“today the europeans have taken away all our masks and ... · key contributors to the art...

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Thanks to:

Key contributors to the Art Materials:

Sue Dixon, Art and Design, Benton Park High School, Leeds

Liz Merriman, Art and Design, Brigshaw High School, Leeds

Sammi Younis, Art and Design, Roundhay High School, Leeds

Anne-Marie Atkinson, Social Practice Artist, Leeds and Brighton

Special thanks to students from Benton Park High School, Leeds for all the images included in these materials.

Other W.C.T. Subject Teachers:

Lorraine Waterson, Head of History and Politics, Rodillian Academy, Leeds

Hayley Ashe, History, Rodillian Academy, Leeds

Richard Baker, Head of History, Lawnswood High School, Leeds

Andrew Bennett, Head of History, Allerton Grange High School, Leeds

Lydia Jackson, History Teacher, Abbey Grange C of E High School, Leeds

Judith Hart, Head of History, Priesthorpe High School, Leeds

Rachel Wilde, History Teacher, The Morley Academy, Leeds

Lynne Ware, Beckfoot Upper Heaton High School, Bradford

Tom Butterworth, Head of Geography, Priesthorpe High School, Leeds

Gill Morley, Priesthorpe High School, Leeds

Jane Dickinson, Geography Teacher, The Morley Academy, Leeds

Rachel Gibson, Head of Geography, Allerton High School, Leeds

Michelle Minton, The Morley Academy, Leeds

Mat Carmichael, Roundhay High School, Leeds

Ian Underwood, Roundhay High School, Leeds

Clair Atkins, Head of MFL, Lawnswood High School, Leeds

Thanks also for invaluable insights and support from:

Graham Revell, Lecturer Fine Art and Photography, University of Northhampton

Liz Allum and Barbara Lowe, Reading International Solidarity Centre, Reading

Humanities Education Centre, Tower Hamlets, London

Paul Brennen, Deputy Director Leeds Children and Young Peoples’ Service, Leeds

Design by Hardwired

Users may copy pages from this pack for educational use, but no part may be reproduced for commercial use without prior permission from Leeds DEC.

All materials are also available to download from: www.globalschools.org.uk/art World Class Teaching Project Global Learning Framework

“Today the Europeans have taken away all our masks and still they want more masks. In return they have left us their waste, which we do not manufacture ourselves. So...I recycle the rubbish which they send us everyday, as masks for which they have such a hunger and send it back, so that our old masks may stay with us.” Romuald Hazoumé

ContentsIntroduction 4

Delivering Spiritual, Moral, Social and Cultural aspects of learning 6-9

Curriculum Review 10-12

Reflection criteria for teachers 13

Quality principles in Global Education 14

Global Learning Teaching Toolkits 15

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Introduction

The World-Class Teaching programme aimed to improve teachers’ capacity to bring Global Learning into the classroom, developing quality teaching and learning materials for their specific subjects, worthy of Ofsted ‘outstanding’ rating.

A recent UNESCO study recognises that although Global Education in different countries and communities is offered in different ways, it nevertheless, has a number of uniting elements. The most important among these is fostering in learners:

an attitude supported by an understanding of multiple levels of identity, and the • potential for a “collective identity” which transcends individual, cultural, religious, ethnic or other differences;

a deep knowledge of global issues and universal values such as justice, equality, • dignity and respect;

cognitive skills to think critically, systemically and creatively, including adopting multiple • perspectives;

an approach that recognises the different dimensions, perspectives and angles of • issues;

non-cognitive skills including social skills such as, empathy, conflict resolution and • communication;

skills and aptitudes for networking and interacting with people of different backgrounds, • origins, cultures and perspectives;

behavioural capacities to act collaboratively and responsibly to find global solutions for • global challenges, and to strive for the collective good.

From: Global Citizenship Education:Preparing learners for the challenges of the twenty-first century, UNESCO, 2014.

This makes it crucial for education to give learners the opportunity and competences to reflect and share their own point of view and role within a global, interconnected society, as well as to understand and discuss complex relationships of common social, ecological, political and economic issues, so as to derive new ways of thinking and acting. However, Global Education should not be presented as an approach that we may all accept uncritically, since we already know there are dilemmas, tensions, doubts and different perceptions in an education process when dealing with global issues.

There are many definitions of Global Education. The Maastricht Global Education declaration (2002) states:

Global Education is education that opens peoples’ eyes and minds to the realities of the globalised world and awakens them to bring about a world of greater justice, equity and Human Rights for all.

Global Education is understood to encompass Development Education, Human Rights Education, Education for Sustainability, Education for Peace and Conflict Prevention and Intercultural Education; being the global dimension of Education for Citizenship (From: Global Education Guidelines,The Council of Europe).

A Global Learning approach can enhance the Art & Design curriculum which is to ‘engage, inspire and challenge students, equipping them with the knowledge and skills to experiment, invent and create their own works of art, craft and design’. It can also help students to ‘think critically’ and better understand ‘how art and design both reflect and shape our history’.

Themes from the World Class Teaching Global Learning Framework such as: Peace and Conflict Resolution; Poverty; Sustainable Development; Political Power, Democracy and Human Rights; Migration; and Diversity and Intercultural Relations could be explored through certain elements identified in the programme of study for Art and Design.

The materials in this handbook provide a sample of ideas from the categories outlined in the National Curriculum. It is hoped that this will model a process of curriculum development which can be applied to other themes and topics and result in Global Learning being systematically embedded in Art and Design.

See also:www.globalschools.org.uk/art

Global Learning in Art & Design

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Global Learning provides a great vehicle for delivering SMSC and Values Education. Through subject content which includes a global dimension, students are given many opportunities to engage with controversial issues, take part in stimulating debate about global issues and broaden their understanding of interdependence. It creates opportunities for them to explore their own values and develop critical thinking skills. Global Learning also supports students in identifying and articulating their world view, and critically assessing the rationale behind their ideas and assumptions.

Each curriculum section included in the Global Learning Teaching Toolkits specifically illustrates links to SMSC and Values, shown both on the Generic ‘Big Ideas’ Mats and on the Schemes of Learning.

What SMSC means for Students:

Ofsted’s definition of spiritual development includes the development of a non-materialistic, spiritual side to life including: a sense of identity, self-worth, personal insight and the development of a pupil’s soul, personality or character. The Art and Design curriculum is dependent on the students’ ability to enquire and communicate their ideas, meanings and feelings. Students have many opportunities to investigate visual, tactile and other sensory qualities of their own and others’ work. Developing critical thinking helps students formulate their ideas and intentions and express these in an appropriate manner.

What it looks like for students:

A set of values, principles and beliefs, which may or may not be religious, which inform • their perspective on life and their patterns of behaviour

Awareness of and understanding of their own and others’ beliefs• Respect for themselves and for others• A sense of empathy with others, concern and compassion• An increasing ability to reflect and learn from this reflection• An ability to show courage and persistence in defence of their aims, values, principles • and beliefs

Readiness to challenge all that would constrain the human spirit - for example, poverty • of aspiration, lack of self-confidence and belief, moral neutrality or indifference, force, fanaticism, aggression, greed, injustice, narrowness of vision, self-interest, sexism, racism and other forms of discrimination

Appreciation of the intangible - for example, beauty, truth, love, goodness and order – • as well as for mystery, paradox and ambiguity

Respect for insight as well as for knowledge and reason• An expressive and/or creative impulse • An ability to think in terms of the “whole” – for example, concepts such as harmony, • interdependence, scale, perspective

An understanding of feelings and emotions, and their likely impact •

Ofsted’s definition of moral development includes the development of understanding of moral values that regulate personal behaviour and understanding of society. Through Art and Design students are encouraged to look at work that will often pose a moral question. The students’ outcomes are supported with a rationale or a meaning that will often convey a message.


An ability to distinguish right from wrong, based on a knowledge of the moral codes of • their own and others’ cultures

Confidence to act consistently in accordance with their own principles • An ability to think through the consequences • of their own and others’ actions

Willingness to express their views on ethical • issues and personal values

An ability to make responsible and reasoned • judgements on moral dilemmas

Commitment to personal values in areas • which are considered right by some and wrong by others

A considerate style of life• Respect for others’ needs, interests and • feelings, as well as their own

Desire to explore their own and others’ views• An understanding of the need to review and • reassess their values, codes and principles in the light of experience

Delivering Spiritual, Moral, Social and Cultural aspects of learning through Global Learning

Spiritual

Moral

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Ofsted’s definition of social development includes inculcating the skills and attitudes necessary to participate fully and positively in democratic, modern Britain. Students have opportunities to work independently and collaboratively to develop public and community artworks that express relationships between the students and local community and have their work celebrated throughout the school. Discussion and critical appreciation of a range of artists and artwork encourages communication skills.


An ability to adjust to a range of social contexts by appropriate and sensitive behaviour• Relate well to other people’s social skills and personal qualities• Work, successfully, as a member of a group or team• Challenge, when necessary and in appropriate ways, the values of a group or wider • community

Share views and opinions with others, and work towards consensus • Resolve conflicts and counter forces which militate against inclusion and unity• Reflect on their own contribution to society and to the world of work• Show respect for people, living things, property and the environment• Benefit from advice offered by those in authority or counselling roles• Exercise responsibility• Appreciate the rights and responsibilities of individuals within the wider social setting• Understand how societies function and are organised in structures such as the family, • the school and local and wider communities

Participate in activities relevant to the community• Understand the notion of interdependence in an increasingly complex society•

Ofsted’s definition of cultural development is about pupils’ understanding of their own culture and other cultures, being able to operate in the emerging world culture and cope with change, valuing cultural diversity and ultimately preventing racism. This is seen as an essential element of preparation for future lives. The content of the Art and Design curriculum supports students to develop their knowledge and understanding of artists’ ideas and concepts, identifying how meanings are conveyed. They are exposed to a wide variety of cultures, beliefs and religions.


An ability to recognise and understand their own cultural assumptions and values• An understanding of the influences which have shaped their own cultural heritage• An understanding of the dynamic, evolutionary nature of cultures• An ability to appreciate cultural diversity and accord dignity and respect to other peoples’ • values and beliefs, thereby challenging racism and valuing race equality

Openness to new ideas and a willingness to modify cultural values in the light of • experience

An ability to use language and understand images/icons – for example, in music, art, • literature – which have significant meaning in a culture

Willingness to participate in, and respond to, artistic and cultural enterprises• A sense of personal enrichment through encounter with a cultural media and traditions • from a range of cultures

Regard for the heights of human achievement in all cultures and societies• An appreciation of the diversity and interdependence of cultures •

Addressing British Values through Global Learning in Art and Design

Global Learning provides a context for exploring and fostering human values with students. British Values are referenced throughout the Global Learning Teaching Toolkits contained in this publication and specific examples from Art and Design content explored. British values have been identified by Ofsted as: “democracy, the rule of law, individual liberty, mutual respect and tolerance towards those of different faiths” and it is expected that schools will focus on, and be able to show how their work with students is effective in embedding British values throughout teaching and learning.

Social Cultural

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Global Learning opportunities in Art and Design teaching have been identified from the national curriculum and modelled in the Global Learning Teaching Toolkits.

The new Art and Design curriculum offers a real opportunity for teachers to enhance students’ learning by the integration of global issues in their teaching. The emphasis on teaching in context and understanding the uses and implications of art and design is made clear in the aims to ensure that all students:

produce creative work, exploring their ideas and recording their experiences• become proficient in drawing, painting, sculpture and other art, craft and design • techniques

evaluate and analyse creative works using the language of art, craft and design• know about great artists, craft makers and designers, and understand the historical and • cultural development of their art forms

In the programme of study the importance of teaching through a ‘global lens’ is highlighted through the production of creative work, exploring ideas, recording experiences, evaluating and analysing creative works and understanding the historical and cultural development of art forms.

Production of creative work, exploring ideas and recording experiences:

Students can engage with their surroundings, culture and experiences and produce a considered response. Outcomes may be personal, political or cultural.

Evaluate and analyse creative works using the language of art, craft and design:

This could include aesthetics and art criticism by ways of examining symbolism, metaphors, and representations in works of art as well as applying these areas to convey meaning.

Know about great artists, craft makers and designers and understand the historical and cultural development of their art forms:

This could include aesthetics and art criticism by ways of examining symbolism, Historical and cultural components consciously and subconsciously influence artists, craft makers and designers in their outcomes. These components also influence ‘consumers’ in their interpretation.

Underpinning these elements is the importance of including a real world context within subjects in the school curriculum. Global Learning should be seen as a pedagogical approach that is relevant and appropriate to the construction and application of knowledge within a subject.

Curriculum Review

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“BIG IDEAS” for Art and Design Curriculum

The act of creating art is sometimes more important than the art object itself. • Art is a reflection of the time period and the culture in which it was made. • Artists often reframe ideas and experiences in order to generate new perspectives. • Art makes us look at our world in new and different ways.• Space can be defined, created and manipulated by artists in a variety of ways.• Art comes in many forms and is made for many purposes.• Artists have tried out a variety of ways to show feelings in their work.• The faces an artist works from are often those of his or her family. • One way of telling stories is through art.• Art is sometimes made by a group of people under the artist’s direction.• Some artists today invite the viewer to physically participate in their work.• The invention of the camera encouraged artists to experiment freely with points of view • in their work, rather than rely on conventional frontal views.

Artists often get ideas from other artists. • When examining the work of artists, it is important to remember- Who? Where? (place • and context) What? (medium and materials) Why?

Embedding Global Learning in subject teaching

In order to facilitate the process of embedding Global Learning in specific topics, teachers are encouraged to use the following questions as a way to orient their thinking around Global Learning.

Can this module help us to explore development processes, or help us develop our • understanding of development processes?

What can we understand about social justice, inequality and power relationships through • this module of work?

How does this topic contribute to our • understanding of interdependence?

Does this module help us to explore • intercultural understanding, challenge stereotypes and promote multiple perspectives?

Can this module help us develop our • understanding of human rights, citizenship and democracy?

In what ways are we promoting and • developing global critical thinking skills through this topic?

How are we addressing and fostering values • and attitudes?

Does this approach (and the subject matter of • this topic) make us aware of active citizenship and participation?

It’s not necessary for all of the questions to be answered or their concepts to feature in every topic.

Reflection criteria for teachers

All materials are also available to download from:

www.globalschools.org.uk/art

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ContentsGeneric Global Learning the Big Ideas Mat; including SMSC and Values 1. 16-17

Curriculum Materials2.

Consumption and WasteCase Study: Materials 19

Global Learning Overview and the Big Ideas • 20-21Scheme of Learning • 22-23G.L. Reflection Tool • 24

Identity and Cultural DiversityCase Study: Aboriginal Art 25


The Honey Bee Project 31Global Learning Overview and the Big Ideas • 32-33Scheme of Learning • 34-35G.L. Reflection Tool • 36

Human Rights and Social JusticeCase Study: Graffiti Art 37


EnvironmentCase Study: The Sea and River Estuaries 43


Citizenship in Action 3. 49How do topics in Art and Design stimulate our thinking about active citizenship and participation and how might we relate this to our own role in society?

Global Learning Teaching Toolkits

Global Education places emphasis on the interdependencies between global 1. South and global North - it is not limited to the presentation of global problems.

Global Education shows global processes in the local perspective, it presents 2. their consequences for everyone, it is not limited to the abstract.

Global Education uses up-to-date and factual descriptions of people and 3. places, it does not sustain existing stereotypes.

Global Education shows causes and consequences of global processes, it is 4. not limited to facts and statistics.

Global education stresses the importance of long-term individual involvement 5. in reaction to global challenges, it does not sustain a sense of helplessness, it is not about fundraising for charities.

Global Education respects the dignity of people it speaks about, it does not 6. focus on the negative but rather seeks to represent a balanced picture of their realities.

Global Education facilitates critical thinking and supports individuals to 7. develop opinions around global issues, it does not promote one ideology and does not offer quick answers.

Global Education promotes understanding and empathy, it does not refer 8. to pity.

Global Education allows the people it refers to, to speak for themselves, it 9. does not rely on guesswork and imagination.

Global Education uses many diverse teaching and learning methods, it is not 10. limited to didactic teaching.

Global Education aims at building knowledge, developing skills and changing 11. attitudes, it is not limited to transferring knowledge.

Global Education is learner-centred, the learning process starts with the 12. experiences of the learners, it is not exclusively teacher-led.

Quality principles in Global Education

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GLOBAL LEARNING: THE BIG IDEAS

Development 1. Processes including Sustainable Development

How might this help us to explore 1. development processes, or help us develop our understanding of development processes?

Social Justice, 2. Inequality and Changing Power Relationships

What does this tell us about social justice, 2. inequality and power relationships?

Understanding 3. Interdependence

How does this contribute to our 3. understanding of interdependence?

Diversity and 4. Intercultural Understanding

Does this help us to explore intercultural 4. understanding, challenge stereotypes and promote multiple perspectives?

Political Power 5. Democracy and Human Rights

Can this help us develop our 5. understanding of human rights, citizenship and democracy?

Peace and 6. Conflict Resolution

In what ways are we promoting and 6. developing Global Learning skills eg. critical thinking and conflict resolution?

Fostering Values and 7. Attitudes

How are we addressing and fostering 7. values and attitudes?

Active Citizenship 8. and Participation

What does this tell us about active 8. citizenship and participation and how might we relate this to our own role in society? Sustainability; Dignity; Justice; Equality; Freedom; Diversity; Peace; Solidarity

VALUES AND ATTITUDESDEMOCRACY: Understand how we can influence decision-making through democratic

processes.

RULE OF LAW: Understand how the law works in Britain and how the rule of law can protect individual citizens and contribute towards their well-being and safety.

MUTUAL RESPECT:

Understand that different faiths and beliefs (or none) should be accepted and not be the cause of prejudicial or discriminatory behaviour.

INDIVIDUAL LIBERTIES:

Understand that the freedom of a citizen to choose and hold faiths and beliefs is protected in law.

GLOBAL LEARNING AND SMSCSPIRITUALSP1. Reflect on our own beliefs and our respect for the faiths, feelings and values of others.

SP2. Learn about ourselves, others and the world around us.

SP3. Use imagination and creativity in our learning.

SP4. Reflect on our own experiences.

SOCIALS1. Use our social skills in different contexts and with different people.

S2. Contribute positively to different communities and social settings, and cooperate with others in resolving conflicts.

S3. Understand and engage with the values of democracy and individual liberties.

S4. Show respect and tolerance to those with different faiths and beliefs.

MORALM1. Recognise the difference between right and wrong and apply this understanding to our own lives.

M2. Recognise and respect civil and criminal law.

M3. Reflect on the consequences of our behaviours and actions.

M4. Investigate moral and ethical issues and offer reasoned views.

M5. Appreciate and try to understand the viewpoints of others.

CULTURALC1. Understand how cultural influences can shape a person’s heritage.

C2. Understand and appreciate the different cultures within school and regional, national and international communities.

C3. Understand the role of democratic parliamentary system in shaping our history, values and future.

GLOBAL LEARNING: THE BIG IDEASDevelopment 1. Processes inc. Sustainable Development

Political Power 5. Democracy and Human Rights

Social Justice, 2. Inequality and Changing Power Relationships

Peace and 6. Conflict Resolution

Understanding 3. Interdependence

Fostering Values 7. and Attitudes

Diversity and 4. Intercultural Understanding

Active Citizenship 8. and Participation

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“Global Learning engages, challenges and empowers both teachers and students as true Global Citizens,”

Art and Design Teacher, Roundhay High School

“Through Global Learning we make connections to a host of different ideas and perspectives that enrich learning,”

Head of History and Politics, Rodillian Academy



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What can we understand about social justice, inequality and power relationships • through this module of work?

How does this topic contribute to our understanding of interdependence?• Does this module help us to explore intercultural understanding, challenge stereotypes • and promote multiple perspectives?

Can this module help us develop our understanding of human rights, citizenship and • democracy?

Consumption and Production; Global Economy and International Trade; Natural Resources; Sustainable Development; Political Power, Democracy and Human Rights (from: from W.C.T. Framework for Global Learning)

“A Global Learning approach within a school would need to take account of knowledge, skills and values. It would need to offer a process of learning that ‘opens up minds’ to a broader global vision, to deepen knowledge and understanding, encourage critical thinking and reflection and encourage critical thinking around a values base of social justice and challenge to inequality.” (Global Learning Programme, England, 2015)

Global Learning explores the local in the global and the global in the local. This is also • about developing an understanding of context – questions such as, who and where? being aware of and challenging stereotyping; developing multiple perspectives and engaging with views, opinions and ideas which may be different from one’s own.

Example: Chris Jordan, U.S.A., Running the Numbers looks at contemporary American culture through the austere lens of statistics. Each image portrays a specific quantity of something, eg. 106,000 aluminium cans (thirty seconds of can consumption). “My hope is that images representing these quantities might have a different effect than the raw numbers alone, such as we find daily in articles and books. Statistics can feel abstract and anesthetizing, making it difficult to connect with and make meaning. This ongoing series looks at mass phenomena that occur on a global scale. Finding meaning in global mass phenomena can be difficult

because the phenomena themselves are invisible, spread across the earth in millions of separate places. There is no Mount Everest of waste that we can make a pilgrimage to and behold the sobering aggregate of our discarded stuff, seeing and feeling it viscerally with our senses.”

This unit can engage students with issues of sustainable development and global • citizenship. Whilst designing their envisaged artwork, students can explore the environmental impact of what we produce, consume and dispose of; analyse what it tells us about our culture and lifestyle and consider the effects of our choices on people and the planet.

Example: Chris Jordan, “I believe it is worth connecting with these issues and allowing them to matter to us personally, despite the complex mixtures of anger, fear, grief, and rage that this process can entail. Perhaps these uncomfortable feelings can become part of what connects us, serving as fuel for courageous individual and collective action as citizens of a new kind of global community. This hope continues to motivate my work.”

Art can also be a form of social, cultural and political commentary and provide a vehicle • for individual and/or collective response to issues both past, present or perceived future. This unit supports students to think critically about global issues and development processes.

Example: Huang Xu, Beijing, China. Huang Xu’s oversized chromo-graphic prints explore the fragile nature of the contemporary global economy. Whilst China once shipped silk to the West, the West now ships used plastic bags back to China. For his work he collected the remains of plastic bags from rubbish heaps in China, where an estimated 3 billion plastic bags are used every day. The few recycling facilities that do exist are further strained by the import of used plastic bags collected by European supermarkets.

The elliptical ‘Reflection Tool’ at the end of this section can be used as an Assessment/Reflection Tool for students to check their understanding of Global Learning the Big Ideas in Art.

Global Learning Reflection Questions:

Global Learning themes covered:

Global Learning ‘The Big Ideas’ -Consumption and Waste - Materials:

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Title of Unit

Consumption and Waste: “Today the Europeans have taken away all our masks and still they want more masks. In return they have left us their waste, which we do not manufacture ourselves. So...I recycle the rubbish which they send us everyday, as masks for which they have such a hunger and send it back, so that our old masks may stay with us”.

Romuald Hazoumé

Developing Ideas

Pupils will develop a creative response through understanding the work and the techniques used to create 3D form/ sculpture in art, investigating the work of a variety of world artists. Use of experimentation. Decision making and choices.

Skills

Paint - Use of paint application. Understanding form and how patterns can be applied to 3D structures. 3D modelling. Adapting and improvising with found materials – use of imagination and working through problems via experimentation, discussion and trial and error.

Reviewing/refining

Pupils will be involved in self-assessment throughout project reviewing and refining work as it progresses. Use of whiteboard and visualizer to display work in progress, comment and work through different versions throughout unit. Self and peer assessment – group critique will be invaluable.

Knowledge and Understanding ~ Contextual/Artists connections

Pupils will look at the work of Romuald Hazoumé and investigate Fâ, an art form from Benin. It is a way of seeing and understanding the world and our place in it. These are our individual relationships with each other and our communities; as well as the planet, the stars, galaxies and other universes (the cosmos) that we belong to.

http://caacart.com/pigozzi-artist.php?i=Hazoume-Romuald&bio=en&m=35http://www.octobergallery.co.uk/artists/hazoume/http://www.theprogressoflove.com/?p=189

Extension Activity opens up the uses made of other waste materials by other world artists.

ASSESSMENT CRITERIA (Learning Outcomes):

Pupils will have produced a creative response to the theme of recycling and the environment successfully in 3D mixed media. The form and structure help to create 3 dimensional sculpture and using paint will be evidenced clearly with neatly worked patterns and shapes reflecting the form. The knowledge and understanding gained by looking at a variety of artists will broaden the art appreciation and be evidenced within the research tasks. Pupils will gain an awareness of the responsibility of such art work in our world and understand the significance of such powerful work made by individuals. An awareness of such global issues and concerns will be paramount within the learning.

Aims/Objectives:

To extend understanding of human and environmental issues and concerns, government interventions.To understand how artists can use discarded materials, for practical but also for other (message based) purposes. Eg. political.To create a personalised response to the theme in three dimensions.To understand the works of others linked to associated themes.

Processes:

Design concepts.

Two-dimensional thought processes into three-dimensional.

New materials and processes. Eg. pulp, card construction, cut paper, painting.

To understand how pattern ways can be applied to a three dimensional surface.

Key Elements:

Colour wheel Earth colours and pigments.

Social, political and environmental messages linked to communities.

Role of women in communities- Ndebele tribe.

Re-use, re-cycle, up-cycle etc.

Global Learning Opportunities

Considering SMSC Key learning

Considering Values and Attitudes

Global Learning supports students to develop subject specific skills, including critical thinking and the ability to engage with different perspectives presented through the topics. They are encouraged to think about their own values when looking at key global issues, considering issues such as fairness, human rights, tolerance, conflict resolution. These approaches and

methodologies permeate all topics.

The choice of materials used in this unit is not only a statement about the artist and the context but also raises questions about consumption and waste at a local scale and a global scale.

Past injustices are reflected through the work of artists such as Hazoumé, as well as changing power relationships.

Consumption and waste disposal has consequences locally, nationally and globally.


What does this tell us about 2. social justice, inequality and power relationships?


Scheme of Learning Consumption and Waste

SPIRITUALSP1. Reflect on our own beliefs and our respect for the faiths, feelings and values of others.

MORALM3. Reflect on the consequences of our behaviours and actions. M5. Appreciate and try to understand the viewpoints of others.

SOCIALS2. Contribute positively to different communities and settings and cooperate with others in resolving conflicts.S4. Show respect and tolerance to those with different faiths and beliefs.

CULTURALC1. Understand how cultural influences can shape a person’s heritage.

Peace and Conflict Resolution6.

Fostering Values and Attitudes7.

Active Citizenship and Participation8.



MUTUAL RESPECT:


Sustainability; Dignity; Justice; Equality; Freedom; Diversity; Peace; Solidarity

http://caacart.com/pigozzi-artist.php?i=Hazoume-Romuald&bio=en&m=35

http://www.octobergallery.co.uk/artists/hazoume/

http://www.theprogressoflove.com/?p=189

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Diversity and Intercultural Relations; Natural Resources; Sustainable Development; Political Power, Democracy and Human Rights; Poverty; Peace and Conflict Resolution; Migration (from: from W.C.T. Framework for Global Learning)


Art is a reflection of the time period and the culture in which it was made, although • artists often reframe ideas and experiences in order to generate new perspectives.

Examples: Yinka Shonibare, (British-Nigerian) Shonibare’s art challenges our ideas about cultural identity and the post-colonial world. His work explores cultural identity, colonialism and post-colonialism within the contemporary context of globalisation.

Lubaina Himid, Professor of Contemporary Art at University of Central Lancashire (b. Zanzibar, Tanzania) focuses on issues of history and identity, in particular the creative strategy needed to achieve a sense of belonging. Her work is based on exchanges of ideas and memories.

Anissa-Jane, (b. UK) seeks to explore the intricacies of identity, ancestry and cultural adaptation in her work. Her own experiences as an African British West Indian woman are integral to her creative expression.

Artists often get ideas from other artists. Through Global Learning in Art, we can explore • global processes in the local perspective, presenting their consequences for everyone, not limiting it to the abstract. Art makes us look at our world in new and different ways. ‘Tradition is about the ongoing process of being innovative. I want to make things that my ancestors haven’t seen before … I can’t just photocopy what they did, I don’t think they want us to do that’, George Nuku, New Zealand.

Art can also be a form of social, cultural and political commentary and provide a vehicle • for individual and/or collective response to issues both past, present or perceived future. This unit supports students to think critically about global issues and development processes.

Examples: Shigeyuki Kihara, (b. Samoa) uses photography to explore themes of Pacific identity, spirituality, colonialism, and gender. “As an artist, a Samoan and a Fa’a fafine (‘Samoan of Third experience’) my daily existence questions a wide range of Western classifications that people base a major part of their lives on, that shape their cognitive systems and worldview.”

Lillian Pitt Wak Amu: Series of portraits of ‘She Who Watches’, a famous petroglyph in the Columbia River Gorge. ‘Tsagaglal’ the image called by the First peoples, has long been a symbol of conscience, of death, and of endurance among the people of the mighty river. “My goal is to incorporate as best as I can, the traditional Native American arts of my ancestors into the contemporary art that I create for people living in these modern times.” http://contemporarynativeartists.tublr.com/post/39387444692/lillian-pitt-wak-amu

Frida Kahlo, Mexico http://www.fridakahlo.com/

In this unit of work, examples from Aboriginal art are used as a focus for research and • learning. Through Global Learning this is framed within the context of Human Rights.

With the creation of the UN after World War Two, the particular vulnerability of minorities to human rights abuses was recognized by the establishment of the Sub-Commission for the Prevention of Discrimination and the Protection of Minorities, followed by Article 27 of the International Convention on Civil and Political Rights, specifically dedicated to minorities http://www.minorityrights.org/

“When we paint, whether it is on our bodies for ceremony or on bark or canvas for the market, we’re not just painting for fun or profit, we’re painting as we always have done to demonstrate our continuing link with our country and the rights and responsibilities we have to it.” Galarrwuy Yunupingu, Aboriginal Artist




Global Learning ‘The Big Ideas’ -Identity and Cultural Diversity - Aboriginal Art:

http://contemporarynativeartists.tublr.com/post/39387444692/lillian-pitt-wak-amu

http://www.fridakahlo.com/

http://www.minorityrights.org/

28 29

Scheme of Learning Identity and Cultural Diversity


SPIRITUALSP2. Learn about ourselves, others and the world around us.SP4. Reflect on our own experiences.

MORALM2. Recognise and respect civil and criminal law.

M3. Reflect on the consequences of our behaviours and actions.

SOCIALS3. Understand and engage with the values of democracy and individual liberties.

S4. Show respect and tolerance to those with different faiths and beliefs.

CULTURALC2. Understand and appreciate the different cultures within school and regional, national and international communities.








Unequal power and access to resources impacts negatively on the welfare of people.

Whole cultures (such as the Aboriginies) have suffered as a consequence of colonialism. Valuing and respecting differences in culture, customs, and traditions is a key element of Global Learning.


Does this help us to explore 4. intercultural understanding, challenge stereotypes and promote multiple perspectives?




DEMOCRACY: Understand how we can influence decision making through democratic processes.

Title of Unit: Identity and Cultural Diversity

Developing Ideas

Pupils will develop a creative response through understanding the work and the techniques used to create stories in art. Use of experimentation. Decision making and choices.

Skills

Paint - Use of paint application. Understanding symbols and how patterns can be applied to send messages and stories. Adapting and improvising with a range of materials – use of imagination and working through problems via experimentation, discussion and trial and error.

Reviewing/refining



Pupils will look at the tradition of Aborigine culture – although this will be looked at as a context for investigation of the historical context, social issues students will develop ideas relating to their own culture as well. Students can investigate the traditional Aborigine way with the more contemporary one. Eg. Clifford Possum Tjapaltjarri

https://simple.wikipedia.org/wiki/Aboriginal_artwww.art-educ4kids.weebly.com/aboriginal-art-and-patterning.htmlhttps://www.kateowengallery.com/.../10-Facts-About-Aboriginal-Art.asp

“This is another world to the ones most Australians know. It was explained by my father once that it’s like a blanket on the ground. We, the uninitiated, only see the blanket. Lift it up and that’s what our elders see – the real thing – a world most of us will never know or understand. Through their paintings, artists offer us a glimpse of the world of dreams where the past, present and the future link.” Hetti Perkins, of Aboriginal Art


Pupils will have produced a creative response to the theme of cultural stories and the environment successfully in dot painting. The use of paint will be evidenced clearly with neatly worked patterns and shapes reflecting the shapes of symbols within the stories. The knowledge and understanding gained by looking at a variety of artists and culture will broaden the art appreciation and be evidenced within the research tasks. Pupils will gain an awareness of the responsibility of such art work in our world and understand the significance of such powerful work made by individuals. An awareness of such global issues and concerns will be paramount within the learning.

Aims/Objectives:

To extend understanding of human and environmental issues and concerns, government interventions.To understand how artists can use discarded materials, for practical but also for other (message based) purposes. Eg. politicalTo create a personalised response to the theme in three dimensions.To understand the works of others linked to associated themes.

Processes:

Design concepts.

Two-dimensional thought processes.

New materials and processes. Eg. dots, foam prints.

To understand how pattern ways can be applied to a design.

Key Elements:

Colour wheel Earth colours and pigments.

Social, political and environmental messages linked to communities.

Role of women in communities.

Symbolism.

“It’s a long road we have come and it’s a long road we can go. We have to walk together and talk together. If you never listen to me, I will never listen to you. I will not follow you. Walk side by side and let’s get there.”Conrad Ratara, at a handing back of ancestral lands to Aboriginal people ceremony

“We must respect each other’s right to choose a collective destiny, and the opportunity to develop the legal and political rights for Indigenous and non-Indigenous peoples so that we may enjoy the right to maintain our culture, our heritage and our land, as a united Australia.”

Jackie Huggins

https://simple.wikipedia.org/wiki/Aboriginal_art

www.art-educ4kids.weebly.com/aboriginal-art-and-patterning.html

https://www.kateowengallery.com/.../10-Facts-About-Aboriginal-Art.asp

32 33





Natural Resources; Sustainable Development; Poverty; Consumption and Production; Food and Agriculture; Global Economy and International Trade (from: from W.C.T. Framework for Global Learning)


Art is a powerful tool for social change, raising awareness, disseminating ideas and • inspiring people to act together.

Examples: Ashley Cecil, a self-described ‘painting activist’ inspired to create a work that would illustrate how climate change affects poor communities.

Agnes Denes, U.S.A. sees her work as commentaries on “human values and misplaced priorities,” challenging our views of natural cycles and stewardship. ‘Wheatfield - A Confrontation’ (1982) involved the planting of wheat in a vacant two-acre lot in downtown Manhattan. The harvest of the artwork yielded 1,000 pounds of wheat, which was then brought on a tour of 28 cities worldwide as part of the ‘The International Art Show for the End of World Hunger’ and eventually symbolically planted around the globe.

Trace (2005) via Red Earth Environmental Art Group http://www.huffingtonpost.com/2014/07/15/environmental-art_n_5585288.html As a reminder that ‘art’ can be a matter of collective participation, Red Earth is an interdisciplinary collective of artists working with other specialists - geologists, architects, farmers, archaeologists, historians, ecologists, astronomers, land managers, animals and other communities - to create experimental connections and physical speculations between art, science and nature.

Louis Masai Michel, UK http://www.thisiscolossal.com/2015/03/save-the-bees-mural-project/Raising awareness of the plight of the honey bee, Michel returned from a trip to South Africa where he was painting endangered animals, when he began to learn about bees and the grave implications of colony collapse disorder. He immediately set out to paint a series of murals incorporating bees on walls around London, but the endeavour proved wildly popular and has since spread to Bristol, Devon, Glastonbury, Croatia, New York, Miami and New Orleans. Many countries around the world have documented a great decline in the number of bee populations including China, Brazil, North America and Europe.

See also:www.treehugger.com/culture/top-5-environmental-artists-shaking-up-the-art-world

Global issues and topics such as ‘The Honey Bee Project’ can be explored through the • framework of the Sustainable Development Goals.

https://sustainabledevelopment.un.org/topics




Global Learning ‘The Big Ideas’ -Art and Activism - The Honey Bee Project:



http://www.huffingtonpost.com/2014/07/15/environmental-art_n_5585288.html

http://www.thisiscolossal.com/2015/03/save-the-bees-mural-project/

www.treehugger.com/culture/top-5-environmental-artists-shaking-up-the-art-world

https://sustainabledevelopment.un.org/topics

34 35

Scheme of Learning The Honey Bee Project


SPIRITUALSP2. Learn about ourselves, others and the world around us.SP3. Use imagination and creativity in our learning.

MORALM3. Reflect on the consequences of our behaviours and actions.

M4. Investigate moral and ethical issues and offer reasoned views.

SOCIALS2. Contribute positively to different communities and social settings, and cooperate with others in resolving conflicts.

S3. Understand and engage with the values of democracy and individual liberties.








Title of UnitThe Honey Bee Project:

Developing Ideas

Pupils will develop a creative response through understanding the work and the techniques used to create printmaking in art. Use of experimentation. Decision-making and choices. Expanding knowledge and understanding related to the honey bee world. Neo-niconoids, pollination, food, bee cycle, how we can help.Ideas will be linked to the Sustainable Development Goals.

Skills

Organisation, using alternative materials, design and printmaking processes, identifying good design, use of positive and negative shapes within a design.

Reviewing/refining


ISEN / G&T/ EAL / Risk Assessment / Support

Extra worksheets for support. Support given clear indication on where unit is headed and the outcomes expected. High achieving pupils will further develop design by sophisticated use of materials to give the illusion of depth and layering with a social message illustrating conscience.Health and safety concerns will be monitored, such as aprons, washing up etc.


Pupils will look at the work of artists – Cas Holmes, Max Ernst, Laney Birkhead, Jill Poole, Tracey Emin and artists involved in social activism particularly about Climate Justice, World Poverty and Hunger, Environmental Degradation. https://sustainabledevelopment.un.org/topics Contexts with bee facts and data will be gathered for the project. http://www.greenpeace.org/switzerland/Global/international/publications/agriculture/2013/BeesInDecline.pdfExtension activities: Creating layered landscapes http://africanbusinessmagazine.com/sectors/agriculture/the-money-is-in-the-honey/


Pupils will have produced a creative response to the theme in printmaking successfully. Printmaking skills will be evidenced clearly with neatly worked processes reflecting the differing methods. The knowledge and understanding gained by looking at a variety of artists will broaden the art appreciation and be evidenced within the research tasks. Pupils will gain an awareness of the responsibility of such art work in our world and understand the significance of such powerful work made by individuals. A link between material use will be embedded and the greater understanding of the global causes of concern will be understood and developed.

Aims/Objectives:

To extend understanding and develop skills when using printmaking skills – block, mono and lino.

To create a personalised response to the theme using printmaking.

To understand the works of others linked to associated themes. Laney Birkhead – printmaker.

To use Art as a vehicle for social activism.

Processes:

Design concepts.

Two-dimensional design working through a design process.

New materials and processes making a series of prints.

Key Elements:

Line, shape, texture and colour.

Social and environmental messages linked to the honeybee.

Social and economic concerns re the world of the honeybee.

Louis Masai Michel, UKhttp://www.thisiscolossal.com/2015/03/save-the-bees-mural-project/Raising awareness of the plight of the honey bee, Michel returned from a trip to South Africa where he was painting endangered animals, when he began to learn about bees and the grave implications of colony collapse disorder.“The environment and the economy are really two sides of the same coin. If we cannot sustain the environment, we cannot sustain ourselves.”

Wangari Maathai



MUTUAL RESPECT:



People, places and environments are all inextricably linked so issues affecting the honey bee have repercussions on a global scale.

Our own choices, and the decisions made in the UK (by government and individuals) impact positively and negatively on the quality of life of people in other countries- honey bee colony collapse may have been caused by use of pesticides, fungicides and chemicals as well as global warming.



https://sustainabledevelopment.un.org/topics 15

http://www.greenpeace.org/switzerland/Global/international/publications/agriculture/2013/BeesInDecli

http://africanbusinessmagazine.com/sectors/agriculture/the-money-is-in-the-honey/

http://www.thisiscolossal.com/2015/03/save-the-bees-mural-project/ 17



38 39





Political Power, Democracy and Human Rights; Diversity and Intercultural Relations; Poverty; Peace and Conflict Resolution; Migration; Global Economy and International Trade; Sustainable Development (from: from W.C.T. Framework for Global Learning)


That rights and responsibilities are understood in a global context and the • interrelationships between the local and the global and this is portrayed through Artworks

That human rights are being denied and claimed locally and globally and this has been • shown by some artists

That human rights is a framework for challenging inequalities and injustice such as • racism, and that this is reflected through the work of artists and can be reflected through your own work

That our common humanity is valued and the meaning of universal human rights • celebrated through your artwork

That it is important to understand how past injustices have affected local and global • politics and that this is portrayed through artists’ work

That art can be a powerful motivator to take action that will contribute to a more just world• Examples: Banksy, (UK) stencilled anti-war piece, Soldiers Painting Peace, became prominent after it was displayed in a collection at the Tate Britain gallery in London in 2007. The collection was a recreation of an artistic display outside of the Houses of Parliament, which was confiscated for supposedly violating a law against unauthorized protest within a certain distance of the building. In this painting two soldiers dressed in battle gear warily look around as they conspire to paint a peace sign on a wall. One is crouching down and holding a machine gun, while the other is holding a brush that has been dipped into a can of red paint and is working on completing the sign. http://www.stencilrevolution.com/banksy-art-prints/soldiers-painting-peace/

Ai Weiwei, (China) His work explores a multitude of challenging themes, drawing on his own experience to comment on creative freedom, censorship and human rights, as well as examining contemporary Chinese art and society. https://www.royalacademy.org.uk/exhibition/ai-weiwei

Pablo Picasso, (Spain) : Guernica is a powerful political statement, painted as an immediate reaction to the Nazi’s devastating casual bombing practice on the Basque town of Guernica during Spanish Civil War. http://www.pablopicasso.org/guernica.jsp

Keith Haring, (USA) Haring held drawing workshops for children in schools and museums in New York, Amsterdam, London, Tokyo and Bordeaux, and produced imagery for many literacy programs and other public service campaigns. Diagnosed with AIDS in 1988, he established the Keith Haring Foundation, its mandate being to provide funding and imagery to AIDS organizations and children’s programmes. Haring enlisted his imagery during the last years of his life to speak about his own illness and generate activism and awareness about AIDS. http://www.haring.com/




Global Learning ‘The Big Ideas’ -Human Rights and Social Justice - Graffiti Art:



http://www.stencilrevolution.com/banksy-art-prints/soldiers-painting-peace/

https://www.royalacademy.org.uk/exhibition/ai-weiwei

http://www.pablopicasso.org/guernica.jsp

http://www.haring.com/

40 41

Scheme of Learning Human Rights and Social Justice


SPIRITUALSP2. Learn about ourselves, others and the world around us.

SP4. Reflect on our own experiences.

MORALM3. Reflect on the consequences of our behaviours and actions.M4. Investigate moral and ethical issues and offer reasoned views. M5. Appreciate and try to understand the viewpoints of others.

SOCIALS2. Contribute positively to different communities and social settings, and cooperate with others in resolving conflicts. S4. Show respect and tolerance to those with different faiths and beliefs.

CULTURALC1. Understand how cultural influences can shape a person’s heritage.C2. Understand and appreciate the different cultures within school and regional, national and international communities.







Title of Unit:

Developing Ideas

Pupils will develop a creative response through understanding the work and the techniques used to create graffiti and urban art. Use of experimentation. Decision-making and choices.

Skills

Paint - Use of gradient. Understanding depth and how the illusion of it is created in a layered composition. Use of wipe through stencils, carbon paper, found images and graffito.

Reviewing/refining


ISEN / G&T/ EAL / Risk Assessment / Support

Extra worksheets for support. Support given clear indication on where unit is headed and the outcomes expected. High achieving pupils will further develop design by sophisticated use of materials to give the illusion of depth and layering with a social message illustrating conscience.


Pupils will look at the work of various urban artists – Banksy and the social context, Victor Gaschaga, Michel Baisquait, Keith Haring, Jon BurgermanGraffiti – good or bad, environmental graffiti


Pupils will have produced a creative response to the theme of graffiti and the urban environment successfully in mixed media of their choice.The layering of the image to create depth with tonal gradient using paint will be evidenced clearly without any gaps with the colour mixing. The knowledge and understanding gained by looking at a variety of artists will broaden the art appreciation and be evidenced within the research tasks. Pupils will gain an awareness of the responsibility of such art work in communities and understand the significance of such powerful statements such as Banksy.

Aims/Objectives:

To extend understanding of human and environmental issues and concerns.

To create a personalised response to the theme in a variety of mediums.

To understand the works of others linked to urban identity.

Processes:

Painted gradients.

Use of stencils.

New materials and processes. Eg. carbon paper, graffito.

Key Elements:

Colour wheel.

Depth- Layers.

Landscape/ portrait.

Social messages.

Tags.

Human Rights and Social Justice

Graffiti Art



MUTUAL RESPECT:




RULE OF LAW: Understand how the law works in Britain and how the rule of law can protect individual citizens and contribute towards their well-being and safety.

Art can be a vehicle through which to challenge stereotypes and promote multiple perspectives.

Does this help us to explore 4. intercultural understanding, challenge stereotypes and promote multiple perspectives?

Past injustices affect contemporary local and global politics so it is important to value social justice and challenge injustice and inequality.


Art can be explored and presented through a framework of Human Rights.

Can this help us develop our 5. understanding of human rights, citizenship and democracy?

44 45





Sustainable Development; Natural Resources; Diversity; Poverty; Peace and Conflict Resolution; Global Economy and International Trade (from: from W.C.T. Framework for Global Learning)


That biodiversity is valued and protected and that artworks raise awareness of this • issue

That artists powerfully show their sense of awe in response to the variety of peoples • and environments around the world

That a key element in promoting sustainable development is social justice and the • improved welfare of all people

That artists know and understand the importance of sustainable resource use – • rethink, reduce, re-use, repair, recycle

That through art we can explore and develop ideas about probable and preferable • futures, and the need to maintain and improve quality of life now without damaging the planet for future generations

That artists and artwork can help us see the interconnections between social, • economic and environmental spheres

Examples:• Betty Acquah, (Ghana) One of the foremost painters of Accra (Ghana’s capital city), Betty Acquah explores and celebrates the status of Ghanaian women. Ordinary scenes and situations are elevated through her rich and ornate style, which is known as pointillism. By unpacking the everyday life of ordinary women, Acquah shows them to be inspirational, courageous and diligent in working towards a better Ghana.

Subodh Gupta, (India) Gupta is known for transforming everyday objects into large-scale installations that both reflect on his heritage and explore universal themes. His installations are often made from stainless steel buckets, pots, plates and cooking utensils that are used by large sections of the population For his installation ‘When Soak Becomes Spill’, Gupta has created a stainless steel bucket of an overwhelming scale with hundreds of small vessels spilling from the brim like flowing water. This alludes to the wastage of the world’s natural resources and the growth of consumerism. The shiny utensils seem precious, bright and attractive – something to be coveted. They represent the temptation of new commodities and the promise of a better future. However, as these vessels are empty they suggest the ultimate poverty of a consumer societyNnenna Okore, (Nigeria) Nnenna’s work is inspired by rural life and her childhood years in Nsukka, a small university town in Southern Eastern Nigeria. Her work connects to memories of the natural landscape, discarded objects, dilapidated buildings, nests and shelters. Nnenna was inspired by all aspects of rural life, in particular the culture and innovation of re-using discarded objects, seeing all materials as precious commodities. Living in America caused her to reflect on the way societies regard and value their materials and resources and also the impact of consumerism on our natural environment.Yuan Xikun, (China) Xikun hopes his paintings and sculptures will encourage people to protect the environment. He believes that nature needs to be cared for and treated as sincerely as a religion. Over the last decade, China’s environment has gone from bad to worse and environmental disasters have become common: from the almost-forgotten 2004 pollution of the Tuo River in Sichuan, to the overnight algae bloom in Lake Tai in 2007, to the reports of lead poisoning around the country in 2009, to the over-development of hydropower, chromium pollution, cancer villages and the cadmium-contaminated rice that have attracted media attention over the last two years.Mathilde Roussel, (France) Roussel created a series of living grass installations that take the shape of human beings. Made of recycled material and fabric filled with soil and wheat grass seeds, the pieces are meant to symbolize the centrality of food. “Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world - of abundance, of famine - and allows us to be physically, intellectually and spiritually connected to a global reality.”




Global Learning ‘The Big Ideas’ -Environment - The Sea and River Estuaries:

46 47

Scheme of Learning Environment - The Sea and River Estuaries


SPIRITUALSP2. Learn about ourselves, others and the world around us.

SP3. Use imagination and creativity in our learning.

MORALM3. Reflect on the consequences of our behaviours and actions.M4. Investigate moral and ethical issues and offer reasoned views.

SOCIALS2. Contribute positively to different communities and social settings, and cooperate with others in resolving conflicts.








Title of Unit:

Developing Ideas

Pupils will develop a creative response through understanding the work and the techniques used to create a layered framed image in art. Use of experimentation. Decision making and choices. www.fishfight.net/www.fishfight.net/story.htmlhttps://www.youtube.com/user/hughsfishfight

Skills

Paint - Use of paint application. Understanding shape, textures and how colour can be applied to layer a composition and create depth. Application of ideas and messages through strong images.

Reviewing/refining



Pupils will look at the work of Mark Hearld and other environmental artists- Max Ernst, Nikki Saint Phaille, Mark Hearld (see also Global Learning Big Ideas for further examples).


Pupils will have produced a creative response to the theme of river estuary and the environment successfully in a layered collage composition. Use of text may be appropriate. The knowledge and understanding gained by looking at a variety of subjects and artists will broaden the Global context and art appreciation and be evidenced within the research tasks. Pupils will gain an awareness of the responsibility of such art work in our world and understand the significance of such powerful work made by individuals.

Aims/Objectives:

To extend understanding of huan and environmental issues and concerns in relation to waterways, pollution, water supply and water purity for human consumption and wildlife needs.

To create a personalised response to the theme in a variety of two dimensional mediums particularly looking at mark making, texture, colour appropriateness and shape.

To understand the works of others linked to associated themes.

Processes:

Design concepts.

Two-dimensional thought processes into appropriate subject matter.

New materials and processes. Eg. sponging, splattering, silhouettes, layering.

Key Elements:

Colour wheel.

Social and environmental messages linked to the natural world relating to humans, pollution, water purification, wildlife needs.

EnvironmentCase Study: The Sea and River Estuaries


Sustainable development is inextricably linked to social justice and the need to maintain and improve the quality of life now without damaging the planet for future generations.

People, places; environments and economies are all inextricably inter-related and choices and events have repercussions on a global scale.





www.fishfight.net/

www.fishfight.net/story.html

https://www.youtube.com/user/hughsfishfight

50 All materials are also available to download from:


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