create enjoy respect - chester beatty · 2019-05-28 · talismans from a number of traditions. view...
Post on 23-Jul-2020
5 Views
Preview:
TRANSCRIPT
Ways of Seeing
respectsupportcollaborate create
enjoy encourage
We are grateful to the British Council and to Léargas for funding the
Comenius Regio project “Ways of Seeing”.
We are grateful to the Principal and Art Department, at St Oliver’s Community
College, Drogheda in particular Fiona Thornton for her invaluable input.
Particular thanks to the students for their enthusiastic participation.
We are particularly grateful to Head of Education, Jenny Siung at the Chester
Beatty Library, Dublin. Also the facilitators Thomas O’Connor, Tríona Langan
and Karma El Shawa for their creative input.
We are grateful to the Principal and the Art Department at St Patrick’s
College, Ballymena for their participation and invaluable input. Particular
thanks to the students for their enthusiastic participation.
We are grateful to the Head of Education, Colleen Watters and facilitators at
the Ulster Museum.
Particular thanks are due to Eamonn Quinn, County Louth VEC, for his support
in co-managing the project.
We are indebted to Lesley Millar, Inclusion and Diversity Service (IDS) for her
operational management of the project. Thanks are also due to Vicky Park
(IDS) who gave invaluable support and feedback.
Many thanks to Susan McGouran from Dungannon Teacher’s Centre for the
design and layout of the materials.
Thanks to Graeme McNeill of the AmmA Centre who facilitated filming and
the production of the DVD.
Thanks are due to Kieran Shields (SELB) who proof read the materials and to
Diane McKee for her administrative support.
Acknowledgements
Contents
Introduction 1
Project Participants 3
Schools and Museums 4
Talismans 6
Portraits 12
Shoes 18
Mandalas 24
Appendices 30 Intercultural Skills Ice Breaker Activity Common European Framework of Reference (CEFR) Chester Beatty Library: original lesson plans Ulster Museum: original lesson plans Extended activities
1
IntroductionIn the last decade, the Republic of Ireland and Northern Ireland have experienced a rapid increase in immigration which has resulted in their education systems facing the challenge and opportunity of integrating increasing numbers of pupils whose mother tongue is neither English nor Irish.
This project will address the integration of newcomer students and ensure inclusive practice in schools, museums and other educational institutions.
It will develop best practice in:
• Intercultural awareness.
• Learning the language of the host country.
• Promotingfirstlanguages,bi-lingualismand bi-literacy.
2
This learning resource will:
• Build capacity at whole school and classroom level in intercultural education.
• Promotetherelationshipbetweenmuseumsandpost-primaryschools.
• Develop students’ competence in the language of the host country.
• Develop visual literacy in educational institutions and educational settings i.e. museums and schools.
• Createanin-servicetrainingresourceforteachers,educationadvisersandmuseumeducationofficers.
• Improve the intercultural skills of school, education and museum staff.
• Unlock the potential of students in alternative educational contexts i.e. museums.
• Promotebi-literacyandbi-lingualismamongnewcomerstudentsincludingthepromotionoffirstlanguages.
• Promote social integration, learner autonomy and, through innovative pedagogical approaches, enhance lifelong learning.
3
The Inclusion and Diversity Service (IDS) The Inclusion and Diversity Service (IDS) promotes an inclusive school culture which turns linguistic, cultural and ethnic diversity to the educational advantage of all. IDS provides advice and support for newcomer students’ pastoral, language and academic needs. It promotes intercultural awareness and develops innovative resources for intercultural education.
St Patrick’s College BallymenaSt Patrick’s College Ballymena, County Antrim, Northern Ireland.A secondary school with a diverse student profile including large numbers of newcomers from e.g. Poland, Lithuania and Latvia.
The Ulster MuseumThe Ulster Museum is based in Belfast and is part of National Museums, Northern Ireland. It holds collections of art, natural history and human history. Its mission is to connect its collections with the widest possible audience to inform and inspire their understanding of the past, present and future of people, culture and places.
The Chester Beatty Library is a unique library and museum housing the collection of American mining engineer, Sir Alfred Chester Beatty. The collections comprise European, East Asian and Islamic rare books, religious materials, prints and decorative objects. It is based in the city centre of Dublin serving local, national and international visitors.
St.Oliver’s Community CollegeSt. Oliver’s Community College, Drogheda, County Louth, Republic of Ireland. A secondary school with a diverse student population of 122 students from 41 countries.
County Louth VEC is a local Statutory, Education and Training Authority in Dundalk Co.Louth. County Louth VEC is involved in education provision for second level and mature students, further education, vocational training, adult education, outdoor education and special education for early school leavers.
Project Participants
4
Curriculum Areas• Literacy• Art• History• LocalandGlobalCitizenship
• Geography
Language Development• Literacy• Biliteracy• Keylanguage• Useofhomelanguage
Pastoral • Workco-operatively
with others• Respondpositivelyto
others• Beopentonew
experiences• Increaseself-confidence
Intercultural Competencies• Empathy• Communicative
awareness• Knowledgediscovery• Respectforotherness
SchoolsMuseums
5
TalismanOur attitudes and values for the day are to…
enjoycreaterespectsupportcollaborateencourage
Why?Introduce students to talismans and the different cultures that adopt them.
Develop intercultural competencies of communicative awareness, knowledge discovery and respect for others.
What?• Explore the various meanings
and powers that talismans hold in different cultures.
• Show students talismans from the Islamic world.
• Understand that talismans can be made from different elements and that the intention of the bearer of the talisman is most important.
• Create their own talisman with a partner from a different school.
What you need . . .Foam clay Long thread or cord Pencils Felt pens/markers Scissors
6
Herbs and/or spicesGlue sticks Fact sheets Images of talismans
How?Welcome the students to the Chester Beatty Library. Use an ice breaker to start the session.
Introduce talismans and ask the students if they have seen or own one. Discuss the various functions and elements used to create a talisman and their presence in various religions and cultures namely: Islam, Christianity, Judaism and Buddhism.
Show the students images of different talismans from a number of traditions. View the Islamic section, the amulets on display and show talismans that are inscribed with the name of God and verses from the Qur’an. Talk about their functions, such as protection from evil, a cure for ailments, or good luck. Discuss their aesthetic value.
Provide students with a fact sheet about talismans to help inspire them as they create their own talisman.
Ask students to work in pairs to create a talisman of their own. Demonstrate how to use the foam clay, how to add colour to their talisman, how to write and draw on the clay to create patterns and intricate details and how to add herbs and spices. Pierce the clay, so that it can be connected to a thread and used as a necklace or bracelet.
Encourage students to think about the purpose of creating their talisman and how they intend to use it.
PreparationBefore visiting the museum, you may introduce talismans and pre-teach key language in class (see sample key language).
AfterwardsAfter visiting the museum you may record student reflections and evaluations of their talismans (see language focus cards).
See Appendices for the Museum’s original lesson plans
7
Who?Ourgroupincludes:
40 students from St. Oliver’s College, Drogheda and St. Patrick’s College, Ballymena.
Think about . . .Newandspecificvocabularythatstudentswillencountersuchas:
• talismans• Islam• protect• carry • wear
Links: Withotherareasoflearning:• Art • History• Citizenship• Geography
Tali
sma
ns Benchmarks based on the Common European
Framework of Reference
A1Listen and understand isolated, familiar words and phrases relating to talismans. Express ideas using symbols, pictures and labelling.
A2Readshorttextsegmentsanddiagramstofindamainideaand2-3detailsandanswer simple questions.Followdiscussionsandcontribute2-3phrasesonafamiliartopic.Spell and write frequently used topics words more consistently.
Literacy focus:Students should develop their ability to use:
- the language of describing- the language of enquiry- the language of explaining.
Maintain home language skills through:- the use of bilingual dictionaries- note-taking and recording ideas in home language if desired.
Provide key language terms in
advance
Use language focus cards
to help model language
Encourage students to
use illustrations to aid
understanding
Record ideas using illustrations and less verbal
means
8
Place newcomer students in groups with
good language role models
9
spices
WordinEnglish
wood
metal
gold
paper
herbs
a talisman
silver
Picture Wordinmylanguage
CEFR A1 Sample Key Language
My language A sentence using this wordI understand this wordYes / No
a talisman
Islam
wood
metal
gold
silver
paper
stone
plants
herbs
spices
evil
ailments
luck
powers
Understand why people use talismans
Identify a talisman
Make my own talisman
I can ra
CEFR A2 Sample Key Language
10
Lan
gu
ag
e fo
cus
card
sPo
ssib
le u
ses
for
lang
uage
foc
us c
ards
:•
Cut
up p
hras
es in
to w
ord
card
s fo
r se
nten
ce b
uild
ing
acti
viti
es.
• In
clud
e so
me
card
s w
ith
full
stop
s on
the
m.
This
foc
uses
on
punc
tuat
ion.
• G
ive
pupi
ls t
he w
hole
car
d as
a s
peak
ing
fram
e to
hel
p st
ruct
ure
expl
anat
ions
.•
Enco
urag
e pu
pils
to
use
card
s to
hel
p w
ith
crea
ting
sen
tenc
es.
11
Talis
mans
can b
e
be m
ade o
f
wood
m
eta
l gold
silv
er
paper
sto
ne
pla
nts
herb
s
spic
es
They
can b
e
carr
ied
or
worn
.
They
can b
e
used
to p
rote
ct a p
ers
on
from
evil.
as a
cure
fo
r ailm
ents
.
as a
good luck
charm
.
to h
elp
achie
ve
goals
My
talis
man
is
fo
r …………………………
..
12
Portraits Our attitudes and values for the day are to…
enjoycreaterespectsupportencouragecollaborateWhy?Learn ways of looking at and understanding portraits and how this is communicated visually.
Develop intercultural competencies of communicative awareness, knowledge discovery and respect for others.
What?• Analyse choices.
• Analyse as characters.
• Analyse as art.
• Spend time looking at art.
• Develop vocabulary.
• Make collage portraits that represent student’s own identity.
What you need . . .Portraits from the Royal Ulster Academy exhibitionCollage materials such as old newpapers and magazinesPencils and paperGlueMirrors
How?Welcoming students to the Ulster Museum. Use an ice breaker to start the session.
Introduce portraits: What is a portrait? Why were they the most popular type of painting in the 17th, 18th and 19th centuries? What are they for?
Analyse a selection of portraits from the collection. What did they choose to wear? Where are they standing? What objects are they holding?
Use one of the portraits to analyse the character. Think about how we judge people’s character from their face and body language. Explain that a portrait should show what someone is like on the inside as well as the outside. The word ‘portrait’ is said to come from French ‘trait pour trait’. This has a double meaning - line for line (an accurate likeness) and trait for trait (personality traits).
Look at another portrait. Think about the visual elements and how they have been used.
Analyse the composition and talk about the medium.
PreparationBefore visiting the gallery, you may introduce portraits and pre-teach key language in class (see sample key language).
AfterwardsAfter visiting the gallery you may record student reflections and evaluations of their portraits (see language focus cards).
See Appendices for the Museum’s original lesson plans
Who?Ourgroupincludes:
40 students from St. Oliver’s College, Drogheda and St.Patrick’s College, Ballymena.
Think about . . .Newandspecificvocabularythatstudentswillencountersuchas:
• costume• background• prop• role
Links: Withotherareasoflearning:• Art • History• Citizenship• Geography
13
Po
rtra
its
Benchmarks based on the Common European Framework of Reference
A1Listen and understand isolated, familiar words and phrases relating to portraits. Use visual cues to help locate information.Express ideas using pictures.
A2Get the main idea of short conversations or explanations.Readshorttextsegmentstofindamainidea,provide2-3details,thenanswersimple questions. Use a writing frame to write a short evaluation.
Literacy focus:Students should develop their ability to use:
- the language of comparing- the language of evaluating- the language of identifying.
Maintain home language skills through:- the use of bilingual dictionaries- note-taking and recording ideas in home language if desired.
Use language focus cards
to help model language
Record ideas using illustrations and less verbal
means
Provision of key language
terms in advance
Encourage students to use
illustrations to aid understanding
Place newcomer students in groups with
good language role models
14
15
the medium
WordinEnglish
aself-portrait
a group portrait
the props
the people
a collage
a portrait
the background
Picture Wordinmylanguage
CEFR A1 Sample Key Language
the costume
pencil
crayon
paint
Analyse a portrait
Make a collage portrait
I can ra
CEFR A2 Sample Key Language
the costume
bust-length
full-length
the background
the props
the people
the role
the composition
the medium
a collage
Analysingart
Analysingchoices
Analysingcharacter
a portrait
aself-portrait
a group portrait
appearance
likeness
the personality
a face
the body language
judge character
feelings
Portraits
16
My language A sentence using this wordI understand this wordYes / No
Lan
gu
ag
e fo
cus
card
sPo
ssib
le u
ses
for
lang
uage
foc
us c
ards
:•
Cut
up p
hras
es in
to w
ord
card
s fo
r se
nten
ce b
uild
ing
acti
viti
es.
• In
clud
e so
me
card
s w
ith
full
stop
s on
the
m.
This
foc
uses
on
punc
tuat
ion.
• G
ive
pupi
ls t
he w
hole
car
d as
a s
peak
ing
fram
e to
hel
p st
ruct
ure
expl
anat
ions
.•
Enco
urag
e pu
pils
to
use
card
s to
hel
p w
ith
crea
ting
sen
tenc
es.
17
A p
ort
rait
is
a p
ain
tin
g
of
a p
ers
on
.
A p
ort
rait
sho
ws
wh
at
a p
ers
on
is
like
o
n t
he
ou
tsid
e.
insi
de
.
The
pe
rso
n
ha
s c
ho
sen
to
we
ar
……
…
to s
it
on
……
…
to s
tan
d
ne
xt
to…
…
in f
ron
t o
f……
to h
old
a
……
…
to p
ort
ray
him
/he
rse
lf a
s …
….
My
co
llag
e
is
……
……
…
Shoes andPrintmaking
Our attitudes and values for the day are to…
enjoycreaterespectsupportencouragecollaborateWhy?Increase awareness of the links that footwear has to environment, culture and society.
Develop intercultural competencies of communicative awareness and respect for others.
What?• Look closely at shoes.
• Understand that shoes can be made of different materials.
• Explore why we wear shoes.
• Learn a simple block-printing technique.
• Learn how simple drawings can be transformed by using different media.
What you need . . .Shoes from the Ulster Museum collection (Turkish inlay bath shoes, Chinese shoes, Lotus shoes,Finnish Sami boots, Indian Paduka sandals, Japanese Geta shoes, Dutch clogs)Quickprint (polystyrene printing block)and pencilsViewfinders (pieces of paper with a square ‘window’ cut in them)Printing inkRollers
18
How?
PreparationBefore visiting the gallery, you may introduce shoes and pre-teach key language in class (see sample key language).
AfterwardsAfter visiting the gallery you may record student reflections and evaluations of their shoes (see language focus cards).
Who?Ourgroupincludes:
40 students from St. Oliver’s College, Drogheda and St.Patrick’s College, Ballymena.
Think about . . .Newandspecificvocabularythatstudentswillencountersuchas:
• Types of shoe: sandal, boot, clog, slipper.
• Materials: wood, wire, animal skin.• Climate: hot, cold, wet, sandy.• Construction: tie, weave, sow, carve.• Purpose: transport, protect, reflect
status.
Links: Withotherareasoflearning:
• Art • History• Citizenship• Geography
See Appendices for the Museum’s original lesson plans
19
Welcoming students to the Ulster Museum. Use an ice breaker to start the session.
Introduce the traditional shoes from the collection (Turkish inlay bath shoes, Chinese Shoes, Lotus Shoes, Finnish Sami boots, Indian Paduka sandals, Japanese Geta shoes,Dutch Clogs).
Ask students why do people wear shoes? What do shoes protect from? What materials are the shoes made from? Why are they made from these materials? What purpose are the shoes made for? What do these shoes say about a person’s wealth or occupation? Do the shoes have any religious significance?
After looking at the shoes and thinking about their stories, ask students to use viewfinders to select an interesting pattern or detail from the shoes. Draw the pattern using simple and direct lines straight into the quickprint. The idea is not to draw the whole shoe but just a detail. Then roll ink on the ‘block’ and make prints.
A1Listen and understand isolated, familiar words and phrases relating to shoes and materials. Express ideas using prints and labelling.
A2Followdiscussionsandcontribute2-3phrasesonathetopicofshoes.Recount information and sequence facts about shoes. Use a writing frame to write short evaluation.
Literacy focus:Students should develop their ability to use:
- The language of identifying- The language of enquiring- The language of explaining
Maintain home language skills through:- the use of bilingual dictionaries- note-taking and recording ideas in home language if desired.
20
Sh
oe
s Benchmarks based on the Common European Framework of Reference
Use language focus cards
to help model language
Record ideas using illustrations and less verbal
means
Provision of key language
terms in advance
Encourage students to use
illustrations to aid understanding
Place newcomer students in groups with
good language role models
CEFR A1 Sample Key Language
hot
Materialsusedtomakeshoes
Climate&Environment
Typesofshoes
WordinEnglish
a pair of sandals
a pair of clogs
a pair of slippers
animal skin
wool
snowy
icy
a pair of boots
wood
Picture Wordinmylanguage
21
22
a pair of boots
a pair of sandals
a pair of clogs
a pair of slippers
hot
cold
wet
dry
sandy
snowy
to transport
to protect
toreflectoccupation
to decorate
to symbolise wealth
for recreation (e.g. baths)
for religious reasons
Typesofshoes
Materialsusedtomakeshoes
Climateandenvironment
Purposeofshoes
wood
animal skin
silk
straw
wool
Identify shoe making materials
Explain why shoes are worn
I can ra
CEFR A2 Sample Key Language
My language A sentence using this wordI understand this wordYes / No
Lan
gu
ag
e fo
cus
card
s
Poss
ible
use
s fo
r la
ngua
ge f
ocus
car
ds:
• Cu
t up
phr
ases
into
wor
d ca
rds
for
sent
ence
bui
ldin
g ac
tivi
ties
. •
Incl
ude
som
e ca
rds
wit
h fu
ll st
ops
on t
hem
. Th
is f
ocus
es o
n pu
nctu
atio
n.•
Giv
e pu
pils
the
who
le c
ard
as a
spe
akin
g fr
ame
to h
elp
stru
ctur
e ex
plan
atio
ns.
• En
cour
age
pupi
ls t
o us
e ca
rds
to h
elp
wit
h cr
eati
ng s
ente
nces
.
23
These
are
boots
.
sandals
.
clo
gs.
slip
pers
.
Shoes
can b
e
made f
rom
w
ood.
anim
al sk
in.
silk
.
wir
e.
stra
w.
wool.
ivory
.
They
can b
e
worn
to
pro
tect
from
hot
sand.
hot
wate
r.
cold
and ice.
rough s
urf
aces.
mud.
Shoes
can b
e
worn
to
decora
te
feet.
My
patt
ern
is
fr
om
…
……
…..
24
MandalasOur attitudes and values for the day are to…
enjoycreaterespectsupportencouragecollaborateWhy?Introduce students to the Tibetan mandalas on display and explore their significance to the Buddhist religion.
Develop intercultural competencies of knowledge discovery and respect for others.
What?• Investigate what mandalas look
like.
• Learn who makes mandalas.
• Understand why mandalas are made.
What you need . . .Video of a mandala being createdPencilsColoured markersPlain A4 white paperSelection of black and white printouts of mandala designsWorksheet/ Questionnaire Sample jars of coloured sand Museum displays of mandalas
PreparationBefore visiting the museum, you may introduce mandalas and pre-teach language in class (see sample key language).
AfterwardsAfter visiting the museum you may record student reflections and evaluations (see language focus cards).
See Appendices for the Museum’s original lesson plans
Who?Ourgroupincludes:40 students from St Oliver’s College, Drogheda and St Patrick’s College, Ballymena
Withotherareasoflearning:
• Art • History• Citizenship• Geography
Links:
25
Newandspecificvocabularythatstudentswillencountersuchas:
• mandala• Buddhist
Use an ice breaker to start the session.
Students have a brief introductory talk on mandalas describing what they look like and why they are made. Explain to students that mandalas can be made of coloured sand, paint or paper. They are created by Tibetan Buddhist monks and Navajo Indians. Explain that ultimately the mandala is destroyed to emphasize the impermanence of life or the circle of life.
Have an opportunity to look at sample coloured sand used in mandala formation.
They watch a video of Tibetan monks making a mandala.
Students are divided into groups of 4-6. They are given a questionnaire and look at the museum collections of mandalas. They also make drawings from the mandalas to act as inspiration when they create their own mandala.
How?
Think about . . .
Ma
nd
ala
s Benchmarks based on the Common European Framework of Reference
A1Follow single step by step routine instructions by observing others.Use visual cues to help locate information.
A2Follow straightforward instructions.Readshorttextsegmentsanddiagramstofindamainideaand2-3detailsandanswer simple questions on mandalas.
Literacy focus:Students should develop their ability to use:
- The language of describing- The language of enquiring
Maintain home language skills through:- the use of bilingual dictionaries- note-taking and recording ideas in home language if desired.
26
Use language focus cards
to help model language
Record ideas using illustrations and less verbal
means
Encourage students to use
illustrations to aid understanding
Place newcomer students in groups with
good language role models
Provision of key language
terms in advance
27
WordinEnglish
Tibetan monks
paper
the cycle of life
a mandala
paint
Picture Wordinmylanguage
CEFR A1 Sample Key Language
Buddhist
coloured sand
metal
stone
My language A sentence using this word I understand this wordYes / No
Understand who makes mandalas and why
Understand what mandalas are made from
I can ra
a mandala
Tibetan monks
Buddhism
paint
sand
paper
metal
stone
the cycle of life
symbols
astrology
to symbolise
to destroy
life
death
reincarnation
CEFR A2 Sample Key Language
28
Lan
gu
ag
e fo
cus
card
sPo
ssib
le u
ses
for
lang
uage
foc
us c
ards
:•
Cut
up p
hras
es in
to w
ord
card
s fo
r se
nten
ce b
uild
ing
acti
viti
es.
• In
clud
e so
me
card
s w
ith
full
stop
s on
the
m.
This
foc
uses
on
punc
tuat
ion.
• G
ive
pupi
ls t
he w
hole
car
d as
a s
peak
ing
fram
e to
hel
p st
ruct
ure
expl
anat
ions
.•
Enco
urag
e pu
pils
to
use
card
s to
hel
p w
ith
crea
ting
sen
tenc
es.
29
Mandala
s
can b
e
be m
ade fro
m
pain
t.
colo
ure
d s
and.
paper.
m
eta
l.
sto
ne.
Mandala
s
are
m
ade b
y
Tib
eta
n m
onks.
They
are
used
to r
epre
sent
the c
ycle
of lif
e.
They
are
destr
oyed
to
sym
bolis
e
the im
perm
anence o
f lif
e.
Ap
pe
nd
ice
s
30
Whatareinterculturalskills?
Toleranceofambiguity
Behaviouralflexibility
Communicativeawareness
Knowledgediscovery
Respectforotherness
Empathy
is the ability to accept lack of clarity and to be able to deal constructively with situations where this is the case.
is the ability to adapt your own conduct to different requirements and situations.
is the ability to identify and use forms of expression of people from other cultural backgrounds and to modify your own forms of expression correspondingly.
is the ability to find out about a culture and cultural practices and to use that information in your own communication and interaction.
is about curiosity and openness, as well as a readiness to suspend disbelief about other cultures and belief about your own.
is the ability to understand intuitively what other people think and how they feel in given situations.
Understanding the Skills and Concepts
Source: Adapted from Autobiography of Intercultural encounters from the Council of Europehttp://www.coe.int/t/dg4/autobiography/AutobiographyTool.en.asp
31
Whatareinterculturalskills?
A1
Bre
ak
thro
ug
h
A
2
Wa
ys
tag
e
B1
Th
res
ho
ld
Sp
ea
kin
g &
lis
ten
ing
T
he
pu
pil
ca
n
Fo
llow
sin
gle
ste
p r
ou
tin
e in
str
uctio
ns b
y
ob
se
rvin
g o
the
rs
Lis
ten
fo
r &
un
de
rsta
nd
iso
late
d,
fam
ilia
r w
ord
s a
nd
ph
rase
s w
he
n lis
ten
ing
to
cle
ar,
slo
w r
ea
din
g a
lou
d
Use
pe
rso
na
l vo
ca
bu
lary
fo
r im
me
dia
te
en
vir
on
me
nt
Co
nve
y im
me
dia
te n
ee
ds &
ask f
or
assis
tan
ce
Ind
ica
te la
ck o
f co
mp
reh
en
sio
n
Fo
llow
str
aig
htf
orw
ard
fa
mili
ar
instr
uctio
ns
Lis
ten
to
oth
ers
’ co
ntr
ibu
tio
ns in
cla
ss a
nd
u
se
th
em
as a
mo
de
l
Ask o
the
r p
up
ils f
or
he
lp
Ask q
ue
stio
ns a
bo
ut
wo
rd m
ea
nin
gs in
a t
ext
Fo
llow
dis
cu
ssio
ns &
co
ntr
ibu
te 2
-3 p
hra
se
s
on
a f
am
ilia
r to
pic
Ge
t th
e m
ain
id
ea
of
sh
ort
co
nve
rsa
tio
ns o
r e
xp
lan
atio
ns
Un
de
rsta
nd
te
ach
er
exp
lan
atio
ns s
up
po
rte
d
with
illu
str
atio
ns
Un
de
rsta
nd
mo
st
instr
uctio
ns
Lis
ten
fo
r &
id
en
tify
mo
st
rele
va
nt c
on
cre
te
facts
Ask q
ue
stio
ns t
o c
lari
fy in
form
atio
n &
re
sp
on
d
to o
the
rs’ q
ue
stio
ns
Fo
llow
ma
in p
oin
ts &
co
ntr
ibu
te t
o c
lass
dis
cu
ssio
ns o
n f
am
ilia
r to
pic
s
Sp
ea
k c
lea
rly t
o b
e u
nd
ers
too
d b
y a
sym
pa
the
tic n
ative
sp
ea
ke
r
Se
qu
en
ce
id
ea
s &
in
form
atio
n w
ith
he
lp
Use
de
ve
lop
ing
vo
ca
bu
lary
to
exp
ress s
imp
le
tho
ug
hts
& o
pin
ion
s
Re
ad
ing
T
he
pu
pil
ca
n
Fo
llow
sim
ple
wri
tte
n in
str
uctio
ns w
ith
acco
mp
an
yin
g illu
str
atio
ns
Ma
tch
la
be
ls o
n d
iag
ram
s e
tc…
Lo
ca
te &
id
en
tify
se
ctio
ns o
n a
ma
p o
r
dia
gra
m u
sin
g a
ke
y
Use
illu
str
atio
ns t
o h
elp
un
de
rsta
nd
th
e t
op
ic
of
a t
ext
Use
vis
ua
l cu
es t
o h
elp
lo
ca
te in
form
atio
n
Use
a b
ilin
gu
al d
ictio
na
ry t
o lo
ok u
p k
ey
wo
rds p
rovid
ed
by t
he
te
ach
er
Fo
llow
sim
ple
wri
tte
n in
str
uctio
ns
Fo
llow
a t
ext
bo
ok w
hile
it
is r
ea
d a
lou
d
Re
ad
sh
ort
te
xt
se
gm
en
ts &
dia
gra
ms t
o f
ind
a
ma
in id
ea
& 2
-3 d
eta
ils &
an
sw
er
sim
ple
qu
estio
ns
Dis
tin
gu
ish
be
twe
en
fic
tio
n &
no
n f
ictio
n
Ca
teg
ori
se
wo
rds a
nd
co
nce
pts
in
dia
gra
ms
su
ch
as w
ord
ma
ps o
r V
en
n d
iag
ram
s
Re
co
un
t &
se
qu
en
ce
ma
in e
ve
nts
with
su
pp
ort
su
ch
as a
sto
ryb
oa
rd
Use
a b
ilin
gu
al d
ictio
na
ry t
o lo
ok u
p u
nfa
mili
ar
wo
rds
Un
de
rsta
nd
mo
st
wri
tte
n in
str
uctio
ns
Re
ad
a v
ari
ety
of
texts
& u
se
a w
ide
nin
g
ran
ge
of
rea
din
g s
tra
teg
ies
Re
ad
sh
ort
or
slig
htly lo
ng
er
text
se
gm
en
ts &
exp
lain
in
ow
n w
ord
s u
sin
g a
fra
me
wo
rk
Use
a t
extb
oo
k in
de
x,
co
nte
nts
ta
ble
etc…
. to
fin
d s
pe
cific
in
form
atio
n
Re
ad
to
fin
d t
he
gis
t, m
ain
id
ea
s a
nd
co
ncre
te
de
tails
in
a t
ext,
dia
gra
m o
r ch
art
Ask q
ue
stio
ns &
exp
ress s
imp
le o
pin
ion
s o
n
texts
re
ad
Re
co
un
t a
nd
se
qu
en
ce
id
ea
s
Use
a b
ilin
gu
al d
ictio
na
ry t
o c
lari
fy m
ea
nin
g
Wri
tin
g /
d
em
on
str
ati
ng
u
nd
ers
tan
din
g
Th
e p
up
il ca
n
Co
mp
lete
ga
pp
ed
se
nte
nce
s u
sin
g w
ord
b
an
ks,
lab
elle
d d
iag
ram
s,
ma
ps o
r ch
art
s a
s a
ke
y
Exp
ress id
ea
s u
sin
g s
ym
bo
ls,
pic
ture
s &
la
be
llin
g
Ma
tch
wo
rds o
r sh
ort
ph
rase
s t
o p
ictu
res
Wri
te p
ers
on
al ke
y w
ord
s
Fo
rm u
pp
er
an
d lo
we
r ca
se
le
tte
rs
Be
gin
to
use
sim
ple
pu
nctu
atio
n
Be
gin
to
pro
du
ce
le
gib
le h
an
dw
ritin
g
Use
co
rre
ct
pu
nctu
atio
n c
on
sis
ten
tly*
Sp
ell
& w
rite
fre
qu
en
tly u
se
d t
op
ics w
ord
s
mo
re c
on
sis
ten
tly
Sh
are
id
ea
s a
bo
ut
wh
at
the
y a
re g
oin
g t
o
wri
te t
o a
lim
ite
d e
xte
nt
De
vis
e a
tim
elin
e f
or
a t
op
ic s
uch
as t
he
ir o
wn
life
, a
his
tori
ca
l e
ve
nt,
th
e g
row
th o
f a
b
usin
ess e
tc…
.. u
sin
g w
ord
s &
pic
ture
s
Use
a w
ritin
g f
ram
e t
o w
rite
sh
ort
de
scri
ptive
or
exp
lan
ato
ry t
ext
on
a f
am
ilia
r to
pic
Giv
e s
imp
le p
ers
on
al re
actio
ns t
o t
ext
usin
g a
w
ritin
g f
ram
e
Be
gin
to
ch
eck w
ork
*C
ap
ita
l le
tte
rs,
full
sto
ps,
co
mm
as
Ou
tlin
e a
te
xt,
extr
actin
g m
ain
po
ints
& s
om
e
de
tails
, w
ith
su
pp
ort
Wri
te s
ho
rt n
arr
ative
or
de
scri
ptive
te
xts
usin
g
pla
nn
ing
, d
raft
ing
& r
evis
ing
, w
ith
su
pp
ort
Wri
te a
n a
cco
un
t fr
om
an
oth
er
po
int
of
vie
w
usin
g t
he
1st p
ers
on
na
rra
tive
, w
ith
su
pp
ort
Giv
e a
bri
ef
de
scri
ptio
n o
f a
pro
ce
ss o
r co
nce
pt
with
th
e a
id o
f n
ote
s,
he
ad
ing
s &
d
ictio
na
rie
s
Org
an
ise
ow
n w
ritin
g u
sin
g h
ea
din
gs,
su
bh
ea
din
gs &
pa
rag
rap
hs
Re
co
rd o
wn
re
actio
ns &
op
inio
ns,
with
su
pp
ort
Sta
rt s
en
ten
ce
s in
diffe
ren
t w
ays
Be
gin
to
use
sim
ple
pre
se
nt
& p
ast
ten
se
s
co
rre
ctly
Use
a r
an
ge
of
pu
nctu
atio
n
Cro
ss C
urr
icu
lar
Lan
gu
ag
e D
escri
pto
rs b
ased
on
th
e E
uro
pean
Lan
gu
ag
es F
ram
ew
ork
& C
om
mu
nic
ati
on
Skills
lev
els
1 –
3
Th
ese
de
scri
pto
rs d
escri
be
wh
at
a p
up
il w
ith
En
glis
h a
s a
se
co
nd
la
ng
ua
ge
sh
ou
ld b
e a
ble
to
do
at
va
rio
us s
tag
es in
th
eir
la
ng
ua
ge
de
ve
lop
me
nt.
Th
ey a
re r
ele
va
nt
to a
ll d
iscip
line
s.
Mo
st
stu
de
nts
will
be
at
A1
sta
ge
fo
r th
e f
irst
co
up
le o
f te
rms,
be
twe
en
A1
& A
2 d
uri
ng
te
rm 3
an
d in
to t
he
se
co
nd
ye
ar
an
d w
ork
ing
to
wa
rds B
1 le
ve
l o
ve
r th
e
ne
xt
co
up
le o
f ye
ars
. H
ow
eve
r, a
s w
ith
all
stu
de
nts
, p
rog
ress v
ari
es.
So
me
pu
pils
will
pro
gre
ss m
ore
qu
ickly
th
an
th
is.
Ac
tiv
itie
s f
or
Sta
ge
A1
Sp
ea
kin
g &
Lis
ten
ing
S
ign
po
st
lesso
ns w
ith
ill
ustr
atio
ns
A
cco
mp
an
y in
str
uctio
ns w
ith
vis
ua
ls o
r g
estu
res
V
isu
al le
sso
n in
tro
du
ctio
ns:
Slo
w r
eve
al
Ora
l sta
rte
r: p
ictu
re o
n b
oa
rd o
r p
roje
cto
r, b
rain
sto
rm f
or
ke
y
ide
as,
wri
te u
p &
illu
str
ate
A
ctive
lis
ten
ing
activitie
s
A
sk s
imp
le d
ire
cte
d q
ue
stio
ns
req
uir
ing
min
ima
l o
r n
on
-ve
rba
l re
sp
on
se
: ‘S
ho
w m
e t
he
……
’ ‘P
oin
t to
th
e ……
.’
R
ea
din
g
If
te
xt
is s
ma
ll, e
nla
rge
it
R
ea
d t
ext
alo
ud
with
cla
ss.
Try
so
me
active
lis
ten
ing
ba
se
d o
n
text.
M
atc
h s
ing
le w
ord
s o
r sh
ort
p
hra
se
s t
o d
iag
ram
s &
pic
ture
s
G
ive
a lis
t o
f 5
-6 k
ey w
ord
s f
rom
te
xt
to lo
ok u
p in
fir
st
lan
gu
ag
e
or
illu
str
ate
with
pa
rtn
er.
Th
en
fin
d &
hig
hlig
ht
wo
rds in
th
e
text.
G
ive
ve
ry s
imp
le g
rid
s t
o h
elp
e
xtr
act
4-5
ke
y p
oin
ts
S
eq
ue
nce
pic
ture
s t
o r
ete
ll sto
ry
or
reco
rd e
ve
nt
or
pro
ce
ss
Wri
tin
g /
de
mo
ns
tra
tin
g
un
de
rsta
nd
ing
L
ab
elli
ng
C
loze
pro
ce
du
re u
sin
g b
an
k o
f fa
mili
ar
no
un
s
D
raw
& la
be
l C
rea
te s
tory
bo
ard
C
op
y c
ap
tio
ns &
ma
tch
to
pic
ture
s
C
rea
te g
rap
h,
ch
art
, d
iag
ram
Ac
tiv
itie
s f
or
Sta
ge
A2
Lis
ten
ing
& S
pe
ak
ing
S
ign
po
st
the
le
sso
n w
ith
sh
ort
ph
rase
s
B
rea
k u
p in
str
uctio
ns in
to m
an
ag
ea
ble
ch
un
ks &
wri
te in
sim
ple
lan
gu
ag
e o
n b
oa
rd
V
isu
al le
sso
n in
tro
du
ctio
ns a
s a
t sta
ge
A1
+ q
uic
k-w
rite
s:
Giv
e g
rou
ps
of
4-5
pu
pils
an
A3
pa
ge
with
a t
op
ic p
ictu
re in
th
e m
idd
le.
Th
e g
rou
p
dis
cu
s t
he
pic
ture
& e
ach
pe
rso
n w
rite
s o
r d
raw
s s
om
eth
ing
re
late
d t
o
it.
On
e m
em
be
r re
po
rts b
ack.
A
ctive
lis
ten
ing
at
a h
igh
er
leve
l D
ire
cte
d q
ue
stio
ns r
eq
uir
ing
sh
ort
ve
rba
l re
sp
on
se
s
S
pe
akin
g f
ram
es t
o h
elp
se
qu
en
ce
th
ou
gh
ts,
rep
ort
ba
ck
Ac
tiv
itie
s f
or
Sta
ge
B1
Sp
ea
kin
g &
lis
ten
ing
S
ign
po
st
lesso
n w
ith
sh
ort
p
hra
se
s
B
rea
k u
p in
str
uctio
ns in
to
ma
na
ge
ab
le c
hu
nks
V
isu
al in
tro
du
ctio
ns,
ora
l sta
rte
rs
& q
uic
k w
rite
s s
till
ap
pro
pri
ate
A
ctive
lis
ten
ing
+ d
icta
glo
ss
L
ess s
tru
ctu
red
sp
ea
kin
g f
ram
es
for
ora
l p
rese
nta
tio
ns &
re
po
rt
ba
ck
Re
ad
ing
E
nco
ura
ge
to
re
ad
te
xt
at
ho
me
in
a
dva
nce
of
lesso
ns
R
ea
d t
exts
alo
ud
an
d a
sk p
up
ils t
o
pa
rtic
ipa
te
A
ctive
lis
ten
ing
still
ap
pro
pri
ate
U
se
ke
y q
ue
stio
ns /
pro
mp
ts t
o
gu
ide
re
ad
ing
& r
ese
arc
h
L
ess s
tru
ctu
red
fra
me
s t
o h
elp
w
ith
pe
rso
na
l re
sp
on
se
to
re
ad
ing
E
nco
ura
ge
no
te t
akin
g in
En
glis
h
or
firs
t la
ng
ua
ge
W
riti
ng
S
ha
red
& p
air
ed
wri
tin
g
L
ess s
tru
ctu
red
wri
tin
g f
ram
es t
o:
Wri
te a
de
scri
ptive
acco
un
t D
escri
be
a p
roce
ss o
r e
ve
nt
Giv
e a
pe
rso
na
l re
actio
n
Ou
tlin
e a
te
xt
Wri
te a
re
po
rt
Giv
e a
n a
cco
un
t fr
om
an
oth
er
po
int
of
vie
w
D
iscu
ss a
nd
use
go
od
wri
tin
g
mo
de
ls t
o h
elp
pu
pils
co
me
up
w
ith
ow
n s
tru
ctu
re f
or
wri
tin
g a
n
acco
un
t o
r a
pie
ce
of
co
urs
ew
ork
Ac
tiv
itie
s f
or
Sta
ge
A2
Re
ad
ing
P
rovid
e s
um
ma
ry o
f ch
ap
ter
in a
dva
nce
R
ea
d t
ext
alo
ud
with
cla
ss.
Active
lis
ten
ing
ba
se
d o
n t
ext
still
ap
pro
pri
ate
M
atc
h t
itle
to
pic
ture
, title
to
pa
rag
rap
h,
sh
ort
te
xt
to p
ictu
re
C
ut
up
te
xt
an
d a
sk p
up
ils t
o p
ut
in c
orr
ect
ord
er
T
rue
/ f
als
e &
mu
ltip
le c
ho
ice
qu
estio
ns
C
loze
pro
ce
du
re
U
se
gri
ds t
o h
elp
extr
act
sp
ecific
in
form
atio
n
Ac
tiv
itie
s f
or
Sta
ge
A2
W
riti
ng
S
ha
red
& p
air
ed
wri
tin
g
C
loze
pro
ce
du
re w
ith
no
un
s,
ve
rbs,
ad
jective
s
C
rea
te o
wn
sto
ryb
oa
rd o
r tim
elin
e
C
rossw
ord
s f
ollo
we
d b
y d
em
on
str
atin
g u
nd
ers
tan
din
g o
f 4
-5 k
ey w
ord
s:
illu
str
ate
or
use
in
a s
en
ten
ce
U
se
wri
tin
g f
ram
e t
o:
Wri
te a
sh
ort
de
scri
ptive
acco
un
t o
r re
po
rt
De
scri
be
a p
roce
ss o
r e
ve
nt
Exp
lain
wh
at
ha
pp
en
ed
G
ive
a p
ers
on
al re
actio
n
P
len
ary
/co
ns
oli
da
tio
n i
de
as
fo
r a
ll
lev
els
A
sk p
up
ils t
o w
rite
or
dra
w 3
th
ing
s t
he
y r
em
em
be
r fr
om
th
e
lesso
n
S
imp
le o
ral d
iscu
ssio
n &
ma
in
po
ints
su
mm
ari
se
d o
n b
oa
rd.
S
ay o
r d
raw
on
e t
hin
g y
ou
lik
ed
&
on
e y
ou
did
n’t lik
e f
tom
th
e
lesso
n.
M
atc
h 4
-5 k
ey w
ord
s f
rom
le
sso
n
to p
ictu
res o
r d
efin
itio
ns.
Esse
ntia
l a
t a
ll le
ve
ls:
En
co
ura
ge
me
nt
of
use
of
firs
t
lan
gu
ag
es
O
ve
rvie
w o
f ye
ar
ah
ea
d
K
ey w
ord
s /
lan
gu
ag
e
pro
vid
ed
in
ad
va
nc
e
O
bje
ctiv
es
cla
rifie
d a
t st
art
of
top
ics
& le
sso
ns
O
pp
ort
un
itie
s fo
r m
ea
nin
gfu
l
inte
rac
tio
n in
pa
irs
& g
rou
ps
32
Ice Breaker Activity
SoftBallGame
Sit in a circle.
1. The leader introduces the game by saying - My first name is __________ and I like ____________.
The leader passes the ball to the person on the left. That person says his/her name and something he/she enjoys, then passes the ball to the left. Continue until everyone has introduced themselves.
2. The leader throws the ball at random to a person in the circle recalling his/her name and what he/she likes.
That person then does the same to someone else in the circle etc.
Talisman-MakingWorkshopLesson plan by Karma El Shawa, facilitator, Chester Beatty Library
Sacred Traditions Gallery, Islamic Collection, Chester Beatty Library
© The Trustees of the Chester Beatty Library
Examplesoftalismans © The Trustees of the Chester Beatty LibraryLowerleft orange-red oval, Amulet, Carnelian, Arabic text, AD 17th - 19th century Iran or India, CBL Is As 62
Upperright, Amulet, Quartz crystal, Arabic text, Iran or India, AD 1656 (dated AH 1067) CBL Is As 61
Upperrow, square, clear with truncated corner, Amulet, Quartz, Arabic text, AD 17th – 19th century, Iran or India, CBL Is As 66
33
ChesterBeattyLibrarySupervisor: Jenny Siung, Head of Education, Chester Beatty LibraryParticipating schools: St. Oliver’s, Drogheda and St. Patrick’s, BallymenaFacilitators: Karma El Shawa (workshop leader), Tríona Langan, and Thomas O’Connor
WorkshopAimsandObjectivesAim: To introduce students to talismans and the different cultures that adopt them. Create their own talismans in collaboration with a partner student from a different school.
Objectives:- To explore the various meanings and powers that talismans hold in different cultures and show students the
talismans from the Islamic world on display at the 2nd floor gallery at the Chester Beatty Library (CBL).- To understand that talismans can be made from different elements including wood, metal, gold, silver, paper,
stone, plants, herbs and spices, and that the intention of the bearer of the talisman is most important. The talisman may be carried or worn to help protect a person from evil, as a cure for ailments, for good luck, or help a person achieve life goals.
- To assist the students in creating their own talisman (based on their own desired intentions to carry or wear them) through working with a partner student from a different school.
Programme
11:00Welcome the students to CBL and provide an introduction to the workshop and activities of the day.
What is a talisman and what are they used for?Talk about the notion of talismans while asking the students whether they have seen or own one - to trigger a personal link between the students and talismans.
Talismans are objects that are imbued with protective powers.Discuss the various functions and elements used to create a talisman and their presence in various religions and cultures namely: Islam, Christianity, Judaism and Buddhism. Show the students images of different talismans from a number of traditions (either as a projection on the screen or on A3 paper).
11:20Facilitators, teachers and students go to the 2nd floor gallery, the Islamic section. Facilitator provides a brief talk about the amulets on display while emphasising their functions as well as their aesthetic value. Show talismans that are inscribed with the name of God, and verses from the Qur’an as examples from the Islamic world.
11:40Go back to the Lecture theatre. Explain that each student will be working with their partner to create a talisman of their own. Materials will also be distributed. The facilitator will provide a simple demonstration of how the students can use the foam clay by rolling it into a ball first and use their hands as well as scissors to manipulate the clay to create the desired shape. Using a pencil and coloured felt markers, the facilitators will demonstrate how to add colour to their talisman as well as write and draw on the clay to create patterns and intricate details, and pierce the clay, which can then be connected to a thread and used as a necklace or bracelet. Facilitators will also show the student the available herbs and spices that can be added on to the clay using the glue sticks.
As the students begin to create their own talisman, they will be encouraged to discuss with their partner about the purpose for creating it and how they intend to use it. This will further personalise and help deepen the student’s understanding of talismans. A fact sheet about talismans and the different elements used to create them will also be handed out. This will serve as a reminder for students of what they have just learnt and will also help them seek inspiration as they create their own talisman.
12:15Finish and head to the Silk Road Café for lunch.
Materials Needed- Foam clay - Long thread or cord - Pencils - Felt pens/markers in gold, silver, yellow, blue, purple, red, orange, green, and black colours - Scissors - Herbs and/or spices- Glue sticks - Fact sheets (40 copies) – to be provided for print-out- Images of talismans – either used as a projection on the screen or printed on A3 paper – to be provided.
Attitudes,Values&GoalsArt and crafts workshops encourage artistic, educational and creative expression. Our goals for the day will be to create, learn, inspire, encourage, and enjoy.
Our attitudes & values for the day will be to:- Help and encourage students from St. Oliver’s, Drogheda and from St. Patrick’s, Ballymena to collaborate and
work together as they create their own talisman.- Provide students with individualised support where needed. - Approach activities with excitement and enthusiasm. - Create a friendly and fun environment.- Ensure that the Child Protection Policy is adhered to at all times where the workshop will be carried out in a
supervised and safe environment. - Respect the work area and ensure materials have been cleaned and put away efficiently.
34
35
Whatisatalismanandwhataretheyusedfor?• A talisman is any object that is imbued with protective powers, and all cultures have different
manifestations of these objects. Talismans are made for a definite reason or intention to either bring good luck, fortune, health, protection, prosperity, fertility or spiritual growth to its owners.
• Amulets and talismans have been worn for thousands of years. They are powerful tools that can be used to clear negative energies in a person’s environment and empower them so that they can approach every situation from a balanced centre, as well as ward off evil. Using specific techniques, both Amulets and talismans can be custom-made to enhance a particular attribute or purpose. There are for example amulets that are used to help women with conception.
• Talismans can be made from different materials including wood, metal, gold, silver, clay, paper, stone, plants, herbs and spices. Because it is the intention of the bearer of the talisman that is most important - whether the talisman is carried or worn to help protect a person from evil, as a cure for ailments, for good luck, or help a person achieve life goals, etc., it is advised that a talisman is created by the person who plans to use it.
• Jews, Christians, Muslims and Buddhists all believe in the protective and healing power of amulets or blessed objects. Talismans can be worn on the body, carried in a pocket, or rolled and placed in an amulet case; some talismans are worn as clothing, or are hung above a person’s bed or in front of a house. Jews, Christians, and Muslims have also at times used their holy books in a talismanic manner.
Talismansindifferentreligioustraditions–Islam,Christianity,JudaismandBuddhism• In the Islamic world, talismans often bear Qur’anic inscriptions as well as images of prophets, astrological
signs, and religious narratives. The word God (Allah) which is believed to provide protection and power to ward off evil is also often used and inscribed on talismans. The surface of a talismanic object can be covered with prayers, signs, numbers, and decorative motifs.
• The Khamsa (the Hand of Fatima that is palm-shaped) which originated from Islam to protect against evil spirits is now also commonly used in Jewish and Christian traditions. Solomon’s seal (interlaced triangle) is also used in Jewish, Christian and Muslim traditions and possesses talismanic powers.
• The crucifix or cross is most commonly used in Christianity to protect from evil. Another Christian tradition is to place a holy book underneath a sick person’s bed or pillow to help the person heal.
• In Buddhism, talismans or amulets are often stamped medallions made of bronze or brass and can be worn directly on a chain, but the most popular material used is clay, mixed with other materials such as medicinal herbs or the ashes from burnt incense. These tend to be given by a particular monastery in honour of one of their most esteemed monks. The front of the medal will normally has a portrait of the holy man, with the reverse side showing a sacred text, a magic number square or a horoscope. These will more often be images of the Buddha or one of the many manifestations of Buddhahood.
Talisman Fact SheetPrepared by Karma El Shawa, facilitator, Chester Beatty Library
36
PortraitsandIdentityOn the visit use portraits from the Royal Ulster Academy exhibition (the approaches are all transferrable).
LearningoutcomesTo learn ways of looking at and understanding portraits:• Analyse as a series of choices• Analyse in terms of character• Analyse as art - spend time in the gallery looking at art - introduce vocabulary – portrait, sitter, composition, - make collage portraits - think about your own identity and the identity of others and how it is communicated visually.
What is a portrait? Why were they the most popular type of painting in 17th 18th and 19th Centuries? What are they for? Are all pictures of people portraits?
A portrait has to be a representation of an individual – a unique person. Portraits were painted as a record of a person at a certain time, something by which to remember a person.
AnalysingaportraitintermsofchoicesWhat would you (or the artist) have to choose if you were having your portrait painted?Clothes; hair; jewellery; background; props; how to stand/sit; other people/animals in the portrait; how much of you is in the picture (close up/far away).
Think of an actor on a stage – it is not a natural situation, it is constructed. Actors take on a role and have costume, stage sets, props.
ExampleThe portrait of the family of Sir Thomas Bateson.The children are in their best clothes. (What would you wear – best, scruffiest, fancy dress, something to do with work/sport/hobbies?).
Analyse the background - paintings of their house (Orangefield) and their town (Belfast). Also there are prints of the King, Queen and Prime Minister, and this shows they are loyal to them. What pictures might you have included? Family? Footballers? Celebrities?Analyse the things they hold – music sheets, flowers, toys and compasses for the globe.
AnalysingintermsofcharacterA portrait should show what someone is like on the inside as well as the outside. A way to think about this is the word ‘portrait’ is said to come from French ‘trait pour trait’. This has a double meaning - line for line (an accurate likeness) and trait for trait (the same in French and English ‘traits’ – personality traits).
Think about how we judge people’s character from their face… ’by the time you are fifty your face is your own fault’
What words come to mind to describe the character? Do we all have the same feelings about the person? Does their life-story back it up?
AnalysingasartThink about the visual elements and how they have been used.Analyse the compositionTalk about the medium
Portraits and Identity - Teaching Unit
ShoesWorkshop-UlsterMuseumLessonplanbyFionaBaird
WorkshopAimsandObjectivesAim: To increase awareness of the links that footwear has to environment, culture and society. Introduce students to new and specific vocabulary.
Objectives:To understand that shoes can be made of different materials and the reasons for the choices made.To explore the why we wear shoes - protection against the environment ,heat, cold, water, rough surfaces etc, as symbols of wealth or occupation, looking good (think of all the shoes you or your friends have), religious belief – Indian Padukas, method of transport – skates, snow shoes, recreation - different sports – golf, football, ballet.
GenericLearningOutcomes:KnowledgeandunderstandingEnjoyment,Inspiration,CreativityAttitudesandValues
IntroductionPeople have developed footwear to suit the different areas of the world they live in. All the shoes discussed have been hand made in different parts of the world.
The simplest way to protect feet was to grab what was handy - bark, large leaves and grass - and tie them under the foot with vines. In hot countries this developed into the sandal made from woven palms, grass or plant fibres and attached to the foot with toe loops. Examples of early sandals have been found in Japan, Polynesia and America. In colder climates, animal skins and fur were used, for example Inuit seal skin boots.There also is religious and cultural significance of feet and footwear. In the traditions of the peoples of the Indian subcontinent this relationship is complex and unique. Feet are both the most revered and reviled part of the body. The feet of elders, religious teachers and deities are worshipped. The feet of women are beautifully cared for and adorned, and become symbols of affection and eroticism. Conversely, feet are the most humble, impure and polluting part of the body.
Footwear can also indicate social status and reflect occupation.
Turkishinlaybathshoes:earlytwentiethcentury
What materials have been used? These shoes are made from wood and inlaid with wire and bone. Inlay can also be of mother of pearl or ivory.
What part of them is missing? Woven vegetable fibre strap that would hold them to the foot. Were the shoes designed for a man or a woman?
What is the purpose of the shoe?They were worn to protect the bather’s feet from the hot tiles and water in the Turkish ‘Hammam’. A Hammam is a special bath house which has a series of very hot sauna rooms, an ice cold plunge pool, an area where you get all your skin cleaned and exfoliated (rub away all the old skin) and a gently heated pool to relax in. The end result is that you feel really clean and incredibly relaxed and full of energy. Turkish people still use these baths regularly today.
37
38
Shoes,China:earlytwentiethcentury
What materials have been used?Woven straw, most likely from rice stalks, Note the simple beauty of the shoe – the three different designs of weaving on the sole, insole and upper.
Purpose? These shoes would have been hand woven in the Southern provinces of China. They provide a cheap, easily sourced and replaced form of foot protection for the farming communities that work on the land. In the colder northern areas where it is colder and more animals are reared, skins are used instead.
‘Babouches’slippers,Morocco:earlytwentiethcentury
What materials have been used? Camel hide and inlaid with a spiral pattern in metal wire.
Easy and comfortable to wear in hot sandy areas. Notice the beautiful ‘hidden’ decoration on the inner sole of the shoe. Often the heels are squashed down over time by the wearer. In the Islamic faith shoes are removed before entering a mosque, so this type of shoe can easily be slipped off and on.
FinnishSamiboot:twentiethcentury
What materials have been used?The leg skin of reindeer is chosen to make this kind of footwear. The brightly coloured decorative fabric is made from wool felt. The curled toe construction of the boot is designed for ease of use with ski bindings. The sole of the boot is sown with the fur lying in two directions. Why? Acts as a device to stop the wearer from slipping on icy surfaces. The boots could also be stuffed with dried sedge grass or moss to help insulate the foot.
Lotusshoes:latenineteenthcentury
What materials have been used?Silk with hand embroidered decoration. These embroidered green silk shoes only measure 138mm in length. They are designed to be worn by an adult woman
One legend has it that ‘lotus’ slippers first appeared in China in the 11th century when an Empress was born with deformed feet. To save her future embarrassment, her father decreed that only women with very small feet could be truly feminine and desirable. As a result women began to bind their feet. Tiny feet became a sign of high status, beauty and attractiveness.
The foot binding process began when the girl was between 5 – 7 years old. Bandages were tightly wrapped around the foot, gradually bending the four smaller toes inward under the foot. This painful process was regularly repeated over a 2 – 3 year period until the foot size was reduced. The most prized size was 3 inches (80mm).
Clogs,Holland:twentiethcentury
What materials have been used?Each clog is cut from a single piece of wood, sanded smooth then decorated with carvings or paint. Why would certain types of wood be more suitable than others? Availability, ease of carving, fineness of ‘grain’, more or less waterproof.
Not everyone in Holland wears wooden clogs. They tend to be worn by farmers, market gardeners and factory workers as the shoes provide protection, are easy to take on and off and because the wood allows the feet to ‘breathe’.
Mandala-MakingWorkshopintheClassroomLesson Plan by Triona Langan, facilitator, Chester Beatty Library
Mandala of Mahamaya, the Great IllusionThangka Painting on cotton, 18th -19th century, central of eastern Tibet. CBL Tb 1847.
© The Trustees of the Chester Beatty Library
ParticipantsSupervisor: Jenny Siung, Head of Education, Chester Beatty LibraryParticipating schools: St. Oliver’s, Drogheda and St. Patrick’s, Ballymena (40 students total)Facilitators: Karma El Shawa (workshop leader), Tríona Langan, and Thomas O’Connor
BackgroundInformationTibetan monks create sand mandalas to demonstrate the impermanence of life. The Chester Beatty has two Tibetan mandalas on display in their East Asian collection (2nd floor). The Mandala of Vajrabhairava and the Mandala of Mahamaya both painted on cotton.
Mandalas can be created using paint, sand or even take the form of a metal sculpture or a monastic building complex. In 2000 the CBL had a visit from Tibetan monks who stayed for a week to create a sand mandala in the Library. On completion, a final ceremony was held and the monks went to the River Liffey and poured the sand into the river. This ritual symbolises the impermanence of life and holds significant meaning for Buddhists.
WorkshopAim: To introduce students to the Tibetan mandalas on display in CBL collection and to further explore the East Asian section of the museum.
Objectives: By looking at the two Tibetan mandalas in the collection and discussing their significance to the Buddhist religion. By group interaction using a worksheet/questionnaire with task orientated outcomes. By allowing for different learning styles with written, visual aids, video and discussion.
39
40
Programme-ActivitiesandTimingMandalas
1pm Lecture theatre introduction. Facilitators: Tríona (workshop leader), with Karma and Thomas assisting. A short introductory talk about mandalas and the CBL collection by Tríona. Some sample jars of coloured sand to pass around to the students (if available). Screening of the following video if possible.
* Video of monks creating sand mandala’s link http://www.youtube.com/watch?v=ga5s_qYgJS8
1.20pm Break the larger group (40) into smaller groups with at least three students from each school working together in (numbers may vary on day). Give each group a number flag.Each group picks (1x questionnaire/ worksheet per team). Students must take down written and visual information to bring back to lecture theatre for discussion. Pencils and plain paper given to each student before they go to gallery.
1.30pm Facilitators/Teachers/ Groups, go to 2nd floor Gallery to East Asian Collection. Tríona gives short talk (2min) on the two Tibetan mandalas on display. Each group works on questionnaire/worksheet drawing and writing information down. (Some flexibility/crowd control regarding student numbers will be needed in this East Asian section).
2.00pm Back to Lecture theatre, group discussion on the information the students have gathered.
2.20pm Drawings by students and written questionnaires/ worksheets divided between schools so that each school can create their own larger mandalas.
2.30pm Wrap up and finish Materialswillinclude:
- Regular pencils x (students could bring own also).- Coloured markers x (about 6 packs to cover 40).- Plain A4 white cartridge for drawing x 1 sheet per student (40).- Selection of black and white printouts of mandala designs (50).- Worksheet/ Questionnaire x1 per group of six to eight students. - Sample jars of coloured sand to show students (if available). Any other learning aids or materials which CBL Education may have in storage, which could be Placed on display tables.- 4 x tables in lecture theatre for visual information displays. - Number flags for groups 1 to 8.
Attitudes,Values&GoalsArt based workshops to encourage educational and creative expression.
Ourgoalsforthedaywillbeto:learn, inspire, encourage, imagine, educate, grow and enjoy.
Ourattitudes&valuesforthedaywillbeto:- Help the group to work together and give young people individualised support where needed. - Be aware of our surroundings and maintain appropriate levels of noise and behaviour. - Approach activities with excitement and enthusiasm. - Create a friendly and fun environment. - Ensure Child Protection is adhered to at all times. - Ensure the workshop will be carried out in a supervised and safe environment. - Respect the work area and ensure materials have been cleaned and put away efficiently.
Mandala-MakingWorksheetVisittotheChesterBeattyLibrary
Worksheet by Triona Langan, facilitator, Chester Beatty Library
Supervisor: Jenny Siung, Head of Education, Chester Beatty Library. Participating schools: St. Oliver’s, Drogheda and St. Patrick’s, Ballymena (40 students total).
Facilitators: Tríona Langan, Thomas O’Connor and Karma El Shawa.
SacredTraditionsGallery:EastAsiaA number of Eastern spiritual traditions are represented in the East Asian collections. The Tibetan and Mongolian collections reflect the Buddhist influence on art and book production in the region. The Tibetan collection includes sixty-seven very fine examples of the brightly painted Buddhist handing scrolls know as thangkas (literally ‘rolled up object’) which are used as a focus for meditation. It also includes sacred texts in manuscript and printed form and a group of ritual objects.
SacredTibetanMandala
One of the richest visual objects in Tibetan Buddhism is the mandala. A mandala is a symbolic picture of the universe. It can be a painting on a wall or scroll, created in coloured sands or even take the form of a metal sculpture or monastic building complex. The mandala represents an imaginary palace (universe) that is contemplated during meditation. Each object in the palace has significance, representing an aspect of wisdom or reminding the meditator of a guiding principle. The mandala’s purpose is to help transform ordinary minds into enlightened ones and to assist with healing .
Group Work 2nd Floor. Team Number:
ExplorewithyourteamtheEastAsiansectionandanswerthefollowingquestions.Q1. According to Buddhist scripture, mandalas constructed from sand transmit positive energies to the environment and to the people who view them. Can you find and describe the materials that were used for creating the Tibetan mandalas on display? Team Answer
Q 2. Sanskrit is the classical language of India and the liturgical language of Hinduism, Buddhism, and Jainism. All these religions are represented in the East Asian section of the gallery. Find out what mandala translates as in the Sanskrit language and write down other examples of Sanskrit on display in the East Asian collection? Team Answer
41
42
Q 3. To Buddhists, existence is a cycle of life, death, rebirth and suffering that they seek to escape altogether. So do Buddhists believe in reincarnation? Team Answer
Q 4. In the Tibetan Buddhism section can you find the object pictured. Name it and describe its use? Team Answer
Q 5. As well as the two Tibetan mandalas, are there other objects similar to mandalas on display in the East Asian section? What countries are these from and what makes them different ?Team Answer
Q. 6 The image below shows a Buddhist prayer bell. In 1991 the Chester Beatty Library was presented with a gift of one such bell. Can you name the person who presented it, and why this person is so important to the Buddhist religion?Team Answer
Q 7. Who is Siddhartha Gautama? Team Answer
When your team has answered the above questions, use the blank paper provided to draw some of the detail and designs on the mandalas.
ChesterBeattyLibrarySupervisor: Jenny Siung, Head of Education, Chester Beatty LibraryParticipating schools: St. Oliver’s, Drogheda and St. Patrick’s, BallymenaFacilitators: Thomas O’Connor (workshop leader), Tríona Langan and Karma El Shawa.
This workshop has been designed to facilitate two groups of students from different schools to collaborate in the production of a large Buddhist mandala that will be ceremonially destroyed at a later date when completed. Each school will complete one half of the mandala.
AimThe aim of the workshop is to create the opportunity for participants to design and make their own mandala as a group in a similar way to how Tibetan monks do when making a sand mandala. Firstly using familiar materials; paper, paint and glue, then secondly using skills such as paper folding, drawing and painting.
Objectives:- Learn about the layout of a mandala, the type of background designs used and colour schemes. Use this knowledge to inform their design. - Learn about the types of symbols used in mandalas and how symbols are used and their meanings in general,
then research symbols to be used in their mandala.- Learn about the use of pagodas, gates and Mt Meru in Buddhist art and make paper versions for the mandala.- Work together with artists and classmates as a team.- Discuss different Buddhist ideas, for example the notion of impermanence and the practice of non attachment
and how these may relate to their lives. 10.00amIntroduction to session, assemble prepared pieces of blank mandala based on (Tibetan Buddhist model). The mandala is divided into smaller pieces (like a jigsaw) so individuals, pairs or small groups can work together on parts of it more easily without getting in each other’s way.
10.25amDiscuss the layout of the mandala, the astrological symbols used and how the group can fill out the blank spaces for symbols, background colours and images. Look at background examples prepared earlier.
Mandala-MakingWorkshopLesson Plan by Thomas O’Connor, facilitator, Chester Beatty Library
43
44
10.40am Look at examples of mandalas from Tibetan art.
10.50am Break into three different groups.
Group 1 with facilitator to make the paper elements of the mandala, the pagodas, gates and Mt. Meru. Group 2 with facilitator to research and fill in the blank areas symbols and background using paint markers. Group 3 with facilitator to work on drawing and painting the background.
11.00-11.20am Break
11.20amGroup 1 Introduction to paper folding and cutting, how to turn a two dimensional piece of paper into a three dimensional box. Step by step instruction into how to make the pagoda and gates.
Group 2 Introduction to the book of symbols, exploring symbols their meaning, which ones to use. (photocopies of symbols and jpegs of some of them are available if the students would prefer to print them out and paint/colour them before sticking them to mandala). Plus practical instruction in drawing and using paint-makers.
Group 3 Introduction to Tibetan drawing using examples of traditional motifs and the use of colour. Colouring small scale versions of the mandala to decide on a colour scheme. Plus practical instruction in drawing and painting.
1.00pm Lunch Break
1.45-2.00pm Finishing elements of the mandala and assembling them on the table. Photographing work. Feedback.
EquipmentandMaterialsPaperfolding(Group1)MaterialsA3 cartridge paper 80-100gsmEvo-stick or Bostik impact glue.
Tools/EquipmentCutting boards2 12” metal rulersPencils2 cutting knives1 scissors
Symbols(Group2)MaterialsA4 photocopy paper10 pencilsWater resistant PVA glueOil and water based paint makers (primary and secondary colours, plus shades, black and white)
Tools/Equipment3 scissors3 sharpenersErasersPhotocopierComputer and printerBook: 1000 Symbols, What shapes mean in art and myth.
Background(Group3)Materials10 pencilsAcrylic paint (primary and secondary colours, plus shades, black and white)
45
Tools/EquipmentBrushes, various sizes, flat and round3 sharpenersErasers
Attitudes,Values&Goals:Art and Craft workshop to encourage artistic, educational, creative expression and teamwork.Collaboration between students, teacher and facilitators.
Our goals for the day will be to:Create, learn, inspire, encourage, imagine, educate.
Our attitudes & values for the day will be to:- Help the group to work together and give students individualised support where needed.- Encourage collaboration and teamwork.- Encourage thought and discussion about the design and making of the mandala.- Be aware of our surroundings and maintain appropriate levels of noise and behaviour.- Approach activities with excitement and enthusiasm.- Create a friendly and fun environment.- Ensure Child Protection policy is adhered to at all times.- Respect the work area and ensure materials have been cleaned and put away.
Support MaterialTypesofmandala
A mandala is generally understood to be:• a circular figure representing the universe in Hindu and Buddhist symbolism.1
Mandalas come in three and two dimensional forms, they can be made from grain supported on metal plates by an individual,
• offered to one’s lama when a request has been made for teachings or an initiation-where the entire offering of the universe symbolises the most appropriate payment for the preciousness of the teachings.2
Sometimes they are made as a sculpture from wood or as a monument in stone like Borobudur in Java.
They can also be made by a group of monks from coloured sand using a special tool called the chak pur, over a number of days after which it is ritually destroyed very carefully. The sand is collected in a container and then poured into a river. This represents the impermanence of life and the world.
Footnotes1 Concise Oxford English Dictionary, Eleventh ed, Revised, Edited by Catherine Soanes and Angus Stevenson, Oxford, Oxford University Press, 2009.
2 Robert Beer, The Encyclopedia of Tibetan Symbols and Motifs, Chicago and London, Serinda Publications, 2004, Page 111.
ReferencesandResourcesRowena & Rupert Shepherd, 1000 Symbols: What shapes mean in art and myth, London, Thames & Hudson, 2002.
Sue Hamilton, Indian Philosophy: A Very Short Introduction, Oxford New York, Oxford University Press, 2001.
David & Janice Jackson, Tibetan Thangka Painting: Method and Materials, Chicago, Serinda Publications, 2006.
Paul Jackson, Folding Techniques for Designers: From Sheet to Form, London, Laurence King Pub Ltd, 2011.
Jon Allen, Making Geometry: Exploring Three-Dimensional Forms, Edinburgh, Floris Books, 2012.
46
Shoes
Objectives: To use the Ulster Museum collection to create own ‘shoe’To learn how to use Modroc (clay)To learn how to use the internet to research an art projectTo create a Modroc shoe based on the shoes from the Ulster Museum collection OR of their own design
Resources: Shoes in the Ulster Museum collectionGeneral Art room materials – paper, pencils, glue, newspapers, magazinesModrocChicken wirePliersTissue paper & PVA (glue)Decoration – fur, feathers, sequins, Computers (for further research)
Method: Visit the museumView the shoe collection and discussReturn to school and begin researching old and current fashion shoesCreate a collage of shoes as a mood board / support studios page. (Try to find the psychology into any current footwear, eg. killer heels)Choose a shoe to makeShape the shoe in chicken wireWrap it in tissue paper and PVA to create a smooth base for the ModrocCover the shoe in Modroc, smoothing as much as possible and creating detail if so desiredPaint the shoe, including detailVarnish the shoe when the paint is dry
Extended Activities Example 1
47
Mandala
Objectives:To use the Chester Beatty Library to learn about talismans and mandalasTo learn how to use clay to make a small tile mandala and a talismanTo learn how to use the internet to research an art project
Resources:Mandalas and talismans in the Chester Beatty Library collectionGeneral art room materials – paper, pencils, paint, varnish, glue, ceramic tools etc.Air-drying claySelection of seeds, spices, etc.School-buff clay (clay that can be fired)Computers (for further research,)
Method: Do internet research on mandalas – find information and imagesFind a design they like/use research to design own mandalaVisit the Chester Beatty LibraryLook at the Library’s collection of talismans.Move to Library activity room & watch slide-show / presentation on mandalas & talismans. Discuss the variety of seeds, herbs, spices, etc that were used making talismans and mandalasMake talismans using air-drying clay incorporating the seeds, herbs and spices available. Decorate with eg. symbols, messagesUse clay to make a 6” square tile. Decorate it with own/re-searched designs. Fire it in school kiln and paint & varnish/glaze
Extended Activities Example 2
48
Ballymena
Belfast
DuBlin
Dundalk
Drogheda
NORTHERN IRElaNd
IRElaNd
antrim
St. Oliver’s Community College
St. Patrick’s College
48
top related