honest truth.

My art education had finished. I had been teaching five years when a colleague. My colleague was leading. One child from my class who was very difficult for behaviour and could. He was 7 years of age and he stayed there. Other children wandered, some sketched some. But when I got back to school I. I knew that I had to teach ancient Egypt, because we have a two year cycle, and I included.

I decided to do my research on how I could. The course was very good. But everything changed when I was introduced. These allowed me to know how one can start to look at pictures and objects.

I set very clear teaching aims for my next visit: I needed to know where my children. The children had to choose one object. Half had to describe. They all found it. I then introduced them to the questions and used an. Egyptian bracelet as a resource: The day before the visit had come and I told the children that they were going to be detectives. They all had magnifying glasses and clipboards.

I asked my children to choose four objects from the Collection that they wanted to be responsible. They had to draw a picture, of their object, from a photograph and to describe what they could. They then made their own questionnaire to take with them to the Sainsbury. Centre, of questions they still had not been able to answer after looking at the object to try and find. The day of the visit I had made a very tight timetable because the Egyptian objects are very. When we got back to school I had planned certain activities.

One of them was for them to. They had also to pool their knowledge. They then had to agree about the entry for the guidebook we planned to make. My analysis of my visit are these:. Because our visit happened almost at the end of our topic on Egypt my children already knew. They need to have information.

What have I done since I came on my visit? I have used the question technique for a. I would say , after the Sainsbury Centre visit. Those are questions used in the training course in the from of practical activities in the Sainsbury Centre for. V isual Arts, encouraging teachers to build methodologies for looking at objects. T eachers are being asked to concentrate on numeracy and language almost solely and with. I feel we can rightly justify.

W e have covered history by looking at ancient objects. W e have done geography by looking at Egypt. W e have done science by looking at the material the objects were made from. W e have done mathematics by looking at the size, which was for the children really important,. Design and technology , they looked at how things had been made. In Information T echnology we word-processed parts of the book. But most important of all — the language that we gained.

Five years have passed since I came on the course. I joined the course because I wanted to. I wanted to find out what art was to the children in my classroom. I asked the children what they thought art was and most of. Big paintings, big drawings, very neat. The children in the area where I work are from.

Their language is poor.. So I began by showing them videos. V ideos of other artists, other types of art. I also showed them a video of different kinds of art galleries from the T ate Gallery to. So we talked about art quite a lot before we came to the Sainsbury.

Centre for our visit. When I came to the Sainsbury Centre myself I liked the masks and the tribal rituals interested. I thought the children. So I chose NW. American Indians the raven rattle and the Chilkat blanket , the Inuit the wolf mask and the walrus.

I was able to share quite a lot of knowledge with my children before they came to the. Colleagues brought me books and I read a lot. The children were very. They were children I thought might respond, children who.

I came with the whole. Before we came … I went through the. They went all over the gallery When we got back to school …we spent the whole term on work from the Sainsbury Centre. Each group had to write a story and devise a dance…and compose some music and make the props. I asked them to think about Lowestoft, which is our home town,. Mostly the boys wanted to be warriors.

W e made dance sticks, ankle bracelets, rattles and. People were very impressed. Art and Physical Education and Music, we had written some myths and talked about them in terms.

W e had done Maths measuring the sticks and the instruments. Geography had been covered and also technology and we had in fact used Information T echnology. Harry said — this was in about March, so from September to March —: V ideos, carving wood, clay things and it could be making blankets in beautiful patterns,. Since finishing the course, I was so pleased with the art that we had produced, and I wanted.

And so I decided to come to the Sainsbury. Centre every year and include it in our art plans, which we still do to this day. But to do that I. It was very , very successful because all the teachers were able to benefit from. And we did that for about a year. That was very successful. Colleagues from middle schools and high schools came to help.

Our teachers present art. Studying sculptur e with four to five year olds. I work with young children, 4 to 5 year olds in a county primary school. I wanted to look. The visit to the Sainsbury Collection was the culmination of the project. T o find out how the children showed expressions of mood and feelings in colour and light. Looking at recognisable figures that they were used to: Barbies and Action Men as pieces of.

T o develop vocabulary and experiences of handling three-dimensional objects. Dance and movement related to the posture of sculptures I was going to show them. Understanding how the children look, feel, touch and experience three-dimensional forms. I hoped would help me to a greater understanding of their development. And would assist me in. How would the children be changed when looking at the sculptures?

W ill they take delight. W ill they want to know where the sculptures were made? W ould they care what the. These are just a few of the many questions at the outset of the research. None of these children had been exposed to sculpture before, and I chose particular.

I needed to look at the facial expressions, the attitude of the. However , before we could see the sculptures I carried out classroom action research to. In my class I believed it was important to expose and engage children in. It was critical that their awareness was developed. I needed to provide opportunities for. So this was task one: When do you feel sad or happy?

Can you draw things that make you happy? A man shooting a child. A dark pencil drawing, stick figure, stick gun shooting someone. Then an exercise in looking. Looking at Barbie dolls and action men as pieces of sculpture. The Barbie doll has an elongated form. Long legs, extended neck, small head, tiny feet. So the questions I asked the children: What do you think of. Can she do the splits? T ell me about the shape of the head.

How is it joined? Now the children listened. Again I wanted the children to handle and discuss and look at the features of. The size of the head, the square jaw , the strong cheeks, the thick neck, the muscles. Are there similarities and differences between the. Barbie doll and the Action Man? Can the Action man stand on his own? Does he have big arms, big hands? I tried to take them a stage further in the looking at three—dimensional force as.

They were beginning to develop the skills of expression and some. They then did a drawing of a boy in class. The boy was in the middle and the. They looked at positional language, the front, back, side,. I needed to think of open-ended questions and to extend their practical work. I wanted to open. So I brought in four different. One of stone, one of metal, one of wood and one of clay , and we. T ask four was dance and movement and we looked at the photographs of the sculptures we.

How could they demonstrate the posture of these pieces of sculpture? On the day when we went to visit, the parents were instructed not to talk to the children when. And the children were provided with paper, pencils to draw. The children responded well in all groups because they had the practical understanding of. The most significant is the posture and the mood of resignation. They knew these four sculptures, they knew where to go because I had done that journey.

The pelvic thrust and the chin and nose tilted upwards,. I had hoped to encourage children to engage with the. T o ask questions and most important to trust their own responses. It was now clear that. So it was Reception class then it goes on to class 2,. The exhibits in the permanent collection are used as. It was sculpture I wanted. Art unfortunately is no longer a major subject in the national. So you have a starting point.

What I wanted to look at was the way in which children could use an object to inform their. For this particular MA module I used 26 children aged 10 to I used a a painting by Lowry as a starting point for language and looking and observing. I asked them to relate it to their real experiences of waiting for a bus and how people. I trained them first to observe. Sometimes we take that for granted.

And I asked them to draw whilst. Another painting was by Picasso and the description…. I then said we were. In the gallery I asked them to look at certain sculptures and to do very quick concentrated. V irtually all the children could identify with Bucket Man. I split the group with lots of different adults and each adult had a tape.

I asked them to look at the collection as a whole using all the artefacts, sculptures,. I then looked at some of the drawings that the children had done and I then assessed them on what. As a follow up we then decided to. One group wanted to look at Bucket Man and wanted to do a life-size. However the children had to learn many skills before they could do this,. The handling of the chicken-wire, very sharp edges,. Big thick gardening gloves.

Huge bolt cutters and a lot of room. This took half a term to make and we had them standing fully clothed, painted in. One of the children took. Another group, Carl in particular , decided to explore how a piece of sculpture was made and the. In the end he made it so thick it was impossible to fire.

I suggested he took it home and put it on the barbecue and stood well back. The whole essence of using the Sainsbury Centre is to get the children. T o be able to look all the way round an object. And to be able. W e also used other materials to make the artefacts such. So what came out of it? Art has got to be enjoyed. But it also made the children appreciate what art is all about.

That there are no barriers. Many of the teachers including Sheila Bream Hardy adapted this basic list to suit their. In a later edition of the course manual [ Appr oaching Art , ed.

SCV A, ], the range of questions and approaches to questioning were substantially extended. It arose from a. The team which was formed.

This is all the more crucial. Each year Musenfances proposes a theme, which is decided and defined by the advisory. The theme is chosen with a view to linking the in-service training to the reality of school. Supported by the Education Service. Musenfances, assured of coherent and regulated methods, is permitted to provide primary school. The organisation of Musenfances throughout the school year.

The advisory teachers choose a theme in line with. An enlarged group, including more educational partners. The booklet includes suggestions about possible form and content of the project,. Each adviser , working as she wants in her own sector ,. The teachers who volunteer to work in the programme engage in the process.

The teachers may call upon the. In the course of time teachers and pupils jointly select the works which will be exhibited. The staf f of the town councils, museums, and the places. The works which have been selected are shown together with a written.

The exhibition provides them with answers which may have. W riting the booklet is the result of team work. Many discussions and explanations take place. It is designed for all the people who want to work. It explores the theme, opens perspectives, provides landmarks,. In order to explore all possibilities and to avoid a set way of teaching, we have decided to. The first stage concerns the teacher. This is the time.

This is an opportunity for his or her development as a teacher certainly ,. It is a necessary stage during which the. The resource material — the booklet — is intended to nourish. What is its place in the history of art? A few scientific clues. Assessment is quite brief and simple and takes account of: The analysis of the documents over several years also gives a good idea of the evolution of the. All these data help to improve future work. Musenfances is a creative process in five stages: It seeks to inspire the teachers to create new teaching.

It may be characterised as follows:. The teachers are encouraged to build. Knowledge of the discipline and methodology are closely. Knowledge and concepts are being experienced. It may also be considered as a progressive process since many of the. Besides all the possibilities offered to the teachers to build their own skills, Musenfances. Reflections and points contributing to the organisation of in-service training.

A guide for experimenting with the pedagogy of a pr oject. Musenfances assists teachers to set up a project and adopting an approach to creativity: W e are dealing with the visual arts but the approach could be used for other.

For all creative activity and especially in the context of school work, the needs are:. The spiral-like approach is adopted: This is the moment for teachers to explore, to research, not only as professionals but. Books, exhibitions, bibliographies, TV programmes, movies, etc. Exploring the possible forms and symbols of the theme and finding means to express it:. Important ingredients for teacher training in visual arts. Concerning the general attitude, the teacher needs to consider many different approaches.

A T eacher should:. These ideas might be found in: Moreover , the content of knowledge could be different:. On what elements is.

It is necessary to define tools, materials, line s , shape s , colour s ,. Then both childr en and teacher. A special case connected with the historical background of. Maison Des Socieétés Savantes and enhanced them in a. The museum together with the town council. Fontanil, make their exhibition galleries available for the. Musenfances projects, and see to the whole organisation. It is a school association with an educational.

It belongs to a federation of local associations, it is inspired by an ideal of human progress. They encourage educational co-operation by practising and teaching co-. They also encourage contacts. They favour the European exchanges which show openness but in which the pupils. Musenfances is in line with these goals: Between the two, it is the second type of activity which constitutes. Art of the Castle of Rivoli was based on diversity of professional expertise and experiences, which.

It gave strong emphasis to practical art. Such an initiative can be considered as a model of. The Commission states its training aims very clearly:. In the light of the needs expressed by the group of teachers at the end of the two years during which the training.

Particularly we want to encourage teachers to develop:. W ithin the framework set by the above objectives, the two training courses were built on. W e read from the Commission minutes:. Pedagogy , University of T rento. The two training courses are to be evaluated over their two-year duration. Each of the two courses has been found with certain strong points as well as.

For example, the first year course put more emphasis on the practical and. Examined as an unity , the two courses could be the basis for a general training model built. The experimental implementation of this project was carried.

Projects design and coordination were executed by a working group. The positive outcomes fr om such initiative encouraged the working gr oup to pr oceed to the. For different reasons the experimentation of the activities had to be limited to two museums which were selected.

Similarly , V anchiglia and San Salvario were selected as the pilot districts for the work with schools. The bringing together of the expectations embodied in the new Protocol of Understanding.

Outcomes and quality of previous educational experiences, which. The guidelines of the new protocol have this way also contributed to strengthening the.

It aims to stimulate. Culturel Français de T urin. The prime figures in the activities of this. It is Coco who stimulates the children to develop conversations in French — because.

The project Coco à la GAM is analysed in depth below through the presentation of:. School, Art and Museums on Line. Currently , the proposal is included in the second phase.

An in-service training course focusing on Coco à la GAM took place in and offered. This new project is built on. It is currently in progress and. Its realisation would involve a network of primary and middle schools in the metropolitan area. However , it is. Coco à la GAM but the former does not reproduce the latter faithfully — on the contrary , it. Still the two projects, however different in terms of language, contents, artist and. The key words that.

In this context, effective relationship and collaboration between the school and. Snuck marry foreign language and artistic language into a multidisciplinary practice. In other words, the core of the work becomes the relationship between the teaching.

In the light of such teaching processes, a number of issues were considered by the group. Another consideration by the group has been the importance of taking into account the. What this means is that a museum educational programme.

In this context, a group. Structure of the pr oject. This project links foreign language learning with an educational. It addresses pupils of the. How the project was born. The project was developed in the context of the Agreement Protocol. Obviously important figures are also the pupils who engage in the. T ools used during the programme. The educational programme consists of a preparatory stage at school before. During their visit to the gallery , the pupils work both individually and in groups.

W orking individually , each pupil can use the wooden patterns and tempera colours, both primary. In groups, the pupils jointly create a piece of work out of their. Apart from that, the teachers carry out more linguistic,. This project aspires to stimulate the learning of the second language through a.

An important as well. The main aims of the project are to: These methodological arguments are extracted from the presentation of Ermanno Morello, held at GAM on. Ermanno Morello is one of the members. The painting represents two colourful characters and is included in a frame also conceived by. It is an original and strange painting reflecting an extraordinary moment in the European. The main tool for inviting children to discover and engage with the art work is a puppet, Coco,.

Coco is a friend of a lot of artists and has been living in GAM for a long. The material is presented in class. Later the children go to the Gallery. The discovery , observation and discussion about Le Baiser are the starting points for a short.

There the pupils work on techniques and materials inspired by the Dadaist. At the end the children are invited to. Before saying goodbye to Coco and returning at school, the children are given a little surprise. Coco has prepared a small pack for them, a stimulus for follow-up work in class. The last step of the programme takes place at the end of the. The project Coco à la GAM has been developed in the following stages:. I participated in the pilot stage of the programme with three classes of the fifth year , that is,.

My French teaching plan included visual art activities aiming to introduce and enrich the. The slides were analyzed very much in detail in an attempt to be polite to Coco who had. The presentation of the main events in Francis. The day of the visit to the GAM was an exceptional experience, even though both classes.

W orking with the third class. The third class did not carry out all the activities included in the pilot programme. Therefore, my gallery visit plan included. I did not use the help of Coco, of the gallery educators. The students arrived at GAM with little interest but their curiosity increased as soon as they. La Véronique et le T aureau? All classes carried out follow-up activities after the visit, which were considered a rather. The activities varied mainly in artistic and in linguistic terms.

The first class worked on the development of links between colours and images with words. Known words were listed directly in French whereas for others the students used. T empete sur la mer. The second class carried out the activity in couples, working on the manipulation of the. Au coucher du soleil Un cr oissant de lune pr end sa place dans un ciel. Nous regar dons par la fenêtre: Le Roi de la fête arrive The third class carried out a visual activity , similar to the one carried out by other classes.

The titles that each child chose. Robert Desnos, Chantefables et Chantefleurs, ed. The use of modern and contemporary art for learning a foreign language was born out of. I have always used a child-like puppet in the classroom as an instrument for dialogue and. The puppet is also used for checking on the class.

So it has been rather easy to incorporate an adult-like puppet in the activities relating. The activities of the programme with GAM have not been the only opportunity for art work. Moreover , within the three hours for language teaching per week I have always left room for. However , the teacher usually uses French as a tool for the development of other activities. Gradually the students learn how to observe the works of art, are curious to know the.

I have noticed how a student, who feels personally engaged in a process and has a pleasant. Usually the teachers are advised to include the programme at GAM in the teaching plan of. However , I happened to be doing the programme with a class of year 3, the pupils.

In this case the slides and the gallery activities. After the programme at GAM, the linguistic activities in the class are plentiful and never. They always begin with oral exercises, followed by written ones.

For the latter , the pupils. It has in fact happened in the past that a pupil obliges his patient grandparents to return to the. W e have worked together based on the. Des fleurs bleues Les fleurs des prés. Fr olées par le vent Deviennent bleues. Dansent heur euses Quand la neige tombe. Dans un pré blanc.

Une couvertur e blanche. Playing with assonance and the meaning of words. Les vagues de la mer Les cheveux de ma mèr e. Les poissons de la mer Les bigoudis de ma mèr e.

Les algues de la mer Les dentelles de ma mèr e. Les méduses de la mer Le bonnet de ma mèr e. Les bleu de la mer le bleu des yeux de ma mèr e.

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