Wednesday, 31 October 2018

practical peer review 1





questions raised:

what is the proposed outcome
  • a body of work created by children as a response to a series of taught sessions on protest art
  • a series of simple protest posters that could communicate to a younger/wider audience and reflect issues that are important to young people 
are the children involved in the final result?
  • the two final results are the posters which will either work directly with children, or my own body of work and protest posters I have created which will focus on communicating effectively to children specifically
will the community get to experience the work?
  • ideally the final work will be a free publication downloadable online and available to have printed as multiple copies and displayed throughout a range of communities or used for other community purposes. 
  • the work with the school will pass down a level of understanding skills and knowledge for the possibility of children engaging with protest art independently after I have left
do children need to know about these issues?
  • This was a very helpful question as I had taken for granted my stance on the topic and this helped me to realise the importance of arguing that younger audiences should be engaged in protest art and made me do more research to back up this opinion which will strengthen my essay
  • if children care about, engage with and understand social issues such as environmentalism then they are more likely to put pressure on their parents to recycle for example. if children are aware of social issues they can be very effective in engaging other people as their work shows they speak often kindly, clearly and plainly and this naivety often elicits an empathetic response in adults. 
  • the earlier children learn the earlier they can make informed positive decisions about social change.
  • it is arguable that the topics spoken about are to 'depressing' or 'heavy' for children to worry about, but children are often exposed to these issues in real life more often than we realise and by teaching about them we actually often eliminate the fear that surrounds them. Especially if we teach about these things positively, for example in my lessons I focused on positive language and affirmations. I did not show the children horrible pictures of war and graphic violence but instead we had discussions about the importance of friendship and equality. If we focus on spreading peace and the importance and benefits of this then by default we eliminate war as an acceptable and viable concept.
  • if we teach we eliminate a culture of fear - and this is true over all generations. If we arm people with the tools to have a voice in society and make positive change then we eliminate the feeling of hopelessness and futility.
  • if children learn about the ancient greeks, world war two and the vikings then surely they can learn about martin Luther king jr, Ghandi and how they themselves can be involved in peaceful protest modern day
  • They are studying the world, struggling to learn the rules of engagement. Except that, for them, life doesn't make sense because their instincts are negated. So they begin to twist in an attempt to accommodate a world full of half-truths.
  • by not explaining the situation properly, we somehow neglected to make it clear that I was so ill because of the treatment rather than the disease. That was enormous
    Ghosts always reads to me as a play about the futility of attempting to suppress difficult truths – how it does the opposite of rendering them powerless. The unsaid festers and grows until it infects everyone with poison
    I asked a counsellor who works at Great Ormond Street hospital with young transplant patients how he handles talking to very ill children and traumatised families. "There are parents who can't even bear to tell a child he'll be operated on the next day," he said. "And that's really damaging. They think they're protecting the child, but what they're really doing is protecting themselves from their own appalling fear of loss."
  • If you don't talk to kids about the difficult stuff, they worry alone.
    Give a child an unpalatable truth and she will figure out a way to process it. But "protect" her and the ghosts will whisper in her ear.
    guardian article
  • If we're going to end these things, we need to be honest about their existences and have tough conversations, so that our children demand better for themselves and from themselves. source
  • How honest can an author be with an auditorium full of elementary school kids? How honest should we be with our readers? Is the job of the writer for the very young to tell the truth or preserve innocence? source


essay plan

Intro - 400 words

Essential info about project content and approach to work

Not discursive or analytical

Clearly state the question, what are you trying to find out

Explain why this is important/ why is it interesting

How are you going to investigate it key primary and secondary methods, research and practical

What is your own individual position why is this important

Exploring protest art as a tool for community and younger audiences/ its impact on children/ how they can be part of the movement

Explain the importance of children having a voice in future society and being able to articulate and understand important topics/ importance of community workshop for those in need

Briefly explain, my three key methodologies, theory, first hand lessons, analysis of work, personal practical development of work

I have chosen this because I have creative interests in visual arts and design/ imagery to express message but also have an interest in social change - protest art brings these together and passing these tools down to young people spreads this movement and the idea of using art to make your voice louder/ have a wider impact in society

Children are specifically important in spreading a message of social change as they often speak with clear yet positive naivety that is hard to argue with. I will analyse this in more detail in the context of my case study

Chapter 2 context and themes 2000 words

Key theory in my chosen topic

Focus on specific points woven together to build into an argument

Explain the relevance of all the material cited to your central question and your practical research methods

Mini conclusion that links to next chapter

Harvard referencing throughout

teaching theory intro all three

focus on humanist explain petty etc

specific example a s neils humanist school

why is this a good teaching theory to use for my specific project

Chapter 3 case studies 1500 words


How have I used critical theory in the above chapter to evaluate work from my own subject discipline and demonstrate an understanding of synthesis between theory and practice

Critical analysis of pieces of work

Case study of other art educators? (Rob and Roberta Smith?)

Case study of the lessons I planned

How has first hand experience reflected aforementioned theoretical research

discuss why I planned them this way and bring in theory, icedip/ petty/ educational theory

Discuss the way I planned work visually (collage/language) by bringing in visual analysis eg bob and Robeta

Discuss the way children responded verbally to social issues and how this relates more widely to protest art movement / why this is important

evaluate the success of these lessons and the success of the children’s outcomes

How do my first hand experiences of teaching synthesise with my primary research

What have I learned personally from these lessons and what impact had this had on the understanding of my topic

How does the childrens work demonstrate the research points I have made 

Mini conclusion


Chapter 4 reflective practice 700 words

Descriptive analysis of the practical work produced

Theoretical and contextual analysis of the practical work explaining the relevance of the work, how it relates to your question and how it has furthered my understanding and knowledge of my research topic

analyse visual devices and tools used by students - how and why am I bringing this into my own practice and developing it

How did I develop and change my working practice to suit a community workshop and primary children - why did i do this (relate this to teaching theory)

Discuss how my work changed after first hand case study working with children and in schools

How has school work impacted my ability to make work that interacts with a young audience more successfully and create a new and individual approach to protest art

What are the main visual themes that stand out in my final body of practical work and why

Chapter 5 conclusion


Pull together all preceding research and draw an independent conclusion that answers the research question

No new information introduced

indicate the implications that these findings have for your own subject discipline

A paragraph evaluating the successes and/or shortcomings of your research project. This should include an extended discussion of the extent to which your research body successfully synthesises theory and practice.


Basic plan :
  • Intro 
  • Theoretical research on teaching (petty) and protest art / its importance (bob and roberta) 
  • Community art case studies 
  • The planning and teaching of the lessons and how I have applied the theoretical research and visual research 
  • How have I used and adapted my own practice to deliver these lessons (typography, simplification) 
  • The success of the outcomes how do they back up the research and what conclusions can we draw first hand about children's comprehension and visual language 
  • How can this be carried over into my own work so as to maximise my ability to communicate with a younger audience/ why am i doing this (relate back to question) 
  • Could this way of working also have more impact on an older audience? 
  • What are my outcomes how do they relate back to the question 
  • conclusion

how did I apply the ICEDIP theory to my lessons?

Sunday, 21 October 2018

research- teaching today - Geoff Petty

  • How to we learn? Chapter 1 
  • In order to pass into the LTM, information must first be processed and structured in the STM so that it ‘makes sense’ to the student. The process of structuring new information takes time; but it is time well spent, because students find it almost impossible to remember something that they do not properly understand.
  • If a student is given new information too quickly, he or she will not have time to process it properly in the STM, so the information will not be retained. Experimenters tried halving their normal speech rate to students with learning difficulties, and found that the students’ retention was doubled
  • What we call ‘forgetting’ is the brain’s built-in technique for ensuring that it is not cluttered up with useless knowledge. Its aim is to remember nothing but useful information. Unfortunately, however, it tends to consider a fact or idea ‘useful’ in the long term only if it comes across it regularly. Forgetting and remembering, then, are not under direct conscious control; they are automatic. There is only one way to ensure that something is remembered: repetition. As teachers we must make sure that any knowledge we want our students to remember is recalled and used frequently
  • Don’t cover new material too quickly. Also, leave a silence after an important sentence, so as to leave time for it to ‘sink in’
  • Activities that make students use – and hence develop a personal restructuring of – the ideas you are trying to teach them will make them learn more efficiently than passive activities such as listening.
  • The cognitivist school looks at the thinking processes involved when we learn. The behaviourist school ignores these, and looks at how teacher behaviour and other external factors influence learning. The humanistic school has an interest in education as a means of meeting the learner’s emotional and developmental needs
  • What does it mean to ‘understand’ a concept? It means to be able to explain it in terms of other concepts. This cognitivist theory called ‘constructivism’ is now almost universally accepted by all experts on the brain or the mind.
  • If students cannot evaluate then they cannot take even the first steps towards their own improvement
  • Enjoyable tasks create more participation, concentration, persistence, and more cognitive engagement
  • the principles of learning according to the behaviourist school; Learners require some reward or ‘reinforcement’ for learning, Reinforcement should follow the desired behaviour as soon as possible, Learning proceeds step by step rather than happening all at once, and is strengthened by repeated success
  • Reinforcement should follow the desired behaviour as soon as possible If a rat pushes a lever and food drops immediately into its cage, then it quickly learns to press the lever for food. If reinforcement is delayed, learning takes longer.
  • If a learner is never successful in your lessons, he or she will soon give up.
  • Humanist psychologists believe that fear of failure and rejection produces maladjustment. Either learners play it safe and withdraw, feeling crushed and lacking in self-confidence as a result; or they hit out in retaliation, becoming disruptive. Either way, pupils, and their learning, are damaged.
  • The humanistic school believes that emotional factors, and personal growth and development, are the highest values, and it argues that these are ignored in a society which is unduly materialistic, objective and mechanistic.
  • learners should be allowed to pursue their own interests and talents in order to develop themselves as fully as possible in their own unique direction.
  • The materials, methods and rate of learning are also customised to meet the needs of the individual.
  • A HMI report on Summerhill School, which was run by A. S. Neil on humanistic principles, said the pupils were ‘full of life and zest and of boredom and apathy there was no sign’
  • ‘We think of the mind as a storehouse to be filled when we should be thinking of it as an instrument to be used.’ J. W. Gardener
  • Teachers’ tests, it is argued, encourage rote memorising and working for grades rather than real learning and personal development
  • There are now hundreds of thousands of classroom trials of teaching methods, showing that, regardless of your subject and the academic level at which you teach, the best results are gained by active learning on challenging tasks, including dialogue and informative feedback on how well the task was done.
  • ‘Coverage’ of detail should never have priority over deep understanding.
  • Studies show that what we as teachers do is overwhelmingly more influential than what we say. Setting an example in this way is called ‘modelling’.
  • what is obvious to the teacher is rarely obvious to all the students
  • Most students rightly value practice very highly as a method of learning. Unfortunately, many teachers do not rate it so highly as a method of teaching!
  • The ‘check and correct’ phase also provides vital feedback for the teacher. Is learning taking place? Am I teaching too quickly? Are they doing it properly?

  • Teaching is a two way process - chapter 4 
  • • Eye contact. That is, sustained eye contact while you are speaking, and for enhanced effect, before and after you have spoken. 
  • • Posing questions. It is often more powerful to put the student ‘on the spot’ by posing a question than to deliver a lecture. However, this is sometimes best done when you have the student alone. For example, ‘Why haven’t you started?’

  • If teaching were a one-way process, we would learn perfectly satisfactorily from books and videos, and teachers would just be an unnecessary irritation.
  • If students do not want to learn, their learning efficiency will be so low that they may learn virtually nothing. If you know how to motivate students, you can hugely increase their learning rate.
  • This is the main motivator for most students (even the not very motivated ones). We all have our self-esteem raised by learning successfully; it gives us a sense of achievement. This is why students are sometimes competitive about their learning

  • Praise and criticism - chapter 6
  • giving the criticism in a forward looking and positive manner (rather than in a backward-looking and negative one). For example: ‘Next time check the spelling’, not ‘There are lots of spelling mistakes here’, and not ‘Next time, don’t make so many spelling mistakes’, which is forward looking, but negative.
  • If you imagine that learning is like rolling a rock up a slope, then learners need their feedback to be referenced to where they are on the slope, not to where someone else is. That is, feedback needs to be non-judgemental.
  • Recognise partial success. You should look for something positive in every piece of work; you will often find something right if you look very carefully
  • Recognise the ‘process’ as well as the ‘product’. Comment positively on how they worked, as well as on what they did. Recognise effort
  • Some students will see public praise as a slur on their anti establishment image. However, I have yet to meet a student who will not accept praise privately!
  • Your students’ mistakes may leap from the page, but don’t let their successes be taken for granted.
  • Research shows that reinforcement (e.g. medals, praise and other rewards) is one of the teacher’s most powerful tools.
  • Praise should not be ego-centred, such as ‘You are very good at this’, ‘You are a very able student’, ‘I’m proud of you’. This is because ego-centred praise assumes that success is due to personal attributes rather than effective efforts to learn
  • Praise should not sound like a ‘reflex action’ or a habitual phrase, as if you are using praise just as a means to control them.

  • Equal opportunities - chapter 7
  • We all have stereotypes, but we rarely see them for what they are, because they are sometimes partially true, and as a result they fall easy prey to our rationalisations and our selective memory.
  • The self-fulfilling prophecy. Likes, dislikes, prejudices and stereotyping would matter less if it were not for the effect of the teacher’s expectations on a student’s learning. Robert Rosenthal and Lenore Jacobson, in a celebrated book Pygmalion in the Classroom (1968), describe research in which they deliberately gave teachers false expectations of their pupils. They tested school pupils, and pretended to their teachers that they were able to identify pupils whose attainment was about to improve substantially. In reality, the names of the ‘improvers’ which were passed on to their teachers were chosen at random. When the researchers returned a year later, objective tests showed that those reported as ‘improvers’ had indeed improved! The authors showed that the IQs of the ‘improvers’ had increased significantly in comparison with the IQs of ‘non improvers’. Thus the prophecy, despite having no basis in fact, was ‘self-fulfilling’.
  • Rosenthal and Jacobson claimed, then, that a teacher’s expectations affected the student’s performance in the direction of that expectation. In other words, if a teacher thinks a student is ‘good’, they get better – and conversely, if the teacher thinks the student is ‘bad’, they get worse. Other researchers have shown the self fulfilling prophecy at work in almost every conceivable teaching situation, from nursery teaching to the teaching of adult professionals.
  • student efforts to learn are recognised, and judged without bias. It is not enough that they are tolerated. They must feel that they, and the groups to which they belong are fully and equally accepted and valued by you.
  • teachers assume that if they set the same learning activities for the whole class, and give help to anyone who asks for it, they will provide equal opportunities. This is not the case. Shy students need more help than they ask for, and the vociferous less.
  • because students have different needs you will find that you must treat them differently
  • Arabs developed our number system, the Chinese invented the suspension bridge, and Africans developed writing and the first cities; but you would hardly know this from the ethnocentric curriculum taught in most schools and colleges
  • If you have people in your classes for whom English is their second language, try to make your English particularly clear, and encourage peer tutoring in the first language.

  • Classroom management - chapter 8
  • Good teacher–student relationships are based on mutual respect.
  • a teacher starting with a new class must insist that the students accept his or her ‘formal authority’ and they must show confidence in their ability to enforce their authority. - David Hargreaves
  • Why should you feel shy or apologetic about the use of the teacher’s formal authority, if you are using it for the students’ benefit? You are there to teach, and you cannot teach without order; use your authority.
  • You never get a second chance to make a first impression. To begin with, you must act. Stride about the room as if you are absolutely confident of your ability to control the group. Appear to be self-confident, relaxed and in control – especially when you are not! This is particularly important in your first few lessons
  • when giving instructions the effect on the student is increased, not by shouting or anger, but by:
  • • Proximity. The closer you are, the greater your effect, especially if you invade the student’s ‘personal space’ and adopt a commanding posture. 
  • Usually, proximity and eye contact are enough without posing questions; they should certainly be tried fi rst, with a positive statement such as ‘Come on, let’s get started’, before combining them with questions
  • Don’t over-rely on enforcing formal authority in this way, though; interesting lessons, good relations and proper classroom management are much more effective in keeping order
  • never use put-downs or sarcasm
  • Remembering names - ‘frequency and recency’ are the clues to all memory learning. She made a plan of the class, with each student’s full name written in the place they sat. She read through this a number of times every day, even if she couldn’t remember the face to go with each name. She spent a few minutes with her plan before each lesson – and especially after it. She openly referred to her plan in the class, and always used her students’ names when she talked to them
  • Be patient. You will be disliked if you are desperate to be liked.
  • Canadian university students were asked to say which were the teaching habits they most disliked. Their answers were:
  • ignoring students 
  • discouraging and restricting questions  
  • ridiculing a student’s contributions 
  • sarcasm, belittlement, hostility or anger  
  • arrogance 
  • interrupting a student’s contributions 
  • failure to promote discussion or questions.
  • The bridge from chaos to order in the classroom has four spans
  • • effective lessons based on a well-conceived curriculum 
  • • good organisational skills 
  • • good teacher–student relationships 
  • • effective discipline (almost impossible to achieve without the first 3).
  • Whether or not you make your rules explicit, expect them to be tested, and be consistent in their enforcement.
  • Start on time; waiting for students who are late is unfair on those who have arrived on time, and encourages late arrival in the future.
  • If you don’t get silence in your first lesson you probably never will
  • Never start your lesson over the class’s noise. If you do, students will be given the impression that it is permissible to talk whenever they like
  • The first five minutes of any lesson are crucial in setting the atmosphere for the rest of the lesson. If you want to enliven a sleepy class, then start with a bang; if you want to quieten a noisy group down, start quietly
  • Inappropriate behaviour soon spreads, unless it is dealt with promptly; this is called the ‘ripple effect’. Students are quick to think, ‘Why should I behave if no one else is?’

  • Discipline and problem solving chapter 9

  • If students are bored because their work is too simple, no amount of juggling of rewards and punishments will solve the problem.
  • Be strict but fair, and never appear flustered, even when you are angry.
  • Give lots of attention for learning related activities, and as little attention as possible for the disruptive attention seeking behaviour.
  • Never touch a student during adult-to-child talk; the student may interpret it as an attack and strike you in ‘retaliation’. Don’t show aggression. Never allow a student to walk away or turn away: ‘Look at me when I’m talking to you.’
  • There is a difference between authoritarianism and the vigorous use of legitimate authority. The former is resented and the latter is not.
  • class rules should be based on educational, moral and safety criteria only. They should not be seen by students as being primarily for the teacher’s benefi t. The rules and their purposes should be well understood. The rules should be equally applied to all students
  • Many criticise our school system because it recognises and rewards intellectual skills, but in comparison ignores, for example, manual skills, creative skills and personal skills, even though these are of great personal and economic importance. Students with these non-intellectual skills feel undervalued, and as a result tend to reject the system they feel has rejected them. Many ‘behaviour’ problems are really curriculum problems.
  • You might like to ask your students to prepare mind-maps for the topics you teach; research shows they aid understanding and memory
  • Creativity, design and invention chapter 30
    • Creative activities are fun, and increase the learners’ sense of self-worth. Whatever your subject discipline, you cannot afford to ignore their motivating effect.
    • • To develop our students’ ability to think creatively and to solve problems.
    • To enable students to use knowledge productively and meaningfully.
    • To increase motivation. Creativity satisfies a deep human need to make something and to gain recognition for this. Maslow’s hierarchy of human needs places emphasis on self-esteem and self-actualisation, both of which can be satisfied by creative work. Being creative is fun.
    • To provide an opportunity to explore feelings and develop skills in self-expression. There is more to education than learning facts and work-based skills. Students need to exercise their imagination, and explore feelings and perceptions. They need to make personal meanings of their experiences, and to express these to others.
    • Anyone can make use of the creative process, and anyone can improve their application of it. The ability to think and act creatively is a skill all students need, no matter what walk of life they follow, no matter what their hobbies or interests.
    • ICEDIP for creative lessons, inspiration, clarification, distillation, incubation, perspiration, evaluation
    • Creative work never follows a strict pattern, so it is not easy to plan for. However, consideration of the ICEDIP phases can help to make your creative lessons more productive.
    • Learners gain immeasurably from evaluating their own and each other’s work, especially in open discussion with peers and/or a teacher. Appeal to general principles should be encouraged, rather than simple statements of taste. Severe criticism of each other’s work is probably counterproductive.

Friday, 12 October 2018

practical lesson practice

process
  • alphabet / letter testing
  • thumbnails 
  • practice collages
  • final collages
  • scanned and compositionaly edited
  • colour change for hand drawn type

changes for taught lesson
  • no thumbnailing only 1 or 2 plans (just decide on words and symbols)
  • rather than cut out letters (difficult and time consuming) bring in lots of different kinds of letters to be cut up and used as well as very thick black pens for bold type 
  • no digital input, raw format work 
  • I need to be more free and flexible with 'success' of outcomes and really focus on the understanding and engagement of the class

my outcomes:





my two favourite designs:


these work well because they're well balanced bold and simple images, the hand cut type looks really lovely in this setting and gives a nice handmade tangible feeling.

lesson 3 slideshow


- hand out yesterdays plans, A3 paper and pre prepare coloured paper for posters
- bring in lots of big print outs of letters to be used as type
- go around for the full lesson helping and pushing forward work
- end with a positive crit 

lesson 2 slideshow

lesson 1 slideshow

Tuesday, 9 October 2018

teaching year 9/10 illustration mark making and collage workshop

teaching year 9/10 illustration mark making and collage workshop

- today I got to help teach a full day of secondary illustration at a school and I wanted to reflect on this lesson on the blog and see how I can learn and adapt my teaching practice from what I've seen today
- obviously this was a vastly different age range to the group I will be leading and teaching but it was good to get back into the practice of teaching younger pupils in a school setting after a few months break
- I didn't organise or lead the workshops but I gave a small portfolio presentation and helped/ talked to the students throughout the day. this was a longer day with 5 different lessons over one day rather than the three lessons a day that I'll be doing over three days at Bankside
- the work was really tiring but also inspiring and fun, it was great to engage with students about art and help them develop their practice and skills
- the workshops with Bankside will be less about developing art practice and more focused on using simple skills to communicate a simple message

things I have learnt to carry over to my own teaching
- when you start teach as though you expect the students to have NO prior knowledge about protest art/ collage techniques/ illustration
- make sure you explain what is expected with examples more than once and circle the group to keep all students on track
- students often have really good ideas but can need directing to get them down into a concept
- always get discussions going and questions being asked so students understand the situation
- have more materials than you need, children often ask for another one
- really stress a good plan and check it before students start
- get them to plan out what colours they want to use and sort them for lesson 3

project proposal


  • research question
    as of yet not defined, around protest art/ social art/ community art and how children can relate to these topics.
  • methodology
    the actual workshops combined with teaching research, community art research and methodology as well as research into the history and importance of protest art, for my own work and for the workshops.
    Look at Vroom protest edition.
  • practical direction
    do the exact workshop myself twice and again after the classes. reflect, simplify and streamline my practice to reach a different audience (this is practical development of my own practice). I will need to figure out what elements of the proposed workshops are successful and figure out how timings would work with a younger audience. Doing the workshop will also give me the opportunity to make examples for the classes.
  • aspects that need defining
    the question (but I feel this may come with more work and time)
    my direction with personal artwork post lessons, what will my body of work be based around? a specific social issue or multiple social issues and one specific medium e.g. posters?
  • aspects that need expanding
    how my practical work and sketchbook work integrates with my theoretical and first hand research
    how might the workshops with the children affect my personal practice? make examples of protest art before and after so I can analyse any shifts in visual language
  • additional notes
    personal work could be - how have the workshops and content created effected my personal practice, will it make me approach my own work differently? eg children might use bold defined but naive and messy type - how do I then carry this naivety into my own work in a professional way yet keep this essence visually of DIY genuine feeling?
    look into behaviour management and teaching psychology before lessons, read Petty's teaching theory and focus on how I will theoretically approach the classroom
  • to do list (next two weeks)
    lesson example posters
    examples blog post and proposed changes
    blog 'leedsbyexample' movement and zero waste trip
    research into protest art for lessons
    research into teaching theory/management
    lesson 1 slideshow
    lesson 2 slideshow
    lesson 3 slideshow

    prepare and collect materials for lessons
    teach the 3 lessons

Wednesday, 3 October 2018

research - editorial inspiration

As a starting point for personal work I brainstormed different social issues I'd be specifically interested in responding to and have been most drawn to environmental issues. That's not to say my COP project will be about the environment but more that it will be about how illustration can be used to aid social change or help a social issue and environment could be a good example of this. As a starting point I've been picking some environmental articles and beginning to made editorial responses.
below I've included a slideshow of current editorial inspiration

Bankside primary school - lesson planning

number of students : tbc around 60
materials needed:
70 sheets a3 cartridge
large amount of coloured paper
25 scissors
20 glue
25 pencils, rubbers
pack of felt tips
big black markers
140ish sheets A4 for planning
presentations


lesson 1 arrive at 9

  • Intro into protest art 
  • Why do we make protest art
  • Why is protest art important Some examples, ask questions, what do you think about the colours, the use of text, where might you see this kind of art, why is this important?
  • What is an activist? What does an activist do?   
  • What is community activism and what is its purpose?
  • How do we have a voice and express ourselves in society? One way is through art and creative expression. art has power and can influence those who see it.
  • Can we think of things happening in the world we want to change or positive behaviours we think people should follow
  • Big mind maps positive affirmations and negative things we want to change lesson 2 arrive at 9

  • Recap on last lesson, ask a few questions, who remembers what we were doing etc?
  • Discuss rhyming/ alliteration/ positive language
  • Get children to write down what they want to do poster on and what imagery could go with it 30 mins
  • plan poster on a4 with words 20 mins
  • start a3 poster if ready lesson 3 arrive at 9
  • Recap last lesson and hand out work
  • Give a brief summary of what were expecting done today
  • Finish the posters
  • Reflect on what we've made and give positive feedback/ pick out posters we like