Archive

Tag Archives: Education

PYP IB Curriculum
Grade: 4-5
Time: 15 sessions
Summative Assessment: Cardboard Signs

Goal: Create awareness about the ocean pollution.
Role: Art Activists
Audience: School & Stjørdal Community
Situation: Studies have found, there are over 300 billion pounds of plastic in our oceans and they say the effect that waste has on animals is overwhelmingly (Bergen University).
Product Performance and Purpose: Students will inquiry into rights and responsibilities in the struggle to share finite resources with other people while making a sign and/or poster for an activism campaign.

Lines of Inquiry:
– Form: What is it like to live in the ocean?
– Change: How is pollution changing the oceans?
– Responsibility: How can art help people to understand their responsibility for cleaning up the oceans?

Activities: Discussion about the theme in class, Analysis of art Activism references, Cardboard Poster Workshop, collaborative “Manifesto” design.

screen-shot-2018-06-12-at-11-58-07.png

G.R.A.S.P. and worksheet. The rubric is also provided as a task list.

Screen Shot 2018-06-12 at 11.57.42

Students discussed the meaning of a “Manifesto” and made one with their own messages.

IMG_8344

Students asking students from all over the school to sign their manifesto to reduce plastic waste.

IMG_8343

Students with their signs ready to take action.

Advertisements

PYP IB Curriculum
Grade: 4-5
Time: 15 sessions
Summative Assessment: Comic Books

In this lesson, 15 students from grades 4th and 5th addressed issues of migration and culture by making a comic book. The lesson plan followed the central idea of “People migrate altering the existing environment, culture and their own lives” focusing the discussion questions on the two lines of inquiry: causation and reflection. The IB lines of inquiry questions used for discussions and creating art were the following:

  • Causation: Why is migration like it is?
  • Reflection: What is culture?

To support the discussions, students analyzed the artworks of Jacob Lawrence Migration Series (1941), artist Marjane Satrapi, and archive images from migration in Norway during WWII as well as newspapers to better understand how migration affects existing cultures. The experiences of sharing different socio-cultural perspectives in the classroom successfully help students make meaning and acquire knowledge about migration, diversity while bringing community and respect towards each other. The assessment of the lesson consisted of a simple student rubric and museum walk.

Students’ comics in accordion book format:

IMG_7942

Students providing feedback to other students.

img_8181

From Tanzania to Norway, and vice-versa.

img_8180img_8179

img_8182

From Congo to Norway.

IMG_8183IMG_8185IMG_8187

IMG_8201

A great-grandfather escaping from Norway to Sweden during WWII

img_8203IMG_8213

Screen Shot 2018-05-30 at 20.26.25

A student from Palestine presents her story.

img_82181

From Eritrea to Sudan and then to Sweden and Norway

img_82211img_8220

“Not My King” Toolkit  used during a workshop at Pop Up Feministhus, Trondheim, Norway (March 2018)
Catalog

During this artistic research, the focus has been placed to structure the theoretical components and images from the history of art aiming to display facts while opening dialogues that impulse the audience to make connections between patriarchy, capitalism, and environmental issues. In order to do that and inspired by playing cards which elements respond to a patriarchal structure, a toolkit Not My King has been designed to unlock female consumerist habits, in different socio-cultural backgrounds. The goal is to collect data documenting the participants’ reactions and dialogues to the question: How does patriarchy operate in relation to hyperconsumption? The cards in the toolkit have excerpts from quantitative and qualitative research from academics, non-governmental institutions that explain the impact of individual consumers, the garment and household products industry and, objectification as well as, gender theories (Chomsky, Klein, Federici, Rancièrè, Nochlin, Buttler, Beauvoir). In addition to that, the cards have images from visual culture, a concept map and basic game rules to articulate different ludic possibilities for perspectives about the politics of women’s bodies in Western visual culture, and its connection the Anthropocene. The card game is part of a larger research project that I am currently doing in which a book titled The Gendered Planet is being designed to expose the politics of aesthetics on women’s bodies in western visual culture from XVI century until the present. This project will be finished in May 2019.

cards_0001_layer-1cards_0000_img_8059cards_0004_img_7309cards_0003_img_7310cards_0002_img_7327

MYP IB Curriculum
Grade: 6
Time: 10 sessions

Inspired by artwork “Whose Values?” by contemporary artist Barbara Kruger, students discussed what a healthy community meant in order to understand how to deal with bullying situations and potentially neutralize them. They designed cardboard signs (layout and message) that later were used to perform a march around the school during recess time. By doing this, students had the opportunity to discuss with other peers about the importance of good attitudes to build a positive environment at school. They also visited different grades to share their message. The activities in this lesson were collaborative brainstorming, discussion about artworks in connection to the main theme, art, and design principles, as well as a typography workshop.  The IB lines of Inquiry incorporated into this lesson plan were:

– Perspective: How do positive/negative attitudes in the school context change us?
– Form: What is a positive/negative attitude towards other classmates?
– Change: How have you experienced negative/positive attitudes in the school context?

FINT_6g_Positive attitude campaign_0003_IMG_6659FINT_6g_Positive attitude campaign_0004_IMG_6668FINT_6g_Positive attitude campaign_0005_IMG_6689FINT_6g_Positive attitude campaign_0006_IMG_6653FINT_6g_Positive attitude campaign_0002_IMG_6679FINT_6g_Positive attitude campaign_0001_IMG_6677FINT_6g_Positive attitude campaign_0000_Layer 1FINT.jpg

PYP IB Curriculum
Interdisciplinary theme: “Sharing the Planet”
Grade: 2-3
Time: 8 sessions

How can we re-use materials for different purposes? During this lesson, students from second and third grade used recycled materials to make a sculpture that represents an animal, environment threatened by human-made pollution. The goal was to develop an understanding that the choice of different tools and materials results in different outcomes. The United Nations Sustainable Goals discussed during the lesson were: “Responsible Consumption and Production”, “Life on Land” and “Life Below Water”. Artists references included: Natsumi Tomita, Haiti Sculptures, Torres Garcia, Karel Appel. The lines of Inquiry incorporated into this lesson plan were:

  • Function: How can we use recycled materials to make art?
  • Causation: Why are the oceans being polluted? 
  • Responsibility: What choices artists make to encourage responsible consumption and preserve life on land and below water? The summative assessment consisted of a sketch from an endangered animal and a sculpture.

 

FINT_water_0005_IMG_5510

Students collecting trash from trash containers they made after the art theory lesson and placed in different places around the school.

trash monster

FINT_water_0001_IMG_5791

Student sketch illustrating how animals in the ocean are affected by plastic waste

FINT_water_0001_IMG_5783

“Blue Whale” Sculpture from student

FINT_water_0002_IMG_5771

“Dolphin” Sculpture from student

FINT_water_0003_IMG_5777

“Baby Ray Manta” Sculpture from student

FINT_water_0002_IMG_5797

Student sketch

FINT_water_0004_IMG_5674

“Baby bird” Sculpture from student

FINT_water_0000_IMG_5666

“Dolphin” Sculpture from student

 

 

A response to Walid Raad’s artwork “Let’s be honest, the weather helped”, 1998-2006. New Photography Galleries at the MoMA, New York, 2016. 

waalidraad_2

Waalid Raad. “Let’s be honest, the weather helped”(1998-2006). MoMA, New York. 2016.

waalidraad

Waalid Raad. “Let’s be honest, the weather helped”(1998-2006). MoMA, New York. 2016. (detail)

After reading Lebanese artist Walid Raad’s general statement, I felt as if artists are like little Red Riding Hood and the message is subjected to a context where the artwork is often times “wolfed down” by private companies and government policies. I feel most of Raad’s artworks express a Lebanese scenery that functions as Russian roulette because life and culture as a theme are threatened at all moments by war. This stage, I believe is the response that human sensitivity in its quest for truth, reaches art as a tool to expose many years of violent oppression in Lebanon. By doing so, other individuals attracted by the beauty of forms and color, open their minds to contemplate while bearing the burden of the cruel reality. After seeing this exhibition, I have the sensation that the reason why humans need art, lies on the fact that there’s an unconscious force pushing us to comprehend while we digest questions that artworks arise. In Raad’s works, beauty is a veil that uncovers a cruel world. And if his art could sing, it would be ironically whispering Morrison’s voice to me: “You know that it would be untrue. You know that I would be a liar . If I was to say to you. Girl, we couldn’t get much higher… Come on baby, light my fire.”(MORRISON, J.).

Raad’s art is an invitation to decode who’s behind art and through his artwork “Let’s be honest, the weather helped” (RAAD, Walid), the artist confronts by collecting bullets and exposing where do they come from, the representations and limitations of news media as well as popular culture. These serie of photographies show ten different book pages where a black and white photo of a Beirut setting is intervened with many colored dots located in different forms. At a first sight, I thought about how news media might only inform us about street gunfires, yet, many ignore who makes a war gunfire possible by supplying the bullets. I believe, media representations are limited and Behind Raad’s conceptual choices there’s a thick thread exposing a shocking fact: How can european made bullets, among other countries, dig a hole in a wall in Beirut? Are these countries supporting conflict? Why? What’s more interesting is how our standardized view about Lebanon conflicts makes us blind about any possible connection to nations, whose reputation is hard to be questioned by its power. Up to what extent do we have to destroy the world in order to understand it? War is a finite game (KELLY, Kevin), yet, art is an infinite one worth playing because it keeps human sensitivity awake to bounce finite games. It took this artist ten years to understand and unveil the labyrinth of where these bullets were coming from, but the “aha” moment that this artworks produced, is instant.

“Let’s be honest, the weather helped” aesthetic choice works as a graphic mapping of his findings. At a first sight, the color codes that bullet manufacturers used to identify their cartridges, looks like a pop intervention public art project on some old house photo. However, when getting closer we understand that beauty is just a hook to decode a deeper message. Also, presenting the artwork as a photo of a book, enhances the significance of what is being told and its context. I really felt like a spy looking into files of “The Atlas Group” (RAAD, W.), or in the artist’s words (as cited in the exhibit front page flyer) “Scratching on things I could disavow: Walkthrough”. Everything in this exhibition is carefully selected, even the message he wants us to understand about the veracity of the information given in museums, since none of these facts that Raad presents are true.

Source: Walid Raad and New Photography Galleries at the MoMA. http://www.moma.org/calendar/exhibitions/1493