Creative approaches to Global Education
Arts, Participation & Development
Photograph a scene that touches you -if you pass something that makes you ask a question, write the question in Chalk and photograph Find a space that is comfortable to you. Position yourself…draw your body outline and photo graph -Photograph something that gives you an insight to Cork Culture. -find and photograph an apparent contradiction that you find Find something that bothered you frustrated you, Mark the position on the map and write it on speech bubble postit. Find something you feel passionate about, mark the position on the map …write it on a love heart postit. -record a story that you overhear -bring back an object/ objects given to you.
Link to City Research video
USEFUL LINKS interventionist handbook creative times This archive within the creative time website is one of the most comprehensive, clear databases...will be very useful to find a case study! Social practice archive www.ideaonline.ie http://www.squidoo.com/visual_statistics
Development education Good education
Case Studies
link to album of case studies
Ai weiwei: F**K YOU MOTHER [LAND MICHELLE MARY OSHEA
“If there is one person who is not free, then I am not; if there is one person who sFll suffers from insult and humiliaFon, then I do. Do you understand yet?” Ai weiwei Ai weiwei, (born 1957) is a Chinese internaFonally renowned arFst and acFvist, his work is poliFcally charged and he has on many occasions been an outspoken criFc of the Chinese government. He believes in order for China to become a democraFc society; it needs people who can act, voice their opinions, talk to the young people and try to find a way to encourage people to be involved. He reminds people through his art and social media that an individual can make an impact for social change. Ai believes that the internet is the most valuable source of informaFon, where people can freely express themselves. “This event isn’t about me, but about how people are treated…freedom of expression and the internet, and how people can communicate and share ideas through the internet.” Ai uses his blog and Twi^er stream to organise, inform and inspire his followers, becoming an underground hero to millions of neFzens. On the 3rd of April 2011, Ai weiwei was detained by Chinese police at Beijing airport, aeer 81 days he was released from detenFon. The Chinese authoriFes alleged that Ai was guilty of tax evasion! Many in the internaFonal community felt that the arrest was the government’s response to his poliFcally-‐ charged work and social acFvism. -‐ just as they believed that his release was brought about by internaFonal pressure. According to Olga Viso, curator at the walker gallery, “… those voices and acFons, the appeal for freedom and democracy, do make a difference.” Ai weiwei is more than willing to use the power of this global internet age to voice his frustraFons.
Ai weiwei does Gangnam style “Grass Mud Horse” h^p://youtu.be/n281GWfT1E8
In late October 2012, Ai weiwei released a parody video of Gangnam style, enFtled “Grass mud horse style” (Cao ni ma). Filmed for roughly 10mins, took a whole day to edit and was uploaded online at midnight. Aeer a few hrs, tens of thousands, had watched it. The next day it was blocked from Chinese websites by Chinese authoriFes. China has a great firewall which has forbidden any informaFon that is considered sensiFve, so the struggle is always very strong there because the government basically censors everything they don’t like. New technology is helping people to hop over the great firewall. To date, it has received 160,813 views on YouTube. Ai’s video is a collecFve dig at the Chinese government, where there is a reference to his detenFon.
During part of the video Ai is handcuffed to a fellow dancer, in another part of the video Ai while dancing, waves a set of handcuffs and a dancer’s hands are crossed much like when a person is in handcuffs. “Art is a way of communicaFon. It should be shared by an audience. I’m trying to find a way to make the message more relatable to our daily lives.”
It is a playful mimic and he salutes the authoriFes with an invisible middle finger with his Ftle of “Grass Mud Horse” (Cao ni ma), “fuck you mother [land].” When a society constantly demands that everyone should abandon their right for freedom, the society becomes a society without creaFvity. Grass Mud Horse, (Cao ni ma) an alpaca-‐ like animal invented by China’s web users, literally translates as, “Fuck your Mother” which is similar to the English insult “motherfucker” One person invented the word “Grass Mud Horse”, another
created the song of the grass mud horse and then, the whole online crowd discover this song and sing it as a way to express their emoFons for free expression. It is probably the most famous example of how Chinese neFzens alter their language to sneak past censors. It is symbolic of the protest against internet censorship in China, represents informaFon and opinions that cannot be accepted by the mainstream discourse and has also become a metaphor over the power struggle of internet expression. “Grass Mud Horse” song: “There is a herd of Grass Mud Horses in the wild and beau6ful Ma Le Desert They are lively and intelligent They are fun-‐ loving and nimble They live freely in the Ma Le Desert They are courageous, tenacious and overcome the difficult environment Oh lying down Grass Mud-‐ Horse Oh running wild Grass Mud Horse They defeated river crabs***in order to Protect their grass land River crabs forever disappeared from Ma Le Desert.” The conflict between the people and the Chinese authoriFes is evident: We (Grass Mud Horses) were living happily with the internet (Ma Le desert), then you, the Chinese authoriFes (River Crabs) come along and try to take our freedom of expression (Ma Le Desert) from us, but, we will overcome this because we are courageous and will protect our human rights. So, fuck you mother [land]! Do you understand yet? In response to Ai weiwei subversive parody, Indian born BriFsh sculptor, Anish Kapoor invited 100’s of arFsts (friends), Amnesty acFvists and leading members of the cultural world to his London studio to create their own gangnam style video, “gangnam for freedom” as a sign of support to Ai weiwei and human rights. To date, it has received 246,511 views on YouTube.
Anish Kapoor does Gangnam style for freedom h^p://youtu.be/tcjFzmWLEdQ “Our film aims to make a serious point about freedom of speech and freedom of expression. It is our hope that this gesture of support for Ai weiwei and all prisoners of conscience will be wide-‐ranging and will help to emphasise how important these freedoms are to all of us.”
He also asked individuals and insFtuFons around the globe to submit videos and photographs to stress the importance of free speech and expression. The film was immediately removed from the web by Chinese authoriFes The film features appearances from arFsts bob and robera smith, mark wallinger and galleries and organisaFons such as MoMA, Guggenheim, new museum and many more.
InsFtuFons involved: Solomon R. Guggenheim museum, New York Hirsh horn Museum and Sculpture Gardens, Smithsonian Los Angeles County Museum of Art Mariam Tzannatos Whitney Museum of American Art Tumblr Lisa Appignansi Helen bamber Oliver + oslie Bestridge with William + Allegra Mullan Gladstone Gallery New museum MoMA, NEW YORK Richard Wentworth Philadelphia Museum of art Brooklyn Museum Sakip Sabanci Museum Istanbul Dementrio Paparon Norman Rosenthal Museum of contemporary art, San Diego Cornelia Parker + Jeff Macmillan Hanif Kurieshi SerpenFne Gallery Conor Taylor
Reprezent Radio 107.3FM Channel 4 news team La Guardia Community College
The Gangnam style song by the South Korean rapper PSY, his official video on YouTube has received 21,010,813 views and is the 2nd most watched video at this Fme. The gangnam has exploded globally and people are connecFng through song and dance. “Hey, sexy lady…” Ai weiwei is very aware of this and by dancing to his parody of gangnam style he knows it will be viewed on YouTube, clever man! In China, internaFonal internet sites have been blocked; Facebook, twi^er, Google and YouTube. The Chinese authoriFes are fearful of any informaFon that they consider sensiFve. Ai’s name cannot even be tagged, his blog has been censored, he is constantly under surveillance-‐ camera’s, phone monitored, tailed and his internet account is always being checked, he lives in a society where freedom of expression is not allowed. The nature of his work relies on the internet to get people aware of the true facts and informaFon. Ai weiwei thinks in the next few years-‐ China is facing a moment for a social and poliFcal change, yet in the past 30 years China has made a great difference economically and is much more connected and recognised by the internaFonal community, but is sFll a communist society where freedom of speech and human rights are in poor condiFon. Through his poliFcally charged work he quesFons the Chinese government on their lack of democraFc and civilised engagement. He poses the quesFon, “…Do you understand yet? If there is no free speech, every single life has been lived in vain… Fuck you mother [land].”
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ACTION RANKING- REFLECTIONS
We divided our actions in to individual and collective and think both are important. We felt that being part of an organisation helps you engage in collective action. We had volunteering as last in priority, but that was thinking about international volunteering abroad. The best action is to inform yourself...we agree but you can't push it on other people. It can be preachy. People take in information when they go out to find it..not when its pushed on them. We see lobbying as link between individual and collective action. You can do lots of lobbying and informing people with Facebook....a very individual action but with big impact. We felt that the best action is to be creative attracting public attention. We felt that the 1st priority is to look at your own life style and choice and make change. The priorities seem to reflect that the personal is important and that its core to the other types of actions. In terms of action you don't need to reinvent the wheel. Theres things that are proved to be effective. I think the power of lobbying TD is underestimated. It can be quite powerful. lots of things need to change at a legislative level. We put a lot of responsibility on our elective representatives. We have responsibility for ourselves. We also need to acknowledge we voted them. It easy to put all the blame somewhere else. When we priorities informing ourselves and taking responsibility for ourselves change should work up from there. Theres a lack of taking responsibility at a governmental level. People like Roisin Shorthall...stood up and took responsibility but she is not in position of power anymore. If you can change politics on the inside...it seems like everyone confirms. You can start making alternatives, different models and solutions. We need to focus on what we do want ...not just shouting about what we don't want.
Useful links IDEA What is Development video clip - IDEA Sheila's case study reference TVG Animation http://www.youtube.com/watch?v=U951TscOFoA&list=UU8ufmgh-IbIM1Q... http://www.creativenaomi.com/GLobalisation.jpg Radi-aid Case study http://www.africafornorway.no/ Development Education Resources - NYCI - National Youth Council of Ireland http://www.youthdeved.ie/ ADBUSTING/ Critical thinking http://www.adbusters.org/ GREENPEACE -NESTLE KIT KAT ADD LYNX http://www.youtube.com/watch?v=FialjqvnESM http://www.youtube.com/watch?v=1BCA8dQfGi0 Dove Add - Our perception of beauty is distorted..... http://www.youtube.com/watch?v=hibyAJOSW8U Media Empowerment Tool kit http://www.adbusters.org/cultureshop/mediakit Education/ Development Education Models http://www.trapese.org www.globaleducation.edu.au http://www.deeep.org/dear-definitions.html http://www.unesco.org/new/en/education/themes/leading-the-international-agenda/humanrights-education/
Creative Action/ Cultural rights
Apple Project
Tea Project
Dream for this space
The Cork People project
Link to "The Cork People" project http://thecorkpeople.wordpress.com/ The planning behind this project explained in two acts ACT 1. Culture-storming and the conception of an idea... How would we like to spend our weekend? What does culture mean? What values would we like to inspire and why? Music/Songs Weather (everyone bonds over the weather) Dancing? Skillshare/music exchange/teach us something Cork City XFactor Invite people to a conversation A Mad Hatters Tea Party? Play games..teach us a new game over tea Low energy V high energy, how can we cater for both? Logistics...do we want to be cold?? What do we want to learn? How do we do this? STORY-COLLECTING A time capsule? Create a snapshot of culture in one day in Cork... How about making a newspaper? "The People's Paper" Fill the spaces with stories from the people of Cork Create a NEWSROOM The Mother ]ones newsroom. And thus an idea was born. ACT 2 Embracing the flea and the execution of an idea... Approached the Mother ]ones Flea Market to see if they would house our newsroom and ]oin us in our quest to gather stories. The Cork People has a home and four intrepid culturehounds. Gathering supplies both practical and aesthetic A typewriter Paper, pens, crayons, pencils...stationery to feed the soul and unlock creativity Newspapers Documentary equipment, camera and voice recorder What do we want to know? What would make your life BETTER? Creating an online presence: thecorkpeople.wordpress.com Stories will be gathered on video, voice recording, by letting people chat freely, structured interview and anonymous comments. Space to write, draw, answer questions, ask questions and Just be. Roving reporter on the streets asking "What would make your life better?" Stallholders and browsers provide a perfect microcosmic snapshot of cultural Cork Stories will be posted online and in physical scrapbook copy. [FIN]
Thank-you Project
http://www.youtube.com/watch?feature=player_embedded&v=7XRVk89sBWk
City (Re) Searches Seminar As part of this weekend and seminar was held where students presented their projects. We had input from international members of City (re) Searches programme and discussion around Cultural rights. Link to the City (re) Searches programme http://www.bluedrum.ie/city-researches.html.
Conor Shields from Community Arts Partnership is a producer and director, a multi-instrumentalist and performing musician for over twenty five years. He has co-founded theatre companies, worked in broadcast journalism and film, development education and as an arts practitioner has facilitated workshops. Community Arts Partnership is our lead partner for Northern Ireland and is the newly formed merger between New Belfast Community Arts Initiative and Community Arts Forum.www.comartspartner.org Ed Carroll from Blue Drum works with others in an imaginary space where culture, politics and community collide. He was part of the Civil Arts Inquiry team established by City Arts Centre, Dublin (2003-2007) and Executive Chair of Kaunas Biennial (2009). He has responsibility for the roll out of an EU Culture Research study exploring cultural rights. He lives between Kaunas and Dublin. Blue Drum is the coordinator of the research and lead partner for the Republic of Ireland. Fernando Marquespenteado's inspiration has been floating around visual regimes within urban material cultures --- something like extensively deployed public imagery that inhibits and fatigues one’s primary instinct to produce meanings ---- together with his ongoing interest on male-to-male daily practices of violence, particularly through images and events where human life is taken without grace. His interest in these arenas grew, moved by an installed marriage which has been taken place between civil acrimony and public escapism within Brazilian society, a combination that always puzzled him, topped up with his estrangement and uneasiness around the event of (several)
beheadings within the prison system throughout the country, due to gang rivalry scenarios fuelled by drugs. He tries respond to the plural drives of his practice and to strengthen his joggling-between-twocontinents-existence and his fragile civil sanity. Fiona Woods is a visual artist based in Clare, Ireland who attempts to generate modest spaces within which things can be individually or collectively questioned or produced. www.fionawoods.net / www.collectionofminds.net Jeanne van Heeswijk has been working on socially committed art projects that take place in public spaces. She sees herself as a mediator, an intermediary between a situation, a space, a neighbourhood and the people connected to these. Jelena Veljkovic has been working as an independent programmer in Serbia and particularly with groups like Generator whose interest is public engagement. She is invited to Cork as an intern and is supported by the European Cultural Foundation. John Mulloy worked for many years as a community artist. Increasing discomfort with the negative impact of state policy on marginalised groups led him to research a 2006 PhD at the the NCAD (Dublin) on community arts. He teaches History of Art, Critical Theory and Rural Art in Galway-Mayo Institute of Technology. Mary Jane Jacob curatorial practice seeks to advance the parameters of artists’ public practices and examine assumptions about the audience for contemporary art. Niall Crowley is an independent equality expert and we invited him because he is interested in exploring how to connect cultural rights to other social and economic rights. He worked in the community sector with the Travellers’ rights organisation Pavee Point for twelve years. Niall O'Baoill is the cultural coordintor for Fatima Groups United an area that has realised a significant regeneration process in which art and culture was central. Susanne Bosch is an artist, open space facilitator; she works predominantly in public and on longterm questions, which tackle creative arguments around the ideas of democracy. www.susannebosch.de Vagabond Reviews, from Dublin, Ireland, led a dry run of the project in Kaunas in November 2011. It was established by Ailbhe Murphy and Ciaran Smyth in 2007.
Tool for education and change
Theatre-Exploring power
Connected Through, With and in the Arts
Susanne Bosch is an artist working in and with public. From 2007 to 2012 she has been joint Course Director with Dan Shipsides for the MA-Programme Art in Public at the University of Ulster in Belfast. She works predominantly in public and on long-term questions, which tackle creative arguments around the ideas of democracy. Works include among other things issues around money, migration, surviving, work, societal visions and participation models. She formally uses site- and situation-specific interventions, installations, video, drawing, audio, dialogical work, in addition formats such as writing, speaking, listening, workshops, seminars and Open Space conferences. http://www.susannebosch.de/
Project examples
CASE STUDY 1
Joseph Beuys http://www.social-sculpture.org/ Reading in English: Adriani, Götz, Winfried Konnertz, and Karin Thomas: Joseph Beuys: Life and Works. Trans. Patricia Lech. Woodbury, N.Y.: Barron’s Educational Series, 1979. Bastian, Heiner: Joseph Beuys: The secret block for a secret person in Ireland. Text by Dieter Koepplin. Munich: Schirmer/Mosel, 1988. Borer, Alain. The Essential Joseph Beuys. London: Thames and Hudson, 1996. Buchloh, Benjamin H.D.: ‘Beuys: The Twilight of the Idol,’ Artforum, vol.5, no.18 (January 1980), pp. 35–43. Buchloh, Benjamin H.D., Krauss, Rosalind, Michelson, Annette: ‘Joseph Beuys at the Guggenheim,’ in: October, 12 (Spring 1980), pp 3–21 De Duve, Thierry: Kant After Duchamp, Cambridge (Mass.): MIT Press, 1996. Murken, Axel Hinrich: Joseph Beuys und die Medizin. F. Coppenrath, 1979. ISBN 3-920192-81-8 Oman Hiltrud: "Joseph Beuys. Die Kunst auf dem Weg zum Leben." München, Heyne (1998) ISBN 3-453-14135-0 Potts, Alex: ‘Tactility: The Interrogation of Medium in the Art of the 1960s,’ Art History, Vol. 27, No.2 April 2004. 282-304. Ray, Gene (ed.): Joseph Beuys, Mapping the Legacy. New York and Sarasota: D.A.P. 2001. Rosenthal, Mark: Joseph Beuys: Actions, Vitrines, Environments, London: Tate, 2005. Schneede, Uwe M. Joseph Beuys Die Aktionen. Gerd Hatje, 1998. ISBN 3-7757-0450-7 Stachelhaus, Heiner. Joseph Beuys. New York: Abbeville Press, 1991. Temkin, Ann, and Bernice Rose. Thinking is Form: The Drawings of Joseph Beuys (exh. cat., Philadelphia Museum of Art). New York: Thames and Hudson, 1993. Tisdall, Caroline: Joseph Beuys, New York: Guggenheim Museum, 1979.
CASE STUDY 2:
Otto Scharmer http://www.ottoscharmer.com/ The pages of this site capture the evolution of Theory U and Otto Scharmer's work. Otto Scharmer, author of Theory U, is an action researcher who creates innovations in learning and leadership that he delivers through classes and programs at MIT, the Global Classroom online programs, Presencing Institute programs, and through innovation and change projects within and among organizations and communities. CASE STUDY 3::
Jeanne van Heeswijk Jeanne van Heeswijk is a visual artist who creates contexts for interaction in public spaces. Her projects distinguish themselves through a strong social involvement. www.jeanneworks.net/ http://www.jeanneworks.net/files/esy/i_0019/Paul_O_Neill__The_Blue_...
CASE STUDY 3
Maria Linares MARIA LINARES. Visual artist. This Site includes actions, videos, projects in public space, images, CV, texts, interviews, links and news. http://www.marialinares.com/ http://www.marialinares.com/projects.php?image=0
Personal Reflection
Action
I was asked to post on the self assessment exercise we did on Day 2 after lunch. Each participant was asked to take 4 sheets of paper, and draw on the front of each one a graphic representation of how they were feeling in terms of 1 - body 2 - intellect 3 - emotions 4 - energy/spirit On the back of the corresponding image, participants were asked to write what each of those 'voices' were saying/feeling, and also to note the relationship between each of the voices - were one or two in dialogue? was one particular voice coming out as most dominant? I found this exercise a simple way of intervening in the day, so that I could stop and gain a sense of what was really driving me, rather than simply going along and not paying attention to my learning, or to the situations and learnings around me. I was surprised by what I found when I really started to pay attention to the different elements at play inside, I had thought my body was tired, when really it was fine, it was my intellect that was tired... I had thought that my energy was low, when really it was more a case of feeling a little sensitive on the emotional side. By making these invisible dialogues visible, I was able to counteract and rebalance them... which of course led to a more attentive and present 'me'. An excellent exercise! Have doodled this a few days since, and its really helped in my decision making and general focus :)
JOURNALLING EXERCISE
Personal reflectionaction exercises
OTTO SCHARMER, source http://www.ottoscharmer.com/tools/exercises.shtml access deeper levels of self-knowledge, and to connect this knowledge to concrete action steps Purpose • To provide a process of self-reflection that allows to move through all phases of the U within one exercise. • To move into the deepest level of the U-Process: Presencing. • To connect self-reflection to concrete action steps. Outcomes • Access deeper levels of self-reflection & knowledge. • Learn how to use Journaling as a reflective tool. • To connect self-reflection to concrete action steps Time A minimum of 45 minutes is required. Depending of the context this journaling process can take up to 60-90 min. Materials Pen and paper for each participant. Principles People & Place Journaling is a personal process. Never ask participants to share their journaling notes in public. After completing a journaling practice you may create an opportunity to reflect on the experience of journaling. Again: emphasize that participants decide what they want to share. Journaling means that you think through the writing not to think and reflect, and then write up the reflection. With the instruction emphasize that participants want to just start writing and see what emerges. Process Step 1 Preparation: • Prepare a safe space that allows each participants to enter into a process of selfreflection without distractions. • Make sure everyone has slowed down.
Step 2 Read each question, and ask the participants to write down what comes to mind. Continue with the next question when you sense that the majority of the group is ready. Don’t give participants too much time. It is important to get into a flow and not to think too much. Questions: Read each question and allow participants to journal: 1. Challenges: Look at yourself from outside as if you were another person: What are the 3 or 4 most important challenges or tasks that your life (work and non-work) currently presents? 2. Self: Write down 3 or 4 important facts about yourself. What are the important accomplishments you have achieved or competencies you have developed in your life (examples: raising children; finishing your education; being a good listener)? 3. Emerging Self: What 3 or 4 important aspirations, areas of interest, or undeveloped talents would you like to place more focus on in your future journey (examples: writing a novel or poems; starting a social movement; taking your current work to a new level)? 4. Frustration: What about your current work and/or personal life frustrates you the most? 5. Energy: What are your most vital sources of energy? What do you love? 6. Inner resistance: What is holding you back? Describe 2 or 3 recent situations (in your work or personal life) where you noticed one of the following three voices kicking in, which then prevented you from exploring the situation you were in more deeply: o Voice of Judgment: shutting down your open mind (downloading instead of inquiring) o Voice of Cynicism: shutting down your open heart (disconnecting instead of relating) o Voice of Fear: shutting down your open will (holding on to the past or the present instead of letting go) 7. The crack: Over the past couple of days and weeks, what new aspects of your Self have you noticed? What new questions and themes are occurring to you now? 8. Your community: Who makes up your community, and what are their highest hopes in regard to your future journey? Choose three people with different perspectives on your life and explore their hopes for your future (examples: your family; your friends; a parentless child on the street with no access to food, shelter, safety, or education). What might you hope for if you were in their shoes and looking at your life through their eyes?
Personal reflectionaction exercises
9. Helicopter: Watch yourself from above (as if in a helicopter). What are you doing? What are you trying to do in this stage of your professional and personal journey? 10. Imagine you could fast-forward to the very last moments of your life, when it is time for you to pass on. Now look back on your life’s journey as a whole. What would you want to see at that moment? What footprint do you want to leave behind on the planet? What would you want to be remembered for by the people who live on after you? 11. From that (future) place, look back at your current situation as if you were looking at a different person. Now try to help that other person from the viewpoint of your highest future Self. What advice would you give? Feel, and sense, what the advice is —and then write it down. 12. Now return again to the present and crystallize what it is that you want to create: your vision and intention for the next 3-5 years. What vision and intention do you have for yourself and your work? What are some essential core elements of the future that you want to create in your personal, professional, and social life? Describe as concretely as possible the images and elements that occur to you. 13. Letting-go: What would you have to let go of in order to bring your vision into reality? What is the old stuff that must die? What is the old skin (behaviors, thought processes, etc.) that you need to shed? 14. Seeds: What in your current life or context provides the seeds for the future that you want to create? Where do you see your future beginning? 15. Prototyping: Over the next three months, if you were to prototype a microcosm of the future in which you could discover “the new” by doing something, what would that prototype look like? 16. People: Who can help you make your highest future possibilities a reality? Who might be your core helpers and partners? 17. Action: If you were to take on the project of bringing your intention into reality, what practical first steps would you take over the next 3 to 4 days? Step 3 Reflection on the Practice: Split up the group into pairs, and invite them to reflect on their experience. Again, mention that journaling is private and that each participants decides want they want to share.
Skills exchange workshops
Title: Sew Sow Garden Patchwork.
Total time 2.5 hrs
About: Fusing an investigation of the plant world and needlework. Process: The overall session plan is first introduced. 5mins Participant then draw a plant name and its seed from a hat to investigate. 5mins Particpants group with others who's plant choice matches theirs in companion planting. 10 mins While in groups participants will investigate their plant choice individually under the following guide lines. A.Plant family B.Image of flower and leaf C.uses. food , medicine , 20 mins This is followed by a short demonstration of needle work, A. the back stitch B .The top stitch. 10 mins This will lead to an introduction on how these two simple stitches can be used for embroidery and applique. 10 mins Participants are then asked to use their new skills and knowledge to: Create a patch to represent your plant through pictures and words using cloth and needlework. 1 hr Participants will work on their patch along side those in their companion plant group, chatting and exchanging knowledge on thier plant. When your patch is illustrated you can then take a little pot and sow the seed of your plant and place it in the centre of your patch. At the end all the patches will be exhibited in thier companion group and all the groups come together to create a full patchwork garden. People will have time to roam the garden. 30 mins (and tidy up inc)
Life Drawing Learning: through drawing, you need to really look, observe. This is a very intense dialogue with the outside world and an expression on paper. Drawing a body always connects to your own body. As “embodied practice” suggests, we understand always the world through our vehicle, which is our body.
Drawing: A step by step process to see the world, to express the world via a language, in this case the language is drawing.
Peer facilitation
Facilitation Skills/
Todays footprint
Right Brain/Left Brain
Question Media/ Question Society
Creative arts for expression
Looking Forward
Reflections
How things have changed...
Images reflecting learning process
Reflections...