CONTENTS. About the British Council Creative Education Programme. About the Art. About the Teacher Resource Pack

INDONESIA

CONTENTS About the British Council Creative Education Programme About the Art About the Teacher Resource Pack About the Activity Aims and Objectives Adeline Kueh - LIFE and Lulu Activity One: Using Photography to Promote Personal Response Activity Two: Using Photography to Prompt Descriptive Writing Activity Three: Using Photography to Prompt Descriptive Writing and Factual Recount Ichwan Noor - Beetle Sphere Activity One: Using Artwork to Develop Observation, Thinking and Evaluation Activity Two: Using Artwork to Make Interpretations Activity Three: Comparing and Contrasting Charles Lim - Within Us Activity One: Using Artwork to Develop Personal Response Activity Two: Responding to Artwork through Drama Activity Three: Using Artwork for Factual Recount Amir Hossein Zanjani - Marathon Activity One: Developing Interpretation Activity Two: Making Connections and Creating Knowledge Activity Three: Using Visual Art to Focus on Character and Prompt Personal Response Sherman Ong - HanoiHaiku-Hair Activity One: Using Art to Develop Character Perspective Activity Two: Comparing First Impressions Activity Three: From Visual Art to Poetry Gallery Walk Developing Personal Responses About the Prudential Eye Programme Acknowledgements and Copyright 3 4 5 6 7 8 9 10 11 13-14 15-17 18 19 20-22 23 24 25 27-29 30-32 33-34 35 36-37 38 39-40 41-45 46 47 Image Gallery Appendix Outside Main Pack

ABOUT THE BRITISH COUNCIL CREATIVE EDUCATION PROGRAMME The British Council creates international opportunities for the people of the UK and other countries and builds trust between them worldwide. We are a charity, established as the UK s international organisation for educational opportunities and cultural relations and are delighted to be the creative education partner for the Prudential Eye Programme. The 2015 Creative Education programme engages teachers, and students, in a range of interactive and thought provoking activities including workshops, resource packs, training, artist forums/dialogues and special events. The programme promotes creativity through art and English. Using the UK s extensive experience in creative education and selected, age-appropriate works from the Prudential Eye Programme and British Council Collection, we aim to produce a resource that will have a longterm legacy for students and teachers. Artist Forum, January 2015 This programme brings together the British Council s skills and expertise across Education and Arts. For nearly 80 years we have helped people from all over the globe to learn and have been connecting Artists and Institutions to expand their practice and widen the conversation with their audiences. With the modern world putting more and more emphasis on entrepreneurialism, creativity and innovation, we believe we can respond to this, through utilising the Arts to support and encourage young people to nurture these 21st Century skills. - Katelijn Verstraete, Regional Director Arts, British Council 3

ABOUT THE ART The 2015 programme uses a range of works of art from the Prudential Eye Programme, and the British Council Collection, to offer a truly international flavour. The Prudential Eye Programme, curated by Parallel Contemporary Art in collaboration with Saatchi Gallery, offers a global platform for contemporary Asian artists through exhibitions and books: http://www.prudentialeye.com/ Since 1935 the British Council has been collecting works of British art to promote the achievements of the UK s best artists and generate a wider knowledge and appreciation of British art overseas. The Collection which began with a modest group of works on paper - has now grown to more than 9000 artworks and includes painting, prints, drawings, photographs, sculptures and installations. The Collection has no permanent gallery and has been referred to as a Museum Without Walls : http://visualarts.britishcouncil.org/ British Council Banner 2012, Ed Hall, Cotton drill, Fabric paint, 194 x 358cm, British Council Collection, Ed Hall 4

ABOUT THE TEACHER RESOURCE PACK This Teacher Resource Pack has been designed and developed by the British Council, as part of the Creative Education programme, in association with the Prudential Eye Programme. The Pack uses art as a trigger for the development of 21st century skills, rich language and creative thinking. The activities are designed to be interactive and to generate responses from pupils and are aligned with the most recent curriculum objectives. The Pack includes activities appropriate for an age range of 13 years old to adults, designed to stimulate a range of skills including viewing, visual literacy, speaking, writing, reading and role-playing. The activities can be used as a starting point for individual lessons, to trigger interactive and creative thinking and responses, or as a series of interrelated activities within a longer, structured educational programme. Remember that: There is no right or wrong answer to the activities the objective is to encourage students to think beyond their usual boundaries, to question and to be creative! Artworks have been selected because they are likely to interest and challenge your students. The materials are designed to be adaptable, however, and once you have completed an activity with your students, you may wish to repeat the exercise using a different artwork see how this changes the students responses and their engagement with the piece. The images are designed to be viewed in their original colour/black & white style to give them the intended depth and structure; please try to reproduce your classroom materials as closely as possible to the original, or use a LCD projector/visualiser, so that your students are able to appreciate and understand the works as intended by the artist, and in as much detail as possible. Where possible, providing, multiple copies of the image for pairs of students to share will be advantageous for many of the activities. Unless otherwise suggested in the Activity notes, always allow sufficient silent time for close observation, at least 2-3 minutes, before any talk or discussion 5

ABOUT THE ACTIVITY AIMS AND OBJECTIVES All activities are designed to complement the Visual Literacy objectives of 21st century learning competencies. Listening, reading and reviewing are receptive skills required for the making of meaning from ideas or information. Speaking, writing and representing are production skills that enable the creation of meaning. Each activity supports the development of the receptive and productive skills belonging to Literacy Development. The list below gives the overall objective of each of the Literacy Development Categories. Activity Aims and Objectives Visual Literacy and Language Learning The students will learn: Listening and Viewing Use appropriate skills and strategies to process meaning from non-print texts Use appropriate skills and strategies to evaluate non-print texts Reading and Viewing Process and comprehend age appropriate non-print texts at a literal and inferential level Apply critical reading and viewing by focusing on implied meaning, higher order thinking, judgement and evaluation Speaking and Representing Plan and present information and ideas for a variety of purposes Use appropriate skills, strategies and language to convey and construct meaning during interactions Writing and Representing Generate and select ideas for writing and representing for a variety of purposes, audiences, contexts and cultures Develop, organise and express ideas coherently in writing and representing for a variety of purposes, audiences, contexts and cultures 6

ADELINE KUEH (Singapore) Adeline Kueh, LIFE and Lulu, 2011, Photograph, Dimensions variable Courtesy of the artist Artist Biography Adeline Kueh makes installations that reconsider the relationship we have with things and rituals around us. Her works are imbued with a sense of desire and longing, and act as modern-day totems that explore personal histories and overlooked moments. She has exhibited at LASALLE College of the Arts in Singapore; Cabinet in New York; FASS Art Gallery in Istanbul, Turkey; Next 5 Minutes in Amsterdam, and many other contexts locally and internationally. http://www.singaporeeye.com/artworks 7

ACTIVITY ONE Using Photography To Prompt Personal Response Adeline Kueh: LIFE and Lulu Stage One Target Literacy Learning: Listening/Reading and Viewing Required Learning Materials: Magazine selection, chart paper, markers Display a collection of various magazine cover pages. Ask the students to suggest what makes an editorial team decide on the cover story and cover photo. As responses are shared, write the collected responses on chart paper/white board. Stage Two Target Literacy Learning: Listening/Reading and Viewing Speaking/Writing and Representing Required Learning Materials: Image of LIFE and Lulu, chart paper, markers Distribute or project the artwork, using a visualiser. After viewing the work, ask the students to gather in groups of four. Each group should now create a word web on chart paper, generating as many words as come to mind when they view the photograph. Write the photograph caption at the top of the web. Each group should decide on a song that comes to mind when viewing the photograph and write the song s title under the web. Display the completed webs around the room for students to visit. Stage Three: Student Assignment Target Literacy Learning: Speaking/Writing and Representing Required Learning Materials: Student photo, access to a computer Select a photograph of yourself, have someone photograph you or take a selfie. Create a magazine cover page with you as the subject. Write a text line to suggest what the article inside the magazine will be about. Present and display completed magazine covers for the class to view and ask the students to take a gallery walk. 8

ACTIVITY TWO Using Photography To Prompt Personal Response Adeline Kueh: LIFE and Lulu Stage One Target Literacy Learning: Listening/Reading and Viewing Speaking and Representing Required Learning Materials: YouTube Interview video (Teacher s choice), and a transcript of the interview (created by the Teacher) Select a radio or television interview given by a popular personality, appropriate for your class (YouTube is a good resource for interviews your students will relate to. Links to interviews with some artists from the Prudential Eye Programme are available at https://schoolsonline.britishcouncil.org/classroom-resources/creativity-in-the-classroom) Ask the students to listen to or watch the interview. Replay the interview, this time asking the students to follow the written text that you have already created. Ask the following questions: - What do you notice about the type of questions that are asked by the interviewer? - How well did the interviewee respond to what was asked? - What do you think would be difficult in preparing an interview? - What do you think would be difficult for the person being interviewed? Stage Two Target Literacy Learning: Reading and Viewing Writing and Representing Required Learning Materials: Image of LIFE and Lulu, visualiser Project the image of LIFE and Lulu using a web image or a visualiser Ask the students to consider the image for a few minutes. Ask the following questions: Who is Lulu? Why is she alone? What would you like to know about her? Pair students and instruct each pair to create six interview questions to ask Lulu. Ask each pair to share and compare their set of interview questions with another pair. Ask the class for a volunteer to role-play Lulu (do not exclude the possibility of male students playing the role). Ask for another volunteer to role-play the interviewer, using one of the students sets of questions (Teacher s choice). After the interview, ask the students how convincing Lulu was in responding to the questions? Were you surprised by the responses? Why or why not? 9

ACTIVITY THREE Using Photography to Prompt Descriptive Writing and Factual Recount Adeline Kueh: LIFE and Lulu Target Literacy Learning: Listening/Reading and Viewing Speaking/Writing and Representing Required Learning Materials: Image of LIFE and Lulu, selected literature passage (Teacher s choice) Activity: Select a passage from literature that focuses on character description. (Use a passage from a selected work the students are presently studying or have studied in the past). Review the components of the narrative with your students. Ask the students to visualise as you read the passage. Ask the students to choose a talk partner and discuss how successful the author has been at being descriptive. Open the discussion to the class for students to share. Show a web image of the photograph by Adeline Kueh or project using a visualiser. Instruct students that they are to write a descriptive paragraph describing Lulu as she walks into a room. Use these question prompts to support the planning stage of the students writing: What does she look like? What is she thinking? What is she feeling? How are the others in the room viewing her? How would the perspective be different if your description was written in first person as opposed to third person? In a subsequent class ask the students to share their descriptive paragraphs in groups of four. Ask the three group members who are listening to support the reader with constructive comments (e.g.: I was able to visualise Lulu well; Tell me more about what you meant; I like the words you chose; Why did you choose them? etc.) Extension Activity: Factual Recount Writing Review the components of Factual Recount Writing. Ask the students to write an article to accompany the cover shot featured in the artwork. Prompt the writing plan with the following questions: - Who is Lulu? - What has she done to be on the cover of LIFE? 10

ICHWAN NOOR (Indonesia) Ichwan Noor, Beetle Sphere, 2013, Aluminium & Original VW Beetle 1953 Parts, 180 x 180 x 180cm Courtesy of the artist Artist Biography In his studio in Yogyakarta, he intimately casts different types of metal and fiber-resin and has excellent accuracy in calculating the structure and recognising the various forms of both biomorfis and constructive. With this ability Ichwan is known amongst friends as The Maker. He presents various ideas and forms, exploring a variety of shapes with intricate workmanship techniques and received public acclaim for the work Beetle Sphere at ART BASEL HONG KONG in 2013. http://www.prudentialeyeawards.com 11

RICHARD LONG (UK) Richard Long, Sahara Line, 1988, Colour photograph, 114 x 83.5cm, British Council Collection Richard Long. All Rights Reserved, DACS 2015 Artist Biography For almost four decades Richard Long has made nature the subject of his work. He has said that his sympathies are close to both Arte Povera, simple, modest means and procedures, and Conceptual Art, the importance of ideas. Almost from the outset of his career, Long began working out of doors and using natural materials like grass and water: an early work from 1964 consisted of a snowball and the track it made when rolled. This in turn evolved into the idea of making sculpture simply by walking. http://collection.britishcouncil.org/collection/ artists/richard-long-1945/initial/l 12

ACTIVITY ONE Using Artwork to Develop Observation, Thinking and Evaluation Ichwan Noor: Beetle Sphere Stage One: Observation Target Literacy Learning: Listening and Viewing Required Learning Materials: Image of Beetle Sphere, chart paper, markers, visualiser Project the Image of Beetle Sphere using the visualiser and invite students to study the sculpture. Ask the students to make observations about the sculpture, naming five things they see on or within the sculpture. Pair students up to share their observations. Bring students together and ask each to name one thing that his/her partner observed that was different from their own observations. Make a class list of observations during the sharing time. Stage Two: Thinking Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of Beetle Sphere, visualiser Project the Image of Beetle Sphere using the visualiser Prepare students to build up possible interpretations of the sculpture rather than naming it, by using these suggested questions: - What is your first impression of this sculpture? - What does this work remind you of? - What grabs your attention in this work of art? - Why do you think the artist created this work? - Is the artist making any particular statement through this artwork? - How does this artwork show originality or imagination? - How might different audiences view this work? (e.g.; teens, adults) - What other questions do you have about this artwork? Ask the students to respond to the questions, and extend their thinking by asking What do you see that makes you say that? 13

ACTIVITY ONE - Continued Using Artwork to Develop Observation, Thinking and Evaluation Ichwan Noor: Beetle Sphere Stage Three: Evaluating Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of Beetle Sphere, visualiser Place the following statement on the board: The sculpture Beetle Sphere is an important piece of work, representing our cultural values. Ask the students to take a stand, for or against the statement. Organise students in groups of four and ask them to participate in a debate. Follow the debate format of Affirmative vs Negative. Encourage all group members to say at least one thing. An argument is introduced with one supporting opinion/fact by the Affirmative side. The Negative side responds with a supporting opinion/fact. Each side presents three opinions or facts in this way and then the fourth member of the group summarises the arguments made by his or her respective side. Limit the debate to 15 minutes. After the debate, ask the students to evaluate whether their point of view has shifted from their initial response to the statement. Ask the students to consider if they were influenced by the different perspectives that were presented by their classmates during the debate? Ask the students to share their reflections in a plenary session. 14

ACTIVITY TWO Using Artwork to Make Interpretations Ichwan Noor: Beetle Sphere Stage One: Set up Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of Beetle Sphere Ask the students if they have anything personally or in their family that is of great value to them because it is old or from another generation. In plenary, ask the students to share their responses. Elect one student to be class scribe and to record the different items that are shared during the discussion. Review the list. Ask the students, Why do we place great value on objects that are considered to be old. Place students in groups of four. Ask the students to reflect upon and discuss the question. After 10 minutes, ask the students to elect one member of the group to summarise what the group has discussed. Project the image Beetle Sphere. Ask the students to study the image for two minutes. After viewing, conduct a class discussion based on these suggested questions: - What is your first impression of this sculpture? Share your thoughts. - Is this object old? Why or why not? Stage Two: Building Knowledge Target Literacy Learning: Listening /Reading and Viewing Speaking / Writing and Representing Required Learning Materials: Image of Beetle Sphere, access to a computer and internet browser, notebooks, pens, markers, sticky-notes, chart paper Ask the students to recall the discussion from Stage One and summarise the key points. Project image of Beetle Sphere. After a brief viewing, inform students that to create this sculpture the artist has reproduced replica parts from a 1959 Volkswagen Beetle car. With that fact in mind, ask the students to take a second view of the image. Inform students that they will choose partners to complete an in-class, mini-research assignment. Once students have been paired, ask them to take the necessary writing materials to make notes (notebooks, pens, sticky-notes etc.) Partners will be given 45 minutes to find out as many facts about the Volkswagen Beetle car as possible. Instruct students to view a number of models of the VW car (e.g. using an internet search), from the initial model (1938) to the 2016 New Beetle Model. 15

ACTIVITY TWO - Continued Using Artwork to Make Interpretations Ichwan Noor: Beetle Sphere Stage Three: Thinking Critically: Making Meaning Target Literacy Learning: Reading and Viewing Speaking and Representing Writing and Representing Required Learning Materials: Image of Beetle Sphere, Making Meaning worksheet Project the image of Beetle Sphere. Ask the students to integrate all the ideas they have considered thus far and present these suggested questions: - Consider the design of the VW Beetle Bug (car). From your research what was the engineering intention of this design choice? What are the engineering advantages of this shape? (Prompt: VW wanted to create a car which was as round as possible and resembled a sphere, to capture the physics of how a sphere moves) - Ask the students to work in groups of three and recall the discussion in Stage One about the value of old objects. Combine that with the information shared in Stage Two through the research representations. - Circulate among the groups as they discuss these questions: (allow about 10 minutes) a. Why do you think the visual artist created this work? b. What is the artist trying to communicate and why? c. Distribute copies of the worksheet, Making Meaning. Students complete the worksheet individually as a record of how they arrived at their own meaning and interpretation of the artwork, using the knowledge they created through the group discussion. 16

MAKING MEANING - Worksheet Artwork: Artist: These are my initial impressions of the artwork. These are my changing impressions of the artwork - How my thoughts and feelings about the artwork changed since my first impression. I like /do not like this sculpture because... Do you think this is an important work? Does it say anything about our cultural values? 17

ACTIVITY THREE Comparing and Contrasting Ichwan Noor: Beetle Sphere Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Images of Beetle Sphere and Sahara Line and a visualiser Begin the activity be asking students What makes an artwork a sculpture and not another art form, like a painting? (Note: You are not expecting a technical answer, but only trying to see what experiences the students have had with sculpture as an art form.) Project the two images (Beetle Sphere, Sahara Line) and give students sufficient viewing time. Place students in groups of two and ask them to reflect upon these questions: - Where do we find works of art? - What similarities do you see in the images? - What differences do you see in the images? - Could the image Sahara Line be a photograph of one or more sculptures? - If you agree, describe what sculptures you see in the image. How are the images within the photograph depicting man-made or natural sculptures? - If you disagree, explain why? Using the following question, ask the students to reflect upon this question in a plenary session: Did your point of view about art and sculpture change from your initial response. How did it change? Why? 18

CHARLES LIM (Singapore) Charles Lim, Within Us, 2014, C-Print, 47.7 x 15.4cm Courtesy of the artist and Future Perfect Artist Biography Charles Lim s work stems from his former profession as a sailor. This unique viewpoint helps him make visible physical realities that lie hidden from our everyday experience. He has shown work in major international exhibitions including Manifesta 7, the Shanghai Biennale, Singapore Biennale and the Venice Film Festival. In 2015, he will represent Singapore at the Venice Biennial. http://www.singaporeeye.com/artworks 19

ACTIVITY ONE Using Artwork to Develop Personal Response Charles Lim: Within Us Stage One Target Literacy Learning: Reading and Viewing Required Learning Materials: Image of Within Us Distribute copies of the image Within Us or project a web version or use a visualiser Ask the students to think of three words that come to mind when viewing the photograph. Share those words with a partner, giving an explanation for the chosen words. Continue viewing the image for two minutes and then ask the following questions? - What is documented by the photograph? - What do you think happened? - Do you think this is a real event or has the photograph been staged by the artist? Stage Two Target Literacy Learning: Reading and Viewing Required Learning Materials: Image of Within Us, Photo Analysis worksheet Give students two minutes to study the photograph independently. Ask them to form an overall impression of the photograph and record their impressions on the Photograph Analysis worksheet (section A, Initial Observation). When the worksheet has been completed, ask the students to form groups of four and share their responses. 20

PHOTOGRAPH ANALYSIS - Worksheet A. Initial Observation Study the photograph, Within Us, for two minutes. Form an overall impression of the photograph. What do you see and feel? B. A Closer Look Divide the photograph into quadrants and study each section to see what new details become visible. People Objects Activities 21

PHOTOGRAPH ANALYSIS - Worksheet C. Making Inferences Based on what you have observed above, list three things you might infer from this photograph, with a justification for your inference. Inference Why? Inference Why? Inference Why? 22

ACTIVITY TWO Exploring Character and Responding to Artwork through Drama Charles Lim: Within Us Stage One Target Literacy Learning: Reading and Viewing Required Learning Materials: Image of Within Us, completed Photo Analysis worksheet from Activity One (if Activity One has not been undertaken, complete the worksheet at the start of Activity Two). Ask the students to review the Photo Analysis worksheet from Activity One. Place students in groups of four or five. Assign each group the left or right side of the photograph Within Us and ask them to examine their section in detail. Give the students a few minutes to examine the image. Ask them to think about the people in the photograph, paying particular attention to dramatic expressions and body language. In their assigned groups, allow students five minutes for a group reflection, considering the following prompt: Think about the people in this photo. Consider physical appearance, actions, their internal monologues and what they might be saying. Stage Two Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of Within Us In their assigned groups, students will now create a role-play, taking up positions as shown in the photograph and being prepared to act in role for two to three minutes. From the work done in Stage One, students need to be prepared to interpret and express their character s emotions and feelings, through body language, movement and dialogue. Students begin the role-play frozen and in position as shown in the photograph. After two or three minutes, the action is stopped, and the actors freeze. Those students viewing the role-play should provide feedback to the group, with constructive comments and by composing and asking three questions of the actors. 23

ACTIVITY THREE Using Artwork for Factual Recount Charles Lim: Within Us Target Language Learning: Writing and Representing Required Learning Materials: Image of Within Us, copies of a Factual Recount from a local newspaper (Teacher s choice), computer Review with the students the characteristics of Factual Recount as a text-type. Identify the features of the Factual Recount that appears in your chosen newspaper article. Ask the students to become newspaper journalists. They are to prepare a Factual Recount of the scene depicted in the photograph. Ask the students to publish their completed Factual Recount, including a reproduction of the image Within Us. In a subsequent class, arrange students in groups of four. Ask the students to take turns reading their completed recount to the other group members, in the manner of a radio or television newscaster. Ask the students to compare each of the Factual Recounts, discussing similarities and differences in style and what details of the incident were highlighted and why? 24

AMIR HOSSEIN ZANJANI (Iran) Amir Hossein Zanjani, Marathon, 2013 Oil on canvas, 250 x 400cm Courtesy of the artist and Ramin Salsali (Salsali Private Museum, SPM) Artist Biography Amir Hossein Zanjani is one of a generation of Iranian Artist that were children during Iran`s eight year war with Iraq. Born in 1980, the year that Iraq invaded its Post-Revolutionary neighbour. His work engages with political and social themes. He has moved away from explicitly painting war (which his earlier work concentrated on) and become fascinated instead by the features of totalitarian regimes. He has had several solo and group exhibitions in Iran, Middle East and Europe and his art works are kept in several private and public collections in Middle East and Europe. http://www.prudentialeyeawards.com 25

DAVID SHRIGLEY (UK) David Shrigley, Please do not return, 1998, C-Print, 25 x 25cm, British Council Collection David Shrigley. Courtesy Stephen Friedman Gallery Artist Biography David Shrigley is best known for his drawings and photographs, which make witty observations on mundane situations from everyday life. His works tap into a particularly British sense of humour, including puns, double entendres, sarcasm and pessimism; they are regularly reproduced as greetings cards, T-shirts and badges and are extremely popular around the world. http://collection.britishcouncil.org/collection/ artists/shrigley-david-1968/initial/s 26

ACTIVITY ONE Developing Interpretation Amir Hossein Zanjani: Marathon Before you start, divide the image into quadrants. You will be revealing the painting to your students, using a visualiser, one quadrant at a time. As the quadrants are revealed, give the students a few minutes to view the image before starting each activity. Reveal the painting quadrants in the following order: 1, 2, 3, 4. 1 3 2 4 Stage One Target Literacy Learning: Reading and Viewing Speaking and Representing Required Learning Materials: Image of Marathon, visualiser, the Zoom In worksheet Explain that in this activity, students must act as detectives to build up meaning both individually and collectively. Discuss the following question with your students: What happens to our thinking, when we only know some of the facts of a situation? As quadrant 1 of the image is revealed, ask the students to individually complete the Zoom In worksheet. They will be recording their observations of what they see, and making a hypothesis or interpretation of the image and a prediction on what will come next in the reveal process, based on what they have already seen. Repeat the process, revealing quadrant 2. Ask the students to identify anything new that they see in the image and consider how this new information affects their previous interpretation. Stop the reveal process after viewing quadrant 2. 27

ACTIVITY ONE - Continued Developing Interpretation Amir Hossein Zanjani: Marathon Stage Two Target Literacy Learning: Speaking and Representing Reading/Listening and Viewing Required Learning Materials: Image of Marathon, visualiser, the Zoom In worksheet Ask the students to form groups of three and share their Zoom In worksheets with their group members (allow around 15 minutes). Continue the process described above, now revealing quadrants 3 and 4. Ask the students to identify anything new that they see and consider how this new information affects their previous interpretation. Ask the students to record their individual observations and ideas on the worksheet. Ask the students to return to their previous groupings and share their worksheets. Stage Three Target Literacy Learning: Speaking and Representing Required Learning Materials: Image of Marathon, visualiser, completed worksheet Bring the students back together and have a class reflection, guided by these suggested questions: - How did your interpretations/hypotheses change over time? - How did seeing more of the image influence your thinking. - What part of the painting was most rich in information for you? - What part of the painting had the most dramatic effect on you? - What would the affect have been, if the reveals had happened in a different order? 28

ZOOM IN - Worksheet Observations What do you see? What do you feel? Hypothesis / Interpretation What is this image representing? Prediction What do you think will be revealed in the next quadrant? Quadrant 1 Quadrant 2 Quadrant 3 Quadrant 4 29

ACTIVITY TWO Making Connections and Creating Knowledge Amir Hossein Zanjani: Marathon Stage One Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of Marathon, visualiser, the C-E-C worksheet Write the following words on the white board: Connect, Extend, Challenge (C-E-C) Explain to students that they will be viewing a painting that requires them to make meaning. Project the image Marathon for students to view. As a class, ask the students to consider the following questions that will guide them when viewing the image: - Reflecting upon the previous discussion in Stage One, how are the ideas and information presented in the painting connected to your prior knowledge about the theme of the painting? - What new ideas come to mind, as we discuss the painting? - What are you still wondering after our discussion? Stage Two Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of Marathon, visualiser, the C-E-C worksheet Continue to view the painting Marathon. This time students will be asked to reflect individually about the questions posed in Stage One. Ask the students to complete the Connect column on the C-E-C worksheet, independently. Ask the students to now share their connections with a partner. 30

ACTIVITY TWO - Continued Making Connections and Creating Knowledge Amir Hossein Zanjani: Marathon Stage Three Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of Marathon Conduct a whole group discussion, based on the following suggested questions: - Who do you think the men are? Where are they from? Where do you think they are? Why are they there? - There appear to be mountains in the background and the men are facing them. How are the mountains depicted? Describe them. What do they represent? What can the men expect if they reach the mountains? - One man s face can be seen in profile. Why do you think he has turned around? What does his facial expression tell you? - How does this painting make you feel? Why? - Would you like to be with the men in this painting? Why? - What do you think is the artist s message? Stage Four Target Literacy Learning: Reading and Viewing Required Learning Materials: Image of Marathon, visualiser, the C-E-C worksheet Ask the students How their ideas have broadened, deepened, or expanded in some way as a result of the group discussion in Stage Three? Ask the students What are you still wondering about, in regard to the image? What is still challenging to understand about the image? Students individually record their responses on the C-E-C worksheet With the same partner who shared their connections in Stage Two, students now share the Extend and Challenge sections of their worksheets. Collect the C-E-C worksheets and display them around a photocopy of the painting, to make the whole class s thinking visible. 31

CONNECT-EXTEND-CHALLENGE - Worksheet Image Title: Image Artist: Connect What connections can you make to what you view in the image and what you already know? What does it remind you of? What feelings does it create for you? Extend How has your thinking changed after viewing and discussing the image with your class? Challenge What are you still wondering about when you view this image? What questions do you still have? 32

ACTIVITY THREE Using Visual Art to Focus on Character and Prompt Personal Response Amir Hossein Zanjani: Marathon Stage One Target Literacy Learning: Listening/Reading and Viewing Speaking/Writing and Representing Required Learning Materials: Image of Marathon, chart paper, markers, visualiser Ask the class to spend time viewing the image of Marathon, as a whole. Ask the students the following questions: - Describe the scene depicted in the painting. - What grabs your attention in the work? - If you could take a walk into this painting, where would you be in the scene? - Why has the artist chosen the title Marathon for this artwork? - What message do you think the artist is trying to give the viewer? Using the visualiser, focus in on the man shown in profile. Magnify that part of the image. Ask the students to focus on the featured character in the painting and ask these suggested questions: - How old is the man? - Describe the man s appearance, his facial expression. - Describe his body language. How is he standing? What is he doing with his arm? - Is he a soldier? If so, what is his rank? - What language do you think he speaks? (English or another language) - What do you think he is feeling at this moment? Divide the students into groups of four. Distribute a sheet of chart paper and markers to each group. Ask each group to create an image of the man shown in profile. Following that, students should create a web of words, ideas, and thoughts that best describe their interpretation of this character. Display the finished webs around the classroom and conduct a gallery walk, where students have time to visit each of the created webs. 33

ACTIVITY THREE - Continued Using Visual Art to Focus on Character and Prompt Personal Response Amir Hossein Zanjani: Marathon Stage Two Target Literacy Learning: Speaking/Writing and Representing Required Learning Materials: Images of Marathon and Please Do Not Return..., visualiser, writing notebook Project an image of Please Do Not Return... Ask the students: - What is the subject of this photograph? Where do you think this photograph was taken? - Do you think the words on the book influence your impressions or understanding of the photograph? - Do you think the artwork is missing anything? (e.g.; more objects, a person, people, details in the setting) - Why do you think someone would lose a book like this on purpose? Project the image of Marathon, side by side with Please Do Not Return... Ask the students: - Do you think this book could belong to the soldier shown in profile, in the painting Marathon. - If this book did belong to the soldier, do you think he would write these words on the cover? Ask the students to believe that the book featured in Please Do Not Return... does belong to the soldier in Marathon, and to write a diary entry from the perspective of the soldier, writing in the first person. Students will share their diary entry with a person other than those who were in their group for Stage One. Students should listen for similarities, differences and new insights. Ask the students if their thinking about the painting Marathon, has changed. What do you think is the message the artist of Marathon wants to leave with the viewer? 34

SHERMAN ONG (Malaysia) Sherman Ong, HanoiHaiku-Hair, 2006, Digital Print on Archival Paper, 75 x 150cm Courtesy of the artist and Xavier G. Florenzano Artist Biography Sherman Ong is a filmmaker, photographer and visual artist based in Singapore. His practice centres on the human condition and our relationship with others within the larger milieu. Winner of the 2010 ICON de Martell Cordon Bleu Photography Award, Sherman Ong has premiered work in art biennales, major film festivals and museums around the world. http://www.prudentialeyeawards.com 35

ACTIVITY ONE Using Art to Develop Character Perspective Sherman Ong: HanoiHaiku-Hair Stage One Target Literacy Learning: Listening and Viewing Speaking/Writing and Representing Required Learning Materials: Image of HanoiHaiku-Hair, visualiser, Step Inside worksheet Note: Initially, people are more likely to answer questions, by stating the obvious. Success with this activity will, however, be dependent on the students ability to infer and hypothesise what might be happening in the photograph. Encourage the students to give more details by asking them questions such as: Tell me more about what you are thinking? The objective of the activity is to encourage participants to develop a rich, full sense of character; to lead them to be aware of the complexities of a character and move beyond their own positions and viewpoints. Set up the activity by asking students as a class, what it means when someone says, Have you ever walked in another person s shoes? Ask them to explain by describing a situation where this could happen. Why would someone ask you to do that? Project the image, HanoiHaiku-Hair. Give students a chance to view and think about the image. Ask the students to step inside the photograph and become the woman, shown in the centre of the image. From the perspective of the woman, ask the students what they would say if the woman was asked, what do you see? Share observations as a class. Stage Two From the perspective of the woman, ask the students to think about what the woman knows (her knowledge, skills) and what she believes (her values). Individually complete part one of the worksheet. From the perspective of the woman, ask the students to consider what the woman cares about? (What is important to her?) Individually complete part two of the worksheet. From the perspective of the woman, ask the students What might the woman wonder about or what questions does she have about her life? (What does she hope for, What does she dream about?) Individually, complete part two of the worksheet. Place students into groups of three. With the other members of their group, students share their responses. Allow for 15 minutes. 36

STEP INSIDE - Worksheet Title of Artwork: Name of Artist: See / Observe? Know / Believe? Character Step In Care About? Wonder About and Question? 37

ACTIVITY TWO Comparing First Impressions Sherman Ong: HanoiHaiku-Hair Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of HanoiHaiku-Hair, visualiser, three sheets of chart paper, markers Project the image HanoiHaiku-Hair, showing only one-third, or one panel at a time Allow students some viewing time. Ask the students to think of one word that comes to mind. Let them know that we are going to create a graffiti wall. Display the first sheet of chart paper and ask the students to write their word on the posted sheet. Reveal the second panel. Display the second sheet of chart paper. Repeat the process. Reveal the third panel. Display the third sheet of chart paper. Repeat the process. Once the three chart papers have been completed, ask the students if they see any commonalities. Are many of the words synonymous? Does the same word appear multiple times in the same panel? Is the same word repeated in other panels? Ask the students why the artist has used three images to convey his idea/message? Discuss. Using the collection of words from all three chart papers, ask for a student volunteer to create a Wordle graphic (which highlights the most commonly used responses). Place the Wordle graphic beside a displayed copy of the photograph HanoiHaiku-Hair. 38

ACTIVITY THREE From Visual Art to Poetry Sherman Ong: HanoiHaiku-Hair Stage One Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of HanoiHaiku-Hair, visualiser, Triptych study worksheet Project the image of HanoiHaiku-Hair. Ask the students to view the image to see if they notice any divisions in the photograph. These should be easily recognised. (Inform students that when a work of art is presented in three panels, with some element of integration of style, it is referred to as a triptych. Often each panel can stand alone, but the intent is to view the work as a whole. ) Explain to students they are going to complete an activity independently, and later reflect together in groups. After completion of the worksheet, have students form groups of three and share their responses. Let students know that they should be prepared to extend their thinking during the discussion and give more detail or explanation to their ideas. (Discussion prompts: Why did you choose those words? What created those feelings? Why did you ask that question?) Stage Two Target Literacy Learning: Listening and Viewing Writing and Representing Required Learning Materials: Image of HanoiHaiku-Hair, visualiser, writing notebooks Project the image HanoiHaiku-Hair. Ask the students to recall the discussions they had with their groups in Stage One. Ask the students to consider the following questions: - What story do you think the photograph is telling us? - What message do you think the artist wants to leave with the viewer? - Does the story or message change, if we view the artwork from right to left? Ask the students to think of the title of this work, HanoiHaiku-Hair. Ask them what they think is the relationship between the artwork and Haiku? ( If students have not had exposure to Haiku, take time to review this form of poetry. In general, Haiku are short poems that use sensory language to capture a feeling or image. They are often inspired by an element of nature, a moment of beauty, or another poignant experience. Haiku poetry was originally developed by Japanese poets, and the form was adopted (and adapted) by virtually every modern language. Traditional Haiku consist of 17 syllables, in three phrases of 5, 7 and 5 syllables respectively. Review the form of Haiku poetry and show examples. (Many examples can be found online). Ask the students to write a Haiku poem, based on the work of art, HanoiHaiku-Hair. Students should reflect upon all the discussions to gain inspiration for the activity. Create a classroom display of a copy of the artwork and completed poems. 39

TRIPTYCH STUDY - Worksheet Study each section (panel) of the photograph and complete the boxes with your ideas and questions. Panel One Three words about what you see Three feelings you have Three questions you have Panel Two Three words about what you see Three feelings you have Three questions you have Panel Three Three words about what you see Three feelings you have Three questions you have 40

GALLERY WALK Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Visual Images 1-8, chart paper, markers, Gallery Walk worksheet Stage One Inform students that you are wondering what ideas they have about art? What is art? How would you define art? What is the purpose of art? Ask the students to form groups of four. Provide a sheet of chart paper for each group. Instruct each group to create a thought web. Placing the question in the centre of the page, group members contribute as many ideas/thoughts as they have about art. What is art? After completing webs, each group decides on one member to present to the class. After the presentations, ask the students to identify common ideas that appeared from the different groups. Combining all the ideas, create a common definition of the word art. Stage Two Display a printed copy of the eight images. Hand out copies of the Gallery Walk worksheet. Instruct students to visit each of the artworks displayed and complete the worksheet. Encourage students to discuss the artworks, but remind them that their responses should be personal. 41

GALLERY WALK Stage Three Once students have finished the Gallery Walk, ask them to stand next to the artwork they liked best. In these groupings, students should discuss why they have chosen that artwork. In addition, ask the group to refer back to the class definition of art, created in Stage One. How does their chosen artwork reflect the definition? Distribute chart paper to each group. Ask the students to create a new web, with the title of their chosen artwork placed in the centre. Each tangent on the web should list an aspect of the artwork that matched the class definition. Title of Artwork 42

GALLERY WALK - Worksheet Make a personal response to each of the artworks. After finishing, rank the images: 1 - being your favourite, 8 - being your least favourite. Image This artwork appeals to me. Why? This artwork does not appeal to me. Why? Ranking A Prudential Eye Awards 2015 Khvay Samnang Cambodia Untitled, 2014 Courtesy of the artist B Prudential Eye Awards 2015 Christine Ay Tjoe Indonesia The Flying Balloon, 2013 Courtesy of the artist and Ota Fine Arts C Prudential Eye Awards 2015 Seung Hee Hong South Korea Der Zwang zur Tiefe #4 (Force to Depth), 2007 Courtesy of the artist D Prudential Malaysian Eye 2014 Ahmad Sukri Mohd Malaysia Miracle, 2012 Courtesy of the artist E Prudential Eye Awards 2015 Hannah Bertram Australia An Ordinary Kind of Ornament (Singapore), 2015 Courtesy of the artist 43

GALLERY WALK - Worksheet Make a personal response to each of the artworks. After finishing, rank the images: 1 - being your favourite, 8 - being your least favourite. Image This artwork appeals to me. Why? This artwork does not appeal to me. Why? Ranking F Prudential Eye Awards 2014 Lam Tung Pang Hong Kong Condition 1, 2009 Courtesy of the artist G Singapore Eye 2015 Samantha Tio Meng / Mintio Singapore Concrete Euphoria, Benjamin Sheares Bridge Singapore (Construction of Marina Bay Sands), 2008 Courtesy of the artist H Prudential Eye Awards 2015 Meekyoung Shin South Korea Toilet Series, 2014 Courtesy of the artist I British Council Collection Peter Doig UK Canoe Island Peter Doig. All Rights Reserved, DACS 2015 44

GALLERY WALK - Thumbnails Prudential Eye Awards 2015 Khvay Samnang Cambodia Untitled, 2014 Courtesy of the artist Prudential Eye Awards 2015 Christine Ay Tjoe Indonesia The Flying Balloon, 2013 Courtesy of the artist and Ota Fine Arts Prudential Eye Awards 2015 Seung Hee Hong South Korea Der Zwang zur Tiefe #4 (Force to Depth), 2007 Courtesy of the artist Prudential Malaysian Eye 2014 Ahmad Sukri Mohd Malaysia Miracle, 2012 Courtesy of the artist Prudential Eye Awards 2015 Hannah Bertram Australia An Ordinary Kind of Ornament (Singapore), 2015 Courtesy of the artist Prudential Eye Awards 2014 Lam Tung Pang Hong Kong Condition 1, 2009 Courtesy of the artist Singapore Eye 2015 Samantha Tio Meng / Mintio Singapore Concrete Euphoria, Benjamin Sheares Bridge Singapore (Construction of Marina Bay Sands), 2008 Courtesy of the artist Prudential Eye Awards 2015 Meekyoung Shin South Korea Toilet Series, 2014 Courtesy of the artist British Council Collection Peter Doig UK Canoe Island Peter Doig. All Rights Reserved, DACS 2015 45

ABOUT THE PRUDENTIAL EYE PROGRAMME Jompet Kuswidananto - installation category winner, Eye Awards for Contemporary Asian Art 2014 Established in 2008 by David and Serenella Ciclitira and sponsored by the region s leading life insurer and asset manager Prudential, the Prudential Eye Programme is an initiative that nurtures artistic talent. The programme aims to develop arts infrastructure in territories where this is lacking, in order to provide artists with the platforms, support and recognition they need to develop their careers. It works to build networks and opportunities for artists and galleries through strategic partnerships and a variety of platforms. Previous projects from the Prudential Eye Programme include Korean Eye (2009 to 2012), Indonesian Eye (2011), Hong Kong Eye (2013) and Prudential Malaysian Eye (2014): a series of international touring exhibitions and publications providing emerging Asian artists with opportunities to showcase their work. To date, the programme has held 19 exhibitions worldwide, which have been viewed by over two million people. The Programme s latest exhibition, Singapore Eye, is currently being held at ArtScience Museum, Marina Bay Sands until 28 June 2015. In January 2014, the Prudential Eye Programme launched the Prudential Eye Awards in Singapore as a Contemporary Art Awards platform to honour the accomplishments of emerging artists throughout greater Asia. The annual awards focus on emerging artists from across Greater Asia and highlight the breadth, range and diversity of the works being made by emerging Asian artists. The second edition of the Awards was held on 20 January 2015, with ChimPom (Japanese collective) declared as the winner and walking away with the opportunity for a solo show at the Saatchi Gallery. 46

ACKNOWLEDGEMENTS AND COPYRIGHT The British Council would like to thank Parallel Contemporary Art Ltd, the Artists, Galleries, Collectors and other rights holders for their kind permission to reproduce the images in this publication and for their use in association with teacher creativity workshops and associated lessons and activities using the learning materials. All images that appear in this publication are subject to copyright and may not otherwise be reproduced or used without permission from the relevant rights holder. Co-sponsor Co-sponsor Curatorial & Photography Partner Design Partner TEACHER MATERIALS AUTHOR Materials developed by Martin Yakabuski and Leslie Davis, Teacher Development Centre, British Council, Singapore ENQUIRIES About the British Council collection http://visualarts.britishcouncil.org About the Prudential Eye programme www.prudentialeye.com About the Creative Education programme www.britishcouncil.sg/creative-education To download Resource Packs for East Asia https://schoolsonline.britishcouncil.org/classroom-resources/creativity-in-the-classroom 47

Adeline Kueh, LIFE and Lulu, 2011, Photograph, Dimensions variable Courtesy of the artist

Ichwan Noor, Beetle Sphere, 2013, Aluminium & Original VW Beetle 1953 Parts, 180 x 180 x 180cm Courtesy of the artist

Richard Long, Sahara Line, 1988, Colour photograph, 114 x 83.5cm British Council Collection Richard Long. All Rights Reserved, DACS 2015

Charles Lim, Within Us, 2014, C-Print, 47.7 x 15.4cm Courtesy of the artist and Future Perfect

Amir Hossein Zanjani, Marathon, 2013, Oil on canvas, 250 x 400cm Courtesy of the artist and Ramin Salsali (Salsali Private Museum, SPM)

David Shrigley, Please do not return 1998, C-Print, 25 x 25cm British Council Collection David Shrigley. Courtesy Stephen Friedman Gallery

Sherman Ong, HanoiHaiku-Hair, 2006, Digital Print on Archival Paper, 75 x 150cm Courtesy of the artist and Xavier G. Florenzano

Prudential Eye Awards 2015 Khvay Samnang, Cambodia Untitled, 2014 Digital C-Print, 80 x 120cm Courtesy of the artist

Prudential Eye Awards 2015 Christine Ay Tjoe, Indonesia The Flying Balloon, 2013 Oil on canvas, 170 x 200cm Courtesy of the artist and Ota Fine Arts

Prudential Eye Awards 2015 Seung Hee Hong, South Korea Der Zwang zur Tiefe #4 (Force to Depth), 2007 Installation and photography, mixed media, pigment print, 133 x 115cm Courtesy of the artist

Prudential Malaysian Eye 2014 Ahmad Sukri Mohd, Malaysia Miracle, 2007 Mixed media on canvas, 203 x 203cm Courtesy of the artist

Prudential Eye Awards 2015 Hannah Bertram, Australia An Ordinary Kind of Ornament (Singapore), 2015 Ash, Dimensions variable Courtesy of the artist

Prudential Eye Awards 2014 Lam Tung Pang, Hong Kong Condition 1, 2009 Mixed media on canvas and plywood, 160 x 220cm Courtesy of the artist

Singapore Eye 2015 Samantha Tio Meng / Mintio, Singapore Concrete Euphoria, Benjamin Sheares Bridge Singapore (Construction of Marina Bay Sands), 2008 Large format photography, ink-jet print on archival paper, 112 x 139.7cm Courtesy of the artist

Prudential Eye Awards 2015 Meekyoung Shin, South Korea Toilet Series, 2014 Soap, fragrance, Dimensions variable Courtesy of the artist

Peter Doig, Canoe Island, 2000, Screenprint, 75 x 100 cm British Council Collection Peter Doig. All Rights Reserved, DACS 2015