What's the Story Teacher Guide

Wonderland: Photographs by Kirsty Mitchell and

What’s the Story?

Selections from the Permanent Collection Kirsty Mitchell, The Pure Blood of a Blossom 2014, 78 1/2 x 54 inches

Teacher Guide Steven Althouse, Door with Flames, 2017, Archival pigment print, 88 x 60 inches

What’s the Story? Teacher Guide The Museum of Art - DeLand is proud to present this Teacher Guide as an educational resource for the exhibitions,

Wonderland: Photographs by Kirsty Mitchell January 10 – April 26, 2020 100 N. Woodland Blvd., DeLand, Florida

and

What’s the Story? Selections from the Permanent Collection December 21, 2019 – April 26, 2020 600 N. Woodland Blvd., DeLand, Florida

Written and designed

by Pam Coffman, Curator of Education

Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture.

Museum of Art - DeLand, Florida ▪ 600 and 100 North Woodland Boulevard ▪ DeLand, Florida 32720 386.734.4371 ▪ MoArtDeLand.org

Copyright 2020Museum of Art - DeLand, Florida. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or any other method without written consent by the Museum of Art - DeLand, Florida.

Table of Contents About this Teacher Guide…………………………………………………….

Introduction….……………………………………….....................................

What’s The Story?/Narrative Art................................................................

Visual Imagery as Text………………………………………………………..

Illustration and Text……………………………………………………………

Storytelling and Teaching……………………………………………………..

Close Reading and Close Looking/Seeing……….....................................

About What’s the Story Selections from the Permanent Collection………

I Must Be Dreaming Activity ………………………………………………….

The Door to Imagination Activity …………………………………………….

Description and Interpretation Activity ………………………………………

Pause-Rewind-Play Activity ………………………………………………….

Did You Get the Message Activity …………………………………………..

Folktales, Fairy Tales, Myths and Fables …………………………………..

Fairy Tales and Popular Culture ……………………………………………..

About Wonderland Photographs by Kirsty Mitchell ………………………..

I Know the Feeling Activity……………………………………………………

Inspired Activity ………………………………………………………………..

Inspired Activity Part 2…………………………………………………………

What A Character Activity……………………………………………………..

What A Character Activity Part 2……………………………………………..

Get the Picture Activity ………………………………………………………..

More Activity Ideas ……………………………………………………………

Resources I Know the Feeling Activity………………………………………

Ekphrastic Poetry Worksheet…………………………………………………

Selected Vocabulary and Poetry Examples…………………………………

Vincent Van Gogh The Starry Night …………………………………………

The Starry Night by Anne Sexton…………………………………………….

Resources for Inspired Activity Part 2……………………………………….

Gammelyn, the Dressmaker………………………………………………….

Elements of Fairy Tales……………………………………………………….

Elements of Fairy Tales Worksheets………………………………………...

Resource for What A Character Activity Part 2 …………………………….

Standards……………………………………………………………………….

Resources ……………………………………………………………………...

2 3 4 5 5 6 7 8 10 13 16 18 21 23 25 27 31 34 36 37 40 41 46 49 49 50 51 51 52 52 56 57 58 60 66

Wonderland Photographs by Kirsty Mitchell and What’s the Story? Selections from the Permanent Collection Teacher Guide Dear Educator: The Museum of Art – Deland is proud to offer you this Teacher Guide as an accompaniment to the exhibitions Wonderland Photographs by Kirsty Mitchell and What’s the Story Selections from the Permanent Collection.

This guide examines visual art as narrative, visual literacy, the connection between illustration and text, and storytelling as a technique to enhance student learning. The discussions and activities introduce some of the key themes and topics presented in the exhibitions including: close reading and close looking, narrative art, folklore, fairy tales, myths, fables, and the connection between illustration and text.

We look forward to welcoming you and your students to the Museum!

Feel free to contact me with questions or for additional information.

Sincerely, Pam Coffman, Curator of Education

Museum of Art – DeLand ▪ 600 and 100 N. Woodland Boulevard ▪ DeLand, Florida 32720 386.734.4371 ▪ MoArtDeLand.org

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About this Teacher Guide 1. How can these materials be used?

These materials provide a framework for preparing you and your students for a visit to the exhibitions and offer suggestions for follow up classroom reflection and lessons. The discussions and activities introduce some of the exhibition’s key themes and concepts.

We hope that this material will support dynamic learning in your classroom and help your students draw parallels with subjects they are already studying.

2. Which grade levels are these materials intended for?

This guide has been designed to be readily adapted by educators for Elementary, Middle, or High School students. We encourage you to borrow from and build upon the material to meet the needs of your specific classroom environment, teaching objectives and students’ needs.

3. Image Gallery Images in the activities may be downloaded at this link: https://photos.app.goo.gl/DVcKVS8EwpYXsJZQ7 To download the entire image gallery, click on the three vertical dots at the top right of the main gallery page for the option to download.

Single images can also be downloaded by clicking on the image in the gallery and then navigating to the same three vertical dots at the top right corner. The option to download the single image or play slide show is available then.

4. Learning standards The projects and activities in these materials address state learning standards for the arts, English language arts and social studies. Because the activities are designed to be adapted and tailored by educators, they are not accompanied by individual lists of standards addressed. The standards listed at the end of the guide (pgs. 60 – 65) reflect those inherent in many of the lessons and programs in the Museum.

5. Feedback Please let us know what you think of these materials. How did you use them? What worked or didn’t work? Email Coffman@MoArtDeLand.org.

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Introduction Images have the unique ability to allow the viewer to immediately translate the meaning of a message. Our brain is wired to rapidly make sense of and remember visual input. In fact, about 30 percent of the brain’s cortex is devoted to visual processing. This information is important when considering visual art as narrative, because the viewer only needs to look closely at the artwork to “read” the image, instead of having to read a text word by word. The result is a much more powerful and memorable learning experience than a mere verbal or textual description.

The skill to “read an image” is one component of visual literacy. Visual literacy is defined as “the ability to interpret, negotiate, and make meaning from information presented in the form of an image, extending the meaning of literacy, which commonly signifies interpretation of a written or printed text. Visual literacy is based on the idea that pictures can be ‘read’ and that meaning can be gained through a process of reading.”

Visual literacy is a necessity in today’s society where we are constantly bombarded by all forms of media filled with images and symbols and many other types of visual communication. In education, visual literacy is not confined to a specific discipline or area of the curriculum, because visual resources are incorporated into all content areas.

Studies show that by becoming more visually literate, students learn how to think more effectively and critical thinking, communication, and evidential reasoning skills all increase with practice.

Visual images in the form of illustration work closely with text to create meanings.

Illustrations can be an excellent tool for developing students’ analytical and interpretative skills, as well as enhancing their enjoyment of art. Illustrated books improve students’ understanding of the story and provide them with an immediate vision of the characters, setting, and mood of the story allowing them to instantly respond to characters from their visual appeal.

Incorporating story and storytelling in the classroom is an excellent strategy for improving student learning and engagement. In the article, “Why Storytelling in the Classroom Matters”, Matthew James Friday writes that “storytelling is the oldest form of teaching. It bonded the early human communities, giving children the answers to the biggest questions of creation, life, and the afterlife. Stories define us, shape us, control us, and make us. Not every human culture in the world is literate, but every single culture tells stories.”

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What’s the Story?

We have all heard the saying that a picture is worth a 1000 words and this can be attributed to the close association between visual art and storytelling. Some of the earliest evidence of human activity suggests that people told stories with pictures. Stories shape our knowledge of the world and function as the foundation of memory and learning. Stories are the emotional glue that connects us with our humanness. They are a powerful medium for communicating ideas, documenting history, linking past, present, and future, and sharing knowledge with others.

Narrative Art Narrative art is visual art that tells a story. Examples of narrative art can be found in all cultures, all media and all forms that can be imagined. Artists can present narrative by using a series of images representing moments in a story, or by selecting a central moment to stand for the whole story. The stories in narrative art can come from many sources including: history, mythology, literature, religion, social and political events and personal experiences from the artist’s life. Narrative art is meant to teach, inspire, inform, and preserve memories and stories of diverse cultures for future generations.

Narrative art was more predominant in the past. In Western culture, painting and sculpture initially evolved to illuminate narratives of religion, patronage, and power because of the high level of illiteracy in the general population. In the twentieth century, with the rise of abstract art and the ensuing rejection of figurative art, many artists abandoned narrative content in their work. During the 1990s some younger artists began to revisit the concept of storytelling to articulate the politics of identity and diversity endowing both abstract and representational forms with narrative content. Today artists encompass narrative in their art through a variety of forms and media. For these artists, storytelling and the narrative potential can be found in everyday objects and materials, and their embedded cultural associations. This return to narrative in contemporary art can in part be attributed to the current age of social media with its incessant cycles of communication, dissemination, and interpretation.

Both text and image are forms of communication and learning to read both require that we begin with the material the writer or artist presents, then look at the symbols and try to decipher their meaning. However, there are important differences between reading a book (text) and reading a painting (image). With a book we have to imagine the scene as we mentally convert the black and white letter symbols on the page into colorful imaginative pictures. A painting, unlike text is a visual document that is created for us, and confronts us in its entirety all at once. Unlike the writer, the visual artist has only one frame through which to communicate the subject matter. As the viewer, we have immediate access to the visual image, but in order to “read” it and decode the meaning, requires that we take a longer critical look.

So what’s the story? Today most artists have their own personal relationship with the work they create. How you “read” and relate to the work is entirely up to you. Your interpretation of the “story” will be influenced by your unique personal emotional, psychological and intellectual experiences and perspective. Slow down, look closely, think deeply and find your own story.

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Visual Imagery as Text "The importance of images and visual media in contemporary culture is changing what it means to be literate in the 21st century. Today's society is highly visual, and visual imagery is no longer supplemental to other forms of information. Visual literacy is a set of abilities that enables an individual to effectively find, interpret, evaluate, use, and create images and visual media." Association of Research & College Libraries (ACRL) In today’s world we are bombarded with visual imagery. From smartphones, tablets, laptops, internet, social media, television, films, video games, newspapers, billboards, magazines, advertisements, store displays and more, we are constantly exposed to visual images and messages of all types. This proliferation of visual communication and images makes the ability to consider and critically interpret them an essential skill in navigating our daily lives and becoming visually literate.

Teaching students to be visually literate is essential because most of the information they encounter is presented as a combination of text and image. Studies show that by becoming more visually literate, students learn how to think more effectively. Critical thinking, communication, and evidential reasoning skills all increase with practice, and becoming more visually literate increases growth in all types of learners. Research indicates that we retain approximately 10-20% of written or spoken information, but around 65% of information when it is presented visually.

Information that is presented visually:  is transferred faster to the brain.  helps students communicate and connect with the world around them because images can quickly convey meaning.  can enrich students’ understanding and enjoyment of a text or other media.  can help students understand the different ways images they consume can be used to manipulate their emotions and persuade them to act in a given way.  supports EAL learners.

Illustration and Text Research has shown that if we hear a piece of information three days later we remember 10% of it, but when a picture is added to the information, we remember 65% of it.

Unlike paintings in a museum or gallery, illustrations in a book are usually concerned with telling a specific story. There are different relationships that can occur between text and images.

Illustrations can:  help establish the setting and mood of the story.  show feelings that the words may only imply.  assist in the development of characters and characterization.  extend and advance the plot.  contribute to textual coherence.  contradict the text.  reinforce the text.

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Note: In some cases the primary function of picture book illustrations is to reinforce, rather than to extend or amplify, the text. Nonfiction picture books often fall into this category, with the illustrations and diagrams providing a visual restatement of the words.

Storytelling in Teaching “Tell me a fact and I’ll learn. Tell me the truth and I’ll believe. But tell me a story and it will live in my heart forever.” – Indian Proverb Storytelling is a powerful method of communication that humanizes learning by giving students the opportunity to connect to, relate to, or see the world from another person’s perspective.

When students can picture themselves in a story, they begin to develop a deeper and more empathetic connection with the story. No matter how organized or detailed a textbook or lesson plan might be, there’s something about presenting the information in a story - the description, the problem, the quest for a solution, the resolution—that resonates with students and inspires them to be more open to perceiving and thinking in new ways. Presenting a lesson as a story is ideal for attitudinal learning because students who are motivated, no longer need to be persuaded to take action. When information is embedded in the context of a story, it is transferred to a listener or reader in a unique way. According to new research 70% of what we learn is consumed through storytelling.

Close Reading and Close Looking/Seeing

“It’s not what you look at that matters, it’s what you see.”

Henry David Thoreau

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Dictiornary.com defines: LOOK as: to turn one's eyes toward something or in some direction in order to see and they define SEE as: to perceive with the eyes.

In order to SEE we must become aware. It is an active rather than a passive process. Seeing is not only looking at something, but understanding it, paying attention to it and thinking about it.

Seeing is a combined effort of the eyes and the brain, which work together to sort out visual input and arrange it into meaningful images, full of context and significance.

Close Reading

Close Looking/Seeing

Close reading is a thoughtful, critical analysis of a text that focuses on significant details or patterns in order to develop a deep, precise understanding of the text’s form, craft, meanings, etc.

Close looking and seeing is engaging in a concentrated, thoughtful analysis of a work of art in order to deepen focus and make observations to connect with the artwork to achieve a greater understanding of the art/artist’s form, craft, and meanings.

FIRST READ: KEY IDEAS AND DETAILS Focus on most important elements of a text.

Focus on the key ideas and details in the text, making sure that readers know the main idea, story elements, or key details that the author includes.

FIRST LOOK: DESCRIPTION/RELATE Take time to study the entire work of art, focusing close attention to details. Take an inventory of everything that can be seen.

Explore elements of art such as line, shape, color, and texture, and consider the composition, material, and subject matter.

SECOND READ: CRAFT AND STRUCTURE Focus on how the text works.

After rereading, discuss the text focusing on the author’s craft and organizational patterns. This may include vocabulary choices, text structure or text features that they author included.

SECOND LOOK:ANALYSIS Focus on how the work is organized.

Analyze the relationships and organizational patterns of the elements of art such as sizes, shapes, colors, textures, space and volumes, etc. Use observed evidence to discuss and deepen understanding of the decision making process of the artist.

THIRD READ: INTEGRATION OF KNOWLEDGE AND IDEAS Focus on what the text means to the reader and how it connects to other experiences.

The third close reading of a text should go even deeper, requiring synthesize and analysis of information from several texts or media.

THIRD LOOK: INTERPRETATION Focus on what the artist is saying. Make inferences about details that aren’t stated or obvious.

Interpretation attempts to synthesize the information to get at the artist’s meaning and how it connects to the viewer’s previous knowledge and experience. Interpretation can be based on the viewer’s feelings, but those feelings must be supported by the more objective details collected in steps one and two.

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About What’s the Story? Selections from the Permanent Collection The artworks in What’s the Story? were selected from the Museum’s Permanent Collection and include paintings, drawings, prints, photographs, sculptures and assemblages. Each piece was chosen to evoke a story, inspire curiosity, encourage dialogue and create a connection with the viewer.

The stories they tell will be different for everyone, because each viewer approaches the art with their own unique life experiences and perspective. There is no right or wrong interpretation or narrative. Certainly the artists’ background information and the visual clues and evidence they include in the images frames their intent and story, but ultimately it is how the work resonates with you, the viewer, that determines your connection with and meaning of the story.

Reading a written narrative or story requires an investment of time and effort on the part of the reader and the same is true when “reading” a work of art. It is a process that takes time, patience, and attention to detail, analysis and interpretation.

The following questions can help guide students through the process of learning to “read” an artwork.

What kinds of things do you see in this artwork? What else do you see?

What words would you use to describe this artwork? What other words might you use?

What observations can you make about it?

What do you think is happening in this artwork? What else could be happening?

What does this artwork remind you of?

What things do you recognize in it? What things seem new to you?

Which objects seems closer to you? Further away?

What can you say about the colors in this artwork?

What color is used the most?

What can you say about the people or objects in this artwork?

What do you think is the most important part of this artwork?

How do you think the artist made this work?

What questions would you ask the artist about this work, if s/he were here?

What title would you give to this artwork? Why? What do you think it is about? How did you come up that idea?

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I Must Be Dreaming Activity

Ramon Carulla, Unforgettable Journey, 2011 Oil on canvas

Julio Larraz, Shadows of the Night’s Appetite 2017, Oil on canvas

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Procedure: Explain that our thoughts and ideas always lead us somewhere, and it can be good to just jump right in and start the process of writing. You don't need to know the whole story before you start. Find it along the way.

Select either painting for this activity or you can use both.

1. Give students a copy of the artwork or project the image for the class and ask them if they find it strange, confusing or disturbing.

2. Tell them to write their answers to the following questions: What is strange our unusual about this artwork?

What is the most confusing or unknown part of the image?

What does it remind you of?

What could it be?

3. Instruct the students to use the artwork for information, and write a story that starts with the first line: Last night I had the strangest dream...

4. Tell them to refer back to the image for more ideas if they get stuck, and change and revise if they discover new ideas. Artists and writers both rethink and revise their ideas during the process of creating. Tell them to give the story a title.

5. Ask students to think about how their writing connected to the image? What details from the artwork did they include and translate into their story? When they were working on this, did they revise? Did they rework any parts as new ideas came to mind? After writing, did their understanding of the image change?

6. Have students create an artwork that illustrates their story.

Ramón Antonio Carulla (Cuba, 1936) Carulla is an established self-taught Cuban artist whose work rests within the tradition of Latin American expressionist and figurative painting. For over 30 years his studio has been in Miami, and it is a fascinating place to visit.

In order to investigate the human psyche, Ramon Carulla looks to his own experiences as inspiration. He has developed a repertoire of personal symbols to accompany each character while he pays homage to universal references as well. Boats, birds, bicycles, wheels and "Masks" can be understood at many levels Carulla’s art is reminiscent of the theater of the absurd with his characters, vulnerable in their humanity, as they explore the various roles of the human condition with a sense of wit and whimsy.

His works constitute a point of convergence for color, emotion and design. Carulla uses a variety of supports including linen, paper and wood with noticeably provocative images, in a deliberate combination of fantasy and reality.

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“My evolution towards representation of the human figure is accompanied by a growing need to express my inner feelings and state of mind. My art derives strength from opposition and humor from despair. The textures are rich and personal. I incorporate mysterious effects, which I achieve with everyday objects transformed by many strokes of the brush. My cryptic elements have evolved into a peculiar and characteristic treatment of the human forms. I try to capture the quiet humor, which potentially lives even in the most somber of the faces.”

In speaking about his work Carulla states, “We all are jugglers, escapists, rockets, and entertainers in the interminable circus of life. The characters that appear in my works fluctuate from eccentric to gallant. Just as many human beings do, these capricious personages are always fighting with their sense of life, and their day to day existence.”

Julio Larraz (Cuba, 1944) Julio Larraz was born in Havana, Cuba in 1944, the son of a newspaper editor. He began to draw at a very early age. In 1961 the family was able to flee Cuba and come to the United States. After moving to New York in 1964 Larraz created political caricatures which were published by The New York Times, The Washington Post, Chicago Tribune and Vogue Magazine among others. He is a painter, sculptor, printmaker, and caricaturist known for his mastery of realism. His masterful cartoons not only created a unique spot for Julio in the art scene, but truly sparked his appetite for a life devoted to art. After leaving a job he reveled in, Julio began to paint. “I wasn’t bored of my job. I love drawing and I love politics, but I knew I wanted to do something that completely filled me with joy.”

Larraz is best known for his precise and detailed technique, his imagination, and his unique subtle touch, all of which have helped affirm his reputation as one of the most important contemporary Latin American painters.

Larraz comments about his work, “These are images that I have in my head. They’re not dreams, they’re daydreams. I see it very fast—I see the composition—and I’ve got to get it out.”

“The message of my work is always to spark a dialogue with yourself. There is no focus or goal.

These paintings are made because I was compelled to, but the meaning, you create for yourself.”

Larraz’s process is simple. He wakes up early every morning and paints until night. Since the subjects are fabrications of his mind, the artist rarely needs to leave his studio. For him, the days are not long enough in this life that he gleefully calls a dream.

“In life, you have got to find something so precious and important to you that you never look at the clock again. Time melts away. Hang on to every image. Inspiration is a collection of everything you’ve ever done. It is all grease to the meal. Appreciate your place. As an artist, I feel happy knowing that I am not going to change the art world. The most important thing is to realize that if what you leave is just a little mark on the wall of life, it is enough. Just a little note, a little drop of gravity. Most importantly, hope that someone who deserved it can gain or learn something from what you produced.”

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The Door to Imagination Activity

Steven Althouse, Door with Flames, 2017, Archival pigment print, 88 x 60 inches

Detail of text carved into door just above flame points

Temo les seves flames però les meves preguntes em demanen que l’obri (translated: I fear its flames but my questions beg me to open it).

This is an engaging, fun and educational activity to teach creative writing. Creative writing helps students develop a love of stories, explore new ideas and perspectives, stimulate curiosity and imagination, enhance their ability to empathize with others and advance their writing skills.

Often one of the most challenging things for students to do is to decide how and where to start their story. If they don’t know where to begin, they don’t really know where to take things either.

Providing students with a visual and verbal prompt gives them a starting point and can help the reluctant or struggling student writers be successful. Publishing the students’ stories adds additional motivation to put their best effort into their work and create something truly inspired.

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Procedure: 1. Divide students into groups of 3 - 4. It may be helpful to group students with stronger and weaker writing skills together.

2. Give each group a copy of the Door with Flames or project it for the class to see.

3. Ask students to look closely at the image and discuss it using the following points: What does it look like? What is it made of? Is there a door handle? Is it big or small? Heavy or light? Describe the details you see?  Tell students that the artist digitally “carved” the following words in the door just above the points of the flames: Temo les seves flames però les meves preguntes em demanen que l’obri (translated: I fear its flames but my questions beg me to open it).

Why do you think the artist included them on the door?  Tell students to work together and make a list of adjectives to describe the door and how it makes them feel.

4. Explain to students that they are going to write a collaborative story inspired by the picture of the door.  Now write the following prompt on the board: Suddenly the door appeared and a tiny voice said “Open me and enter.”

The prompt will be the first sentence of their story.  Ask students to think about and discuss the following points and make notes in order to incorporate their ideas and conclusions into the story: What is your story about? Why? What is the setting? What is in the background? Where is this place? Why do you think this?

What do you see? Hear? Smell? Feel? Taste?

Would you like to visit this place? Why? Who or what is the main character? Who are the other characters? What are they thinking and doing?

How will facial expressions, clothing, and symbols help tell the story?

What is the action of the story? What happens first? Then what? How does the story end? Why?  Instruct students to use their notes from the discussion and write their collaborative story using descriptive adjectives, action verbs and similes or metaphors to articulate the elements in their stories. Have the students create illustrations to accompany their story.

5. Have each group share their stories with the class.

6. If possible publish the student stories. Or create an e-book with all of the stories and post for parents, teachers, administrators and students to read. (Students can also do the publishing.)

Extension: Get a copy of Chris Van Allsburg’s The Mysteries of Harris Burdick. Each image depicts a character or a situation and a written prompt. (You can order a set of large individual images of the illustrations, The Mysteries of Harris Burdick Portfolio Edition, also available is The Chronicles of Harris Burdick: Fourteen Amazing Authors Tell the Tales / With an Introduction by Lemony Snicket. This collection of short stories features many, best-selling authors of both adult and children's literature. Follow the previous directions substituting the illustration and accompanying prompt. Students can work independently or collaborate.

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Stephen Althouse (American, 1948) Born in Washington DC in 1948, Stephen Althouse grew up in rural Bucks County, Pennsylvania, where he developed a deep appreciation for the honest, simple, and solid relationships formed between the working people and their land, their animals, their tools, the seasons, and the passage of time. He also witnessed the economic uncertainties of the neighboring county as its steel and coal industry gradually weakened and died. He received Quaker, Moravian and Mennonite schooling which encouraged the development of deep personal and private spirituality.

Although Althouse uses the photographic medium, he started out as a sculptor and continues to think and act as a sculptor; by first contemplating the idea for an image in his mind and then methodically creating it, usually in his studio. Inspired by his love of tools and farm equipment, Althouse fabricated his early sculptures out of wood, leather, and forged metal to resemble farming implements. Later, rather than making sculptures from raw materials, he began collecting already made objects which he loosely assembled together to create new artwork.

Discussing Door with Flames, Althouse says, “Occasionally I contemplate an idea and it requires an object or artifact that I’m unable to find because it exists only in my mind, so I’ll have to fabricate it as I did for Door with Flames. On the top section of the door I was inspired by arched shapes and the point from a small antique wooden niche for holding religious figures that I found in South America. The wavy shapes in the lower part of the door is a shape that as intrigued me since I was young for some unknown reason, and I periodically incorporate it into my work. I gave the door a patina like my other artifacts by aging it out in the weather.

Because my objects are so important to me, I often present them as life size or larger-than-life size luminous sacred objects floating symmetrically in a field of darkness.”

When I was younger I lived and had unusual jobs in Spain for almost 2 years in two distinct regions: Cataluña (pronounced Catalunya) in the north, and Andalucía in the south. I had some close friendships and unusual experiences there that contributed to making me who I am today. The phrase carved digitally into Door with Flames is in Catalan, the language spoken in Cataluña and a reference to my time there: Temo les seves flames però les meves preguntes em demanen que l’obri (translated: I fear its flames but my questions beg me to open it).

Throughout my career as an artist I’ve subtly encrypted words into my pieces; sometimes in Braille which for me implies metaphorically not being able to see (our constant stumbling and making the same mistakes throughout humankind’s history), and sometimes in non-mainstream languages or dialects which have reference to something, someone, or experiences with are significant in my life. I don’t intend the words to be readable. I feel that if my words were in English, they would be too blatant and would overpower and overtly define the art piece. The power of mystery within the piece would diminish. I’ve traveled to the Yucatan and to Egypt and have gazed at the amazing ancient pyramids and temples that are covered with hieroglyphics carved into the stone. It’s so mysterious and suspenseful not knowing what’s in those messages. For me if the words were in English instead of hieroglyphics the archeological sites would lose their magic.

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Description and Interpretation Activity

Carolina Cleere, State of Mine, 2009, Digital and mixed media, 60 x 44 inches

Procedure: 1. Divide students into groups of 3 – 4.

2. Give each group a copy of the artwork or project the image for the entire class. Allow 30 seconds of viewing time.

3. At the end of 30 seconds call time and tell the students to turn the artwork over or turn off the projected image.

4. Ask students to write down what they saw in the artwork.

5. When they are finished writing, tell them to circle the words they felt were the most important things about the artwork 6. Next ask them how much of what they circled answered the questions – who, what, where, why, when and how?

7. Tell the students to take a second look at the art and ask them to write down things they didn’t mention seeing the first time.

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8. Have students share what they wrote with their group and list the similarities and differences.

9. Tell the groups to discuss the following questions: What does this artwork make you think of?

If it was a story what would the story be? Then have each group make a list of “I wonder” statements about the artwork.

10. Instruct the groups to review their first individual descriptions of the work and think about how they can improve and combine them to create a collaborative word picture describing the artwork to someone who can’t see it.

11. Next direct the groups to interpret the artwork by writing a collaborative poem in free verse/open form, emphasizing the senses of sight, hearing, taste, sound, smell and touch. They also need to give their poem a title.

12. Have the groups share their poems with the class.

Carolina Cleere (American) Carolina Cleere was born in Pensacola. In her youth, she spent countless hours exploring the bayou and Gulf of Mexico near her home. She left Florida to study at the University of Minnesota then continued onto a successful journalism career in Seattle and New York. She made her living as an editorial illustrator for newspapers across the country. Cleere discovered that using other people's ideas as fodder for her creative talents wasn't satisfying and so she embarked on her own path as a professional artist. She realized that the Florida landscape had left a lasting impression on her bringing her back to her home state.

Due to a family tragedy, she began her Icon of Innocence series in 1996, focused on early childhood development. Cleere created surreal psychological portraits of defining moments, filled with narrative symbolism.

Cleere explains, ''The primary focus of my work is the narrative portrait of lost innocence. I am inspired by personal experiences and ‘found stories’ from the outside. . Children are like a blank canvas, icons of innocence but their purity is fragile and fleeting…It’s the memories that are the color of who we are and what our identity is as an adult…. My work is driven by a desire to explore these emotions from joy to angst and hope to pain…I use plants, animals, objects and color as visual symbols to carefully relay the context of a piece. This symbolism gives psychological meaning to an imaginary world where a mind can find comfort from the suffering of reality. Faces are purposely created to appear introspective so the viewer can bring their own experiences to the surface. My hope is to lure viewers into a narrative world full of allusions, leaving the mind room to explore its own meanings.”

She implements her own process of blending images through photography and painting. She assembles her subject matter from a vast collection of vintage doll heads, weathered animal bones, taxidermy birds and other eclectic items. These unique mixed-media paintings are a tedious blend of four different mediums which gives her work a distinctive style.

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Pause – Rewind – Play Activity

Donne Bitner, Red Rabbit Reflects, 2010, Mixed media on paper, 30 x 22 ¼ inches

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Procedure: Begin by explaining the following to the class: Imagine that you are looking at a paused video clip without the sound. The clip is in the middle of the video. An artwork is like that “paused” image. It tells part of the “story”, but it is up to you, the viewer, to look for clues and cues to determine the complete video story. Using evidence provided in the artwork you can “rewind” to predict what happened at the beginning of the video/story and then “play” to predict the ending of the video/story.

1. Divide students into groups of 3 – 4. Give each group a copy of the artwork or project it for the class. For this activity, the artwork will represent the “paused” or middle part of a video story.

2. Instruct the groups to answer the following questions and collect evidence to help them determine what is happening at this “paused” point in the video story. Remind students that the characters in a story or a movie don’t have to be people; they can be animals or objects as well.

Begin by describing what you see: Who or what is in the image?

Are they people? Animals? Objects?

What do they look like?

Are they wearing clothes? If so describe them.

What are they doing?

What is the setting/location?

What is the time of day?

What type of vegetation/environment is present?

Is there any animal or human activity present?

What is the season?

What objects do you see?

What do they have in common?

Where are they located?

How has the artist composed (or organized) the artwork?

From these observations, can you determine a theme or message of the painting?

3. Now tell the students to imagine that they can “rewind” the video and using the evidence that they gathered in question #2, predict what happened at the beginning of the video/story.

4. Next tell them to finish by using the evidence they collected to “play” the rest of the video to predict how the story ends.

5. Have students create a storyboard that illustrates the rewind, pause and play sections of the video and write the “script” for the video.

6. Give the video story a title and then share the story and storyboard with the class.

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Donne Bitner (American) Donne Bitner is an accomplished Florida artist specializing in watercolor, acrylic and 2D mixed media painting. Donne Bitner graduated with honors from Penn State University with a B.A degree in Art before moving to Florida in 1967.

In addition to a 30-year career as a full-time artist, Donne is a senior faculty member at Crealde School for the Arts in Orlando, FL. She has conducted workshops at the Yurick Studios (Atlantic Center for the Arts Downtown), New Smyrna Beach, Florida; Arrowmont School of Arts and Crafts, Gatlinburg, Tennessee; Vero Beach Center for the Arts, Vero Beach, Florida; Rollins College, Winter Park, Florida; Foosaner Art Museum, Melbourne, Florida; and the Deland Museum of Art, Deland, Florida.

“When I paint I don’t have a preconceived idea or point of reference from which I work. I never know what the work will look like in the end. My process is one of discovery” explains Bitner.

Known for her improvisational method of painting richly layered surfaces, Bitner’s work often incorporates acrylic paints, oil pastels, graphite, charcoal, and gesso.

“I am interested in art that expresses emotion through color, marks, and texture. I give visual form to my experience of internal reality. I start by introducing a number of visual elements (shapes, colors, symbols) and respond to them on the basis of feeling. I move them around, add new elements, veil and eliminate others, continuing until I reach a satisfying resolution. I attempt to create a world that is beyond the rational and concrete, a world that stands metaphorically for the mysterious and transcendent.”

Tampa Bay Times art critic Maggie Duffy writes, “Orlando-based artist Donne Bitner works in paintings and monotypes … what she calls ‘imagined landscapes,’ meaning that she draws on her memory to create them rather than working from a reference. Her technique of layering textures creates a hazy, dreamy effect that makes them seem as if they might disappear if you touched them. She captures mother nature’s colors with such precision that one can almost feel the warmth of the sun or the breeze on your skin.”

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Did You Get the Message? Activity

Reynier Llanes, Resurrection, 2017, oil on canvas, 48 x 70 inches

Procedure: This activity can be done individually or in collaborative groups of 3-4 students.

1. Give each student or group a copy of the artwork or project it for the class.

2. Tell them to think about the following: What is the subject of the artwork? What is it about? Is there a bigger issue behind it? How do you think the artist feels about this subject or this issue?

Then direct the students to list everything they see that supports their ideas.

3. Next ask students to write brief answers to the following questions: What is the focus of the artwork? What details are you drawn to? Why? Are your emotions triggered? How? How is your attention focused? How are you drawn in? Do you think the message changes for different audiences? Why or why not? What questions does the image raise for you?

4. Provide students with the information about the artist and tell them they may consider the information when completing the rest of the activity.

5. Direct students to write a short essay that analyzes the message in the image. Start with a general description of the work and then a statement of the issue or subject that the artist is presenting. They should support their statement by pointing out the specific details the artist has included that add to the persuasive power of the work.

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6. Ask students to comment on what part of the image they think most effectively communicates the artist's message. Give good, detailed reasons. Comment on what parts of the image are less persuasive along with their reasoning. Close with their reaction to the artist's message.

7. Students should reflect on the following: does your essay describe the artwork well? Does it support statements with observed details and information? Did having the information about the artist help in your analysis of the artwork? What kinds of persuasive images do you see every day? What makes them effective? Do you think images are powerful enough to change "hearts and minds?" How are images controlled these days? Can you think of examples?

Reynier Llanes (Cuban, 1985) Reynier Llanes was born in Pinar del Rio, Cuba August 15, 1985 where he lived his early life with his parents and sister. Despite the economic hardships of his country and intrusive nature of the government on its citizens, Reynier took every opportunity to develop his remarkable talent of oil painting.

Reynier attended the school of art (Instructores de arte) for four years, and he completed his studies in 2004 at the age of 19. He used his passion for the arts in performing community services by working with children between the ages of 8 to 12 years old, educating them on the appreciation of the visual arts. Concurrently he also contributed to the community by painting murals with local artists. The quality of his paintings resulted in his participating in important exhibitions which took his paintings as far as Asia and North and South America. In Havana, Reynier studied the great masters of paintings in the art museums of the capital. It was there that Juan Miguel Suarez, one of the country’s most recognized realist artists, taught Reynier how to transform his paintings with more realistic color and techniques.

Llanes uses the medium of oils and uniquely uses Cuban coffee on his canvas and archival paper to capture the essence of cross-cultural environments, people, traditions, and belief systems.

Reynier felt restricted by the day-to-day limitations on art expression imposed by the Cuban government and the constraints on making a living as an artist, and as a result, in November 2007, Reynier left Cuba and journeyed to the United States where he settled in Naples, Florida.

He immediately immersed himself in opportunities to learn English along with the customs, mores, and legal requirements of the US. He has subsequently become a Naturalized American Citizen.

In 2015 Llanes relocated to Miami in order to take advantage of the city’s international art market and vibrant cultural life and to be closer to his home country.

Reynier explains his work by saying, “My paintings, drawings, prints, and constructions are the result of a creative and exhilarating process that I always find challenging and rewarding. They certainly have been influenced by my rich Cuban cultural heritage filled by family traditions of storytelling, myths, religious beliefs, superstitions, food ways and social customs. I have always had a rich imagination that assimilates subjective impressions and interpretations of events I encounter every day in life. I strive to capture and express these interpretations in my art to serve as a legacy of my thoughts of the moment.”

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Folktales, Fairy Tales, Myths and Fables Folktales Folktales are orally transferred from one generation to another. Since folktales rarely have written accounts, the story can have added or eliminated elements as they are retold from the perspective of a particular teller. They are usually short, simple stories told for entertainment and to teach people cultural values and morals. They also teach how to cope with life (or dying) and have themes common among cultures worldwide. Folktales describe how the main character copes with the events of everyday life, and the tale may involve crisis or conflict.

Today, folk tales can be found in written form.

Folktale characteristics:           

Characters are ordinary humans or animals that act like humans; often the humans are peasants or of the lower class and they have better values than the richer class.

Time ordered structure.

Repetition of words, phrases, themes, or situations.

Simple grammar.

Concrete vocabulary.

Characters embody abstract values: greed, patience, etc.

Themes and issues are relevant for all ages.

Characters are usually based on societal stereotypes and can take on the guise of a stepmother, evil stepsisters, kind, loving fathers, fair maidens, etc.

Conflict rises in a human vs. nature, or human vs. human form and characters resolve conflict using their human capacities.

Conflict usually arises between the major characters and the minor characters, and is actively resolved by both.

Folktales are instructive.

Fairy tales Fairy tales actually began as folktales. The term “fairy tale” originally emerged as folktales written for the European aristocratic set in the seventeenth century, starting with the publication of Charles Perrault’s Histoires ou Contes du Temps passé. These early stories were not meant for children and often had violent and gruesome details. Fairy tales involve magical creatures such as dragons, ogres, witches, and unicorns, while folktales deal with real-life characters and phenomena.

Fairy tale characteristics:      

Fairy tales are written folktales credited to an author.

Fairy tales were originally written for aristocratic audiences.

Fairy tales are fiction.

Characters include mythical and otherworldly creatures.

Clearly defined “good” verses “evil” characters.

Fairy tales are rooted in magic, with mythical scenarios.

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         

Usually begins with once upon a time, long ago or faraway.

Include fantasy and make-believe, supernatural elements.

Involves “magical” elements—people, things—magic could be positive or negative.

Conflict takes the form of human vs. magic and, can be resolved only by magic.

Often have happy endings.

Teach a lesson or demonstrate values important to the culture.

Plot focuses on a problem or conflict that needs to be solved and often involves death.

May have events, objects, or characters in a repeated pattern of 3.

Usually set in past—long, long ago.

Fairy tales like folktales are instructive.

Myths Myths are traditional stories rooted in a religion or belief system that attempt to answer life's overarching questions, such as the origins of the world (the creation myth) or of a people. A myth can also be an attempt to explain mysteries, supernatural events, and cultural traditions.

Sometimes a myth can involve gods or other creatures. It presents reality in dramatic ways.

Many cultures have their own versions of common myths that contain archetypal images and themes.

Myth Characteristics:              

A myth is a story that is, or was considered, to be a true explanation of the natural world and how it came to be.

Characters are often non-human and are typically gods, goddesses, supernatural beings or mystical “fist people.”

Characterization is very important; traits are revealed through appearance, actions, words, and what others think of them.

Deal with aspects of human life: jealousy, love, death, ambition.

Setting is typically ancient before written records.

Are typically set in a world very similar to our own, but with supernatural monsters or areas.

Plot of a myth may take place between a supernatural world and our present day world to highlight the basic human behaviors that are essential in any setting.

Action or events bend or break natural laws.

Instruct people on how to act and live and instill values such as individualism, family and community.

Have sense of mystery, or the unknown.

Dualities or complete opposites often play important roles in the plot.

Often have an emphasis on language… Mythical heroes are often sophisticated storytellers.

Are metaphoric and are created to comment or analyze real world events.

Often attempt to answer these real world questions: Why are we here?

Who are we?

Why are we living? What is our purpose?

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Fables Fables are similar to fairy tales, but they have some distinctive differences in their patterns and structures. They are very short tales that illustrate a clear, often direct moral—a principle of right or wrong behavior.

Fable Characteristics:         

They are fiction.

They are meant to entertain.

They are poetic, with double or allegorical significance.

The setting can be anywhere.

Usually only have 2 -3 characters that are almost always animals with human attributes.

There is an obvious obstacle that the main character has to overcome.

They have just one main event.

They may not have a happy ending.

The theme is stated at the end of the story as a moral or lesson.

Fractured Fairy Tales Fractured fairytales are a twisted or "changed up" version of a traditional fairytale. The traditional fairytale is modified by changing story elements like the characters, setting, events, resolution, or character point of view, or by making it more modern. However, the story program typically stays the same. The Oxford Companion to Fairy Tales describes two variations of fairy tales. Parodies humorously mock the fairy tale genre and individual tales, while fractured fairy tales reformat the tale to include more serious current morals and social messages.

Fairy Tales and Popular Culture Fairy tales and fairy tale-inspired works have with stood the test of time and are integrated into our popular thought, culture, and language in numerous ways. This is due in part to their familiarity and adaptability. Fairy tales belong to the fantasy genre and provide a visually magical type of escapism. They’re also filled with the kind of nostalgic appeal and familiarity to anyone who encountered them as a kid —that makes them a much easier sell to the audience.

Claudia Schwabe writes in “The Fairy Tale and Its Uses in Contemporary New Media and Popular Culture Introduction” Following the increasing influence of visual culture on fairy-tale productions since the 20th century, the digital revolution has contributed significantly to the dissemination of the fairy tale and has solidified its presence in late-20th-century and 21st-century popular culture. Similarly to cinema and television, which are considered “old” media, so have “new” media (the Internet and websites, such as online platforms and blogs, social media, online newspapers, wikis, and video games) made frequent use of fairy-tale materials and thus kept the genre in the public consciousness. While fairy tales are constantly migrating into new cultures Museum of Art – DeLand What’s the Story? 25

and different media, reinventing themselves along the way, recent years in particular have seen a wave of highly innovative but also highly disputable fairytale retellings in popular culture….The continuing proliferation and diversification of fairy tales in our society permeates a wide range of media: from film and television to commercial platforms, advertising, and marketplaces capitalizing on consumer products (including clothing, toys, household items, and more), and from popular literature and graphic novels to new media. Thanks to the electronic accessibility of fairy-tale texts and fairy tale–inspired materials via websites and online publications, they now have become a multimedia phenomenon.

Some examples of fairy tale inspired media in popular culture include: Television shows – Buffy the Vampire Slayer, Twilight Saga, Once Upon a Time, Grimm Shelley Duvall’s Faerie Tale Theatre, The Charmings, Jim Henson’s The Storyteller, Beauty and the Beast, Wizards and Warriors and The 10th Kingdom miniseries.

Film – Maleficent, Maleficent: Mistress of Evil, The Hunger Games series, Enchanted, Snow White and The Huntsman, The Huntsman: Winter’s War, The Princess Bride, Edward Scissorhands, The NeverEnding Story, Pan's Labyrinth, The Golden Compass, Cinderella, Beauty and the Beast, Beastly, Red Riding Hood, Ever After: A Cinderella Story, Snow Queen, Mirror Mirror, The Brothers Grimm, The Dark Crystal and Labyrinth. And of Course all the Disney Fairy Tale Movies.

Video Games - Kingdom Hearts Series, The Path, The Witch's House. Rule of Rose, Odin Sphere, The Wolf Among Us, Soul Sacrifice Delta, Torn Tales, Dragon Fin Soup, Woolfe: The Red Hood Diaries, Alice: Madness Returns, Legio, and Overlord Dark Legend.

Books - Beastly (Beastly, #1; Kendra Chronicles, #1), Stardust, The Graveyard Book, The Ocean at the End of the Lane, Neverwhere, Splintered, The Reckless series, Ella Enchanted, Scarlet(The Lunar Chronicles #2), Dust City, Sisters Red (Fairytale Retellings, #1), Wings (Wings, #1), The Tale of Despereaux, Coraline, The Hazel Wood (The Hazel Wood, #1), The Darkest Part of the Forest, The Grimm Legacy (The Grimm Legacy, #1), The Lunar Chronicles series, The Rose and the Beast: Fairy Tales Retold, Wicked: The Life and Times of the Wicked Witch of the West (The Wicked Years, #1), The Book of Lost Things.

Note: These are in no special order and are not necessarily recommendations.

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About Wonderland: Photographs by Kirsty Mitchell Kirsty Mitchell is a multifaceted artist and award-winning fine art photographer from Surrey, England. Between 2009 and 2014, she created a deeply personal photographic series titled Wonderland, dedicated in memory to her mother, Maureen a retired English teacher, who had passed away from a brain tumor in 2008. Mitchell began the project as an escape from reality and as a way of coping with her grief.

Inspired by her mother’s passion for fairy tales and literature, Mitchell handcrafted elaborate costumes and props to compose and then photograph astonishingly beautiful, fantastical scenes in the lush English landscape surrounding her home. She collaborated with models and hair and make-up artist Elbie Van Eeden to bring her story’s characters to life. Kirsty Mitchell, who calls herself an artist with a camera, wanted to create a “storybook without words.”

Her images have an otherworldly yet familiar feel that evoke fragmented scenes reminiscent of childhood memories of fairytales and dreams creating “a more beautiful place than…reality.”

Despite the beguiling beauty and magic of the images, there is an underlying air of melancholy reminding the viewer that Wonderland is a response to grief and loss.

Discussing her process, Mitchell says, “'The characters are not based on anything that already exists - they are the result of my faded memories of the stories my mother read to me as a child, the original book illustrations, poems, paintings mixed up with dreams. I wanted to create pictures that people will project their own ideas on to, and lose themselves in….I always see my photographs as fully resolved images in my head directly from the start, like dreams really. I rarely sketch anything because it is so clear to me, so usually I just set about trying to work backwards and do everything within my power to recreate it in real life. My pictures are real life scenes, and so working with nature can be both wonderful and stressful, but ultimately incredibly rewarding.”

One thing that cannot be ignored in the photographs is the strong attention for details and the incredible amount of effort invested in props. Mitchell made all the costumes and props by hand many of which took months for a single image. She explains that making everything was of equal importance to taking the photograph, and was always far more work. “For me it is about creating a piece of magic for real… that is the escapism… the passion… the whole point!”

Photographing in the natural landscape presented even more challenges and meant in some cases having to wait the full season in order to capture the scene in full bloom.

Mitchell says that “at first people presumed everything was made up in Photoshop, the scale of the props, the colors, even the entire landscapes the models were in. So I began to write thorough diary accounts about each picture, and took behind the scenes photographs of the shoots and costumes being made, so the viewer could understand the amount of work involved.

There were no stylists, designers or large teams of helpers, it was just us and a few friends who would help out. Everyone worked for free, nothing was commissioned, I paid for what I could out my wages every month and just begged and borrowed the rest.”

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Within months of the series’ inception, Wonderland quickly gained a world-wide following as viewers became connected to the artworks and the intense emotions that inspired them. What had started as a small summer project in Mitchell’s kitchen in 2009 evolved into a life-changing journey filled with extraordinary theatrical characters and bursting with all the colors of the passing English seasons. The artist’s five-year project culminated in the extraordinary book Wonderland, which documents all seventy-four photographs in the collection and is now in its second edition.

“It was the faded fragments of book illustrations, mixed up with dreams and my experiences through the grief that eventually formed the narrative of the series,” Mitchell explains. “Ultimately [Wonderland] became a strange and beautiful place to remember and forget, both in the same bittersweet moment.”

Some of Mitchell’s images are reminiscent of her favorite childhood books such as Moonlight and Fairyland, illustrated by Brighton artist Pauline Martin, The Kingdom Under the Sea illustrated by the Polish draughtsman Jan Pienkowski and The Snow Queen, illustrated by Errol Le Cain.

Kirsty Mitchell on location 2013

The Wonderland story revolves around Katie, a magical being who haunts the woods. She reflects both the sense of loss and small breaks of happiness that Mitchell experienced through her grieving process. On days when the grief was not so intense, Mitchell might cover Katie in butterflies reclining in a bed of lavender. When Mitchell was in despair dealing with the finality of her mother’s death, her Muse, Katie, may be chained to a sinking ship, her hands reaching to heaven in longing. Mitchell reflects, "As the series progressed, I began to realize that everything I was going through in the real world has been projected in these images. I embraced that and let that write the story.”

Wonderland is really a portrayal of time passing and the attempt to illustrate the journey of grief.

“You don't stand still, you move, and things change. If you have ever experienced loss, there is no kind of direct path with grief. You don't start in the beginning and then it fades, and fades and fades until it eventually disappears. It just doesn't work like that." Mitchell said.

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“Losing my mother was the worst thing I’ve ever gone through. I still can’t have any pictures of her in my house, it’s too much. At the same time, life had been all laid out for me, and suddenly I was turned in another direction. And in that process I found a part of myself that I may have never known otherwise. I think of it as my mother’s last gift, a bittersweet gift, a real-life fairytale of sorts.”

Kirsty Mitchell, The Journey Home, 2013, 42 1/2 x 55 inches

Discussing The Journey Home, Kirsty states, “Wonderland has always been my escape. I have spent its duration hiding from reality in my imaginary world in order to block out losing my mother, and some days I have sunk so deep into its story that the real world was completely out of reach. The Journey Home was a reminder that I needed my family and friends and it was time to return to the real world. This picture is a milestone….someone is coming to guide her back.”

Kirsty Mitchell continues to live in and work as a full-time artist in the English country side. She is currently working on a new project inspired by events in her personal life between 2015 – 2017 including the birth of her first child and eight months later being diagnosed with breast cancer. It has been two years since that diagnosis and she is presently cancer free. This new project is anticipated to be even greater than Wonderland and will give Kirsty the opportunity to work with her number one influence of cinematic film. According to Kirsty the project will be several years in the making.

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I Know the Feeling Activity

Kirsty Mitchell, Gammelyn's Daughter a Waking Dream, 2012 31 1/2 x 47 1/4 inches

Gammelyn's Daughter a Waking Dream was inspired by the fairy tale “Gammelyn The Dressmaker”. In the story the magical dress is made from butterfly wings, allowing the heroine to fly away from her captors. In a similar manner, creating this image allowed Kirsty to escape from the pain and grief of her mother’s death.

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Procedure: In preparation for the lesson, present the information about Kirsty Mitchell and her Wonderland project and book to the class.

1. Give each student a copy of the I Know the Feeling Ekphrastic Poetry Worksheet (pg. 49) and go over the Selected Vocabulary and Poetry Examples (pg. 50). You may also want to share other examples especially if the class has been studying poetry, and ask students if they can think of poems they have studied that are examples of the various definitions.

2. Show (or project) the picture of Gammelyn's Daughter a Waking Dream and ask students to look closely at the artwork and imagine that they are inside the picture. Guide the class in a discussion about what they see, smell, hear, taste, and feel. Tell them to imagine they are having a conversation with the person in the picture. What is her story? What emotions is she feeling?

3. Next tell students to take a closer look at the artwork and write their answers to the questions on the I Know the Feeling Ekphrastic Poetry Worksheet. Encourage them to incorporate ideas from the previous discussion and use vivid words and descriptions in their answers.  List the first words that come to mind when you look at this artwork.  What is happening in this artwork? What story is being told?  Who or what is the subject of the picture? How would you describe them?  What is the mood of the artwork? What sounds, smells, feelings, tastes could you associate with it?  What emotions seem to be expressed in this story? What makes you think so?  What colors do you see? How do the colors help tell this story? Why do you think that?  Now that you have closely observed the artwork, how would you summarize its main idea?  Does this picture make you think of a fairy tale? Why do you think that?

4. Discuss the definition of Ekphrastic poetry. Remind students that this form of poetry is about emotions and how an artwork impacts the viewer. It can also be presented in the form of a conversation between the writer/viewer and the artist to explore how the emotions of the artist connect with and impact the writer.

Now show (or project) a picture of Van Gogh’s Starry Night painting and read the poem “Starry Night” by Anne Sexton (pg. 51). Guide the students in a discussion of the poem and picture identifying the use of vivid descriptions. Discuss how Sexton conveyed the emotions and thoughts of Van Gogh in her poem.

5. Direct students to review their worksheet and circle any words or phrases they might want to incorporate into an ekphrastic poem about Gammelyn's Daughter a Waking Dream.

6. Tell students to think about the following as they begin to write their ekphrastic poem:  Write about the scene or subject being depicted in the artwork.  Write about your experience of looking at the art.  Relate the work of art to something else it reminds you of.  Imagine what was happening while the artist was creating the piece.  Write in the voice of the artist.

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 

Write in the voice of the person portrayed in the artwork.

Speculate about why the artist created this work.

7. Have students share their poems with the class and discuss them.

Note: If you are using this activity with Secondary level students you may have them read Kirsty Mitchell’s diary entry about how the images came to be. This is the link to the entry on her website: https://www.kirstymitchellphotography.com/2012/03/11/wonderland-gammelynsdaughter/.

Alternative Activity For students who might require more structure you can have them write their poems using the following format.   

  

1st line of the poem (or the title) is an emotion - Happy, Sad, Excited, Angry.

Melancholy, Confused, Joyful, etc.

2nd line of the poem is a simile that describes this emotion as a color - Red like a stop sign, like a sunset, like the cherry on top of a hot fudge sundae, like a burning fire.

3rd line of poem starts with, “It happens when…” Anger – ...my brother takes away my game. Excited – when I am going on vacation. Silly – ...when my friends and I make funny faces and take selfies.

4th line of poem starts with, “It sounds like…” Anger - ...like the grand finale of the fireworks display. Sadness - ...a kitten left out in the rain 5th line of poem starts with, “and it smells like…” Anger - ...burnt toast. Joyful – birthday cake and ice cream.

Last line of the poem is the emotion again.

For a follow-up or extension to either format, ask students to create a picture that illustrates their poem.

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Inspired! Activity

Kirsty Mitchell, Gammelyn's Daughter a Waking Dream, 2012 31 1/2 x 47 1/4 inches

Kirsty Mitchell, Gammelyn's Daughter, 2012, 53 1/2 x 67 inches

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Procedure: 1. Begin the activity by asking students to define “inspiration” and make a list of the responses on the board. Ask students what inspires them. Make a list of the responses on the board.

2. Ask students what they think inspires artists and writers. Are their inspirations similar or different? How is the process of creating a painting or sculpture similar or different from the process of writing a story or a poem? Ask students if they have ever gotten inspiration for writing a story or poem by looking at a painting or picture? Is the reverse true and they have been inspired to create a piece of art by reading a story or poem.?

3. Tell them that for this activity they are going to look at the photographs Gammelyn's Daughter and Gammelyn's Daughter a Waking Dream and reflect on Kirsty Mitchell’s comments about her source of inspiration.

Gammelyn's Daughter and Gammelyn's Daughter a Waking Dream were inspired by the fairy tale “Gammelyn The Dressmaker”. In the story the magical dress is made from butterfly wings, allowing the heroine to fly away from her captors. In a similar manner, creating this image allowed Kirsty to escape from the pain and grief of her mother’s death.

4. Now instruct students to write at least three “I wonder” statements about each picture.

5. Tell students to write a haiku poem inspired by the pictures and their “I wonder” statements.

Remind them that the structure for a haiku poem is written in 17 syllables divided into 3 lines of 5, 7, and 5 syllables. You can share some examples with students before they begin writing.

Spring morning marvel lovely nameless little hill on a sea of mist Basho

Spring is in the air Flowers are blooming sky high Children are laughing Kaitlyn Guenther

Sand scatters the beach Waves crash on the sandy shore Blue water shimmers Kaitlyn Guenther

Over the wintry Forest, winds howl in rage With no leaves to blow.

Natsume Sōseki

6. Have students share their haikus with the class and ask them how the pictures inspired their poems.

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Inspired! Activity Part 2 In preparation for the lesson, present the information on fairy tales and review the information on Kirsty Mitchell and her Wonderland project and book with the class.

Discuss the elements and characteristics of fairy tales and give an example.

Procedure: 1. Begin by having students review what they already know about fairy tales by writing a few words, a sentence, or drawing an image that connects to fairy tales. Share responses.

2. Next write the following elements of fairy tales on the board: Opening Line/Setting, Main Characters (Heroes/Heroines and Villains), Royalty, Problem, Repeated events/words, Magical Element, Solution, Ending, and Universal Lesson/Moral.

Encourage students to offer their definitions or give an example of each element orally.

Explain that the specific elements of a fairy tale occur in a far off place (setting), there is a magical element (events), there are good and bad characters (heroes/heroines/villains), and the good are rewarded and the bad are punished (message).

Ask students if they can think of a favorite fairytale and name some of the elements of the story.

4. Remind students about the previous activity where they explored how artists and writers find their inspiration.

Show (or project) the pictures of Gammelyn's Daughter a Waking Dream and Gammelyn’s Daughter and ask students to discuss how this picture could be the inspiration for a fairy tale.

5. Read the story Gammelyn the Dressmaker by Laurence Housman (pgs. 52 – 55).

6. Divide students into groups of 3 – 4 and give each group a copy of the story, Elements of Fairy Tales and the Elements of Fairy Tales Worksheet (pgs. 56 & 57). Instruct them to work together and refer to the story to complete the worksheet.

7. Ask the groups to explain how Kirsty Mitchell might have been inspired by the story of Gammelyn, the Dressmaker.

8. Tell students that the next part of the activity is for each group to collaborate and create their own fairy tale that is inspired by Kirsty Mitchell’s photographs and the story of Gammelyn, the Dressmaker. Explain that their story should have some reference to the original story and photographs but it should also include new ideas. Tell them to think of their fairy tales as a sequel to the original story, or a retelling with a new twist.

9. Once the stories are finished, have the groups work to create a “Cover” illustration like a book cover for their fairy tales.

10. Have the groups share their stories and artwork with the class.

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What a Character! Activity

Kirsty Mitchell, The White Queen, 2012, 59 x 47 3/8 inches

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Close-up of the White Queen’s Key, Necklace and Crown

Note: To learn more about the White Queen and the creation of her costume check out Kirsty Mitchell’s diary entry at: https://www.kirstymitchellphotography.com/2012/01/03/wonderland-returns-the-whitequeen/ Museum of Art – DeLand What’s the Story? 38

Procedure: 1. Show students a copy of The White Queen or project the image for the class.

2. Tell them to focus on the character of The White Queen.

Instruct them to: look closely at the person; notice their facial expression or body language; the clothing they are wearing; and any other details. Explain that they should look for clues in the artwork that may help them understand who this person is and what their story might be.

3. Next have the students make a list of at least five questions they have about the image and the character in it. Tell students to conduct research on Kirsty Mitchell and her Wonderland project to see if they can find answers to their questions. Allow adequate time for the research.

Explain that artists carefully compose images with meaningful characters by choosing facial expressions, clothing details, particular body poses, or other details. Writers also use descriptive details to make their characters believable and real to readers. These choices can be very powerful. They can affect how we feel about or connect with the characters.

4. Using their questions as a guide, the information they researched and/or read, and the details they have observed, ask students to write a description of The White Queen. They should describe in detail the character’s physical appearance, her location, props, what she is doing, and what she is thinking and feeling. Ask students to imagine and write details of their character’s life, name, family, and history based on what they see and have learned about the image.

5. Have students discuss the following in class.  Did you find answers for all of the questions raised by the image?  What questions would they ask the artist?  What questions would they ask the character if they could?  Did added information raise new questions? If so, what are they?

6. What questions and reflections were similar or different?

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What A Character! Activity Part 2 Procedure: 1. Students will continue to work with the picture of The White Queen for this part of the activity.

Instruct them to take a sheet of paper and draw a line down the middle, creating two columns. In the left-hand column, make a list of the things they see in the artwork. List everything! If they think they have all the details, go back over the artwork. Nothing is too small to list. Notice things like negative space, the foreground, middle ground and background, the objects, person, details, etc. In the right-hand column, students will make a comparison for each thing they have listed by writing a simile or metaphor. What is it like? What does it remind you of?

Definitions and examples of similes, metaphors and list poems (pgs. 58 - 59).

2. Instruct students to write a list poem bringing together their observations and descriptions about the photograph of The White Queen.  Create a thoughtful list that reveals something about your observations and feelings.  If necessary, revise the wording of your list items to make them more vivid or memorable.  Choose a title that invites readers into your poem.

Note. You can choose a title as a starting point or wait until the poem is complete to decide on the best title.

3. Have students read their poems out loud to a partner and consider the following questions: What is your best metaphor or simile? Try moving that line to other parts of your poem. Is that change better or worse? Does the tone of your poem match the mood of the image? What words are key? Try longer or shorter breaks in your lines. How does the rhythm add to the mood?

4. Tell students to revise or rearrange their poems if necessary and write the finished version.

5. Have students share their poems with the class.

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Get the Picture? Activity

Kirsty Mitchell, The Faraway Tree, 2011, 39 1/4 x 59 inches

Kirsty Mitchell, The Queen’s Armada, 2012, 39 3/8 x 59 inches

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Kirsty Mitchell, The White Queen, 2012, 59 x 47 3/8 inches and detail of the necklace

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Kirsty Mitchell, She'll Wait for You in the Shadows of Summer, 2013, 51 3/16 x 78 5/8 inches

Procedure: 1. Begin by asking students to define the tem illustration, and discuss the responses with the class. Based on the responses and discussion have the class develop a collaborative definition for the term and write it on the board.

Now explain that illustration is a method of communicating a story, message, idea or feeling with images. Combining pictures and words can help explain or clarify complicated ideas.

Ask students which they prefer – reading a story or article with just text or reading one that has illustrations and text. Ask them to explain why. List some of the responses on the board.

Did the responses include any of the following? Illustrations/images:  Create interest in new or unknown subjects and increase attention span.  They stimulate the senses and they encourage different emotional responses, and inspire and enrich the imagination.  They can convey the feeling the illustrator/author wants the reader to understand and can express a mood or emotion.  They can stimulate other senses and can be an engaging means of strengthening the message.

Now ask the following questions: have you ever read a book where the words tell you one thing but the pictures tell you something different? Can you think of any examples? Have you ever read a book or story where there are details in the illustrations that aren’t mentioned in the text or the illustrations provide conflicting information? Can you think of any examples?

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2. Divide students into groups of 3- 4. Give each group a copy of the images or project them for the entire class.

Tell the students they will need to look closely at the pictures and then answer the following questions:   

    

What similarities and differences can you find between the images?

What is going on in the pictures? What do you see that makes you say that?

Who are the people/person in the pictures? What does their appearance (clothes, faces, etc.) tell you about them? What are they doing? Do you think this is the same person in each picture? Why do you think that?

Are there reoccurring objects, characters, settings or themes? If so how do they connect the images?

Where are they (location and time period)? Is it different in each picture?

What is the most important part of the pictures? How do you know?

Do you think that the pictures are part of a single story? Why? What is the story?

What conclusions can you draw from these images?

3. Review the characteristics of fairy tales with students (pgs. 23 -24 and 56).

Instruct the students that each group will work together to write an original fairy tale based on these images. They may place the images in any order they choose, but they must incorporate all of the images and include all of the components of a fairy tale in their stories.

4. In addition to writing the fairy tale, they must also create additional illustrations to accompany the images provided.

5. Remind the students that their fairy tales need to have a title.

6. Have each group share their fairy tale and illustrations with the class.

If time permits, students could present their fairy tales as a PowerPoint or other digital format.

Extensions: 1. Students can check out these links on Kirsty Mitchell’s website to learn more about her process of creating the images and the story she was telling.

Please note the teacher should always check the links first to determine if the material is appropriate for the level of the students. https://www.kirstymitchellphotography.com/2012/01/03/wonderland-returns-thewhite- queen/ https://www.kirstymitchellphotography.com/2013/12/02/wonderland-shell-wait-foryou-in-the-shadows-of-summer/ Ask students if this new information affected their interpretation of the pictures. Given this information would they revise or edit their stories? Why or why not? If they could ask Kirsty Mitchell any questions about the pictures what would they ask her and why?

2. Tell students to continue to work in their group and put the images in a new sequence. How does that change the events, setting or theme of their fairy tale? Is it more or less successful?

Why or why not?

3. Have the class work together to weave all of the stories into one continuous fairy tale.

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Fairy Tales, Etc. Acting Out Divide students into groups and instruct them to select a particular scene from their collaborative fairy tale and perform it for the class. Encourage all members of the group to play a role and give them a few minutes to adapt the scene into a skit. After each group performs, have the class discuss the themes of the scene.

Or, give students a choice of creating either a reader’s theater with handmade props and simple scenes or a podcast using music and computer graphics.

Modern Adaptations Invite your students to try their hands at rewriting one of their favorite fairy tales as if the story takes place in modern times. Encourage your students to take liberties with the characters: They could change the genders, ages or social status. They could, for example, switch the genders of the main characters and see how that changes the dynamic. They could also do this with the fairy tales they have written.

Compare and Contrast Have students research the history of fairy tales. Then have them compare original versions of Grimm’s fairy tales with a modern version. For example, you could have your class watch Disney's "Cinderella" and then read the Grimm’s' version of the tale. Lead a class discussion about how the tone of the stories differ, and how much more graphically violent the Grimm’s' tale is than the Disney adaptation.

Have students read a version of a fractured fairy tale and compare and contrast it with the original version.

Pop Culture Have students research and write an essay on the influence of fairy tales in popular culture.

Red Rabbit Reflects Have students write a fable using the image of Red Rabbit Reflects as inspiration.

Have students write a fractured fairy tale with the same image.

Unforgettable Journey Have students write a fractured fairy tale inspired by the image of Unforgettable Journey.

State of Mine Have students write and illustrate a fairy tale inspired by the image of State of Mine with the little girl as the heroine. Then have them retell the fairy tale from the alligator’s point of view. Have them create an image for each of the fairy tales.

Exploring World Cultures Through Fairy Tales Expose students to the diversity of existing literature by having them research and compare and contrast the variety of fairy tales from all over the world. This can help students appreciate diverse cultures and traditions through fairy tales.

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Place students in groups and assign them a specific fairy tale for their research.

Fairy tales might include: Cinderella, Snow White, Sleeping Beauty, The Princess and the Pea, Goldilocks, Little Red Riding Hood, Hansel and Gretel, Rapunzel, Jack and the Bean Stalk, Resources:  (Cinderella Around the World: Stories from 17 Cultures https://kidworldcitizen.org/cinderella-story-around-the-world/)  List of various books: https://www.readbrightly.com/multicultural-fairy-tales-for-children/ https://www.craftymomsshare.com/p/fairy-tales-from-different-cultures.html Have students create a passport for the different countries where the fairy tale came from. You can find directions and a template for the Passport activity at: https://www.educationworld.com/a_lesson/TM/WS_lp279-02.pdf My Life as a Fairy Tale Have students write their autobiography in the form of a fairy tale.

Construction Ahead!

Math/Art Activity Two of the pigs in the fairy tale The Three Little Pigs made some serious mistakes when constructing their homes. Students can help out those pigs by designing a stronger and more efficient house of logs or straw.

You can download the lesson plan: :http://www.eduplace.com/rdg/gen_act/tales/oink1.html Copyright © 1997 Houghton Mifflin Company. All Rights Reserved.

You could adapt this lesson plan by having students research real world castles as sources of inspiration for fairy tale castles in movies and theme parks. Then have students draw a floor plan of their “dream castle” and create a model of the structure.

Write Me a Letter Have students select a character in a favorite fairy tale and interview them in the format of a letter.

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Resource for I Know the Feeling Activity Ekphrastic Poetry Worksheet List the first words that come to mind when you look at this artwork. _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ PLOT: What is happening in this artwork? What story is being told? _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ CHARACTER: Who or what is the subject of the artwork? How would you describe them? _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ SETTING: What is the mood of the artwork? What sounds, smells, feelings, tastes could you associate with it? _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ What emotions seem to be expressed in this artwork? What makes you think that? _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ What colors do you see? How do the colors help to tell this story? Why do you think that? _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ MAIN IDEA: Now that you have closely observed the artwork, how would you summarize its main idea? _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ _______________________________________________________________________ After you have completed this worksheet, go back and circle any words or phrases you might want to incorporate into an ekphrastic poem about the artwork.

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Resource for I Know the Feeling Activity Selected Vocabulary and Poetry Examples Ekphrasis or Ecphrasis (ECK-fray-sis or ek-FRAS- iss) describes the process of examining one form of art through the use of another If an artist is inspired by a work of literature or poetry and creates a work of art to celebrate that literary work, the result is a form of ekphrasis. An ekphrasis poem is a vivid description of a scene or, more commonly, an artwork. It usually includes exploration of the artwork’s impact on, and the writer’s experience with the artwork.

Alliteration: the repetition of a sound at the beginning of two or more neighboring words Example: “I have stood still and stopped the sound of feet” (from “Acquainted with the Night” by Robert Frost) Metaphor: a figure of speech in which a word or phrase meaning one kind of object or idea is used in place of another to suggest a similarity between them Example: "The fog comes on little cat feet.

It sits looking over harbor and city on silent haunches and then moves on." (From “The Fog” by Carl Sandburg) Personification: the representation of a thing or idea as a person or by the human form Example: “Ah, William, we’re weary of weather,” said the sunflowers, shining with dew.

“Our traveling habits have tired us.

Can you give us a room with a view?” (From “Two Sunflowers Move in the Yellow Room” by William Blake) Repetition: the act or an instance of repeating Example: “Because I do not hope to turn again Because I do not hope Because I do not hope to turn....” (From “Ash Wednesday” by T. S. Eliot) Rhyme: close similarity in the final sounds of two or more words or lines of verse Example: “Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance, or nature's changing course untrimmed.”

(From “Shall I Compare Thee…” by William Shakespeare) Simile: a figure of speech in which things different in kind or quality are compared by the use of the word like or as Example: “O My Luve's like a red, red rose, That's newly sprung in June; O My Luve's like the melodie That's sweetly played in tune.” (From “A Red, Red Rose” by Robert Burns)

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Resource for I Know the Feeling Activity

Vincent Van Gogh, The Starry Night, 1889, oil on canvas, 28.7 in × 36 1⁄4 in

The Starry Night by Anne Sexton That does not keep me from having a terrible need of - shall I say the word - religion. Then I go out at night to paint the stars.

- Vincent Van Gogh in a letter to his brother The town does not exist except where one black-haired tree slips up like a drowned woman into the hot sky.

The town is silent. The night boils with eleven stars.

Oh starry night! This is how I want to die.

It moves. They are all alive.

Even the moon bulges in its orange irons to push children, like a god, from its eye.

The old unseen serpent swallows up the stars.

Oh starry starry night! This is how I want to die: into that rushing beast of the night, sucked up by that great dragon, to split from my life with no flag, no belly, no cry.

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Resource for Inspired Activity Part 2 GAMMELYN, THE DRESSMAKER

By Laurence Housman In the Public Domain There was once upon a time a King’s daughter who was about to be given in marriage to a great prince; and when the wedding day was yet a long way off, the whole court began to concern itself as to how the bride was to be dressed. What she should wear and how she should wear it was the question debated by the King and his Court day and night, almost without interruption. Whatever it was to be, it must be splendid, without peer. Must it be silk, or velvet, or satin; should it be enriched with brocade or with gems or sewn thick with pearls?

But when they came to ask the Princess, she said, “I will have only a dress of beaten gold, light as gossamer, thin as beeswing, soft as swansdown.”

Then the King, calling his chief goldsmith, told him to make for the Princess the dress of beaten gold. But the goldsmith knew no way how such a dress was to be made, and his answer to the King was, “Sire, the thing is not to be done.”

Then the King grew very angry, for he said, “What a Princess can find it in her head to wish, some man must find it in his wits to accomplish.” So he put the chief goldsmith in prison to think about it and, summoning all the goldsmiths in the kingdom, told them of the Princess’s wish, that a dress should be made for her of beaten gold. But everyone of the goldsmiths went down on his knees to the King, saying, “Sire, the thing is not to be done.” Thereupon the King clapped them all into prison, promising to cut off all their heads if in three weeks’ time they had not put them together to some purpose and devised a plan for making such a dress as the Princess desired.

Now just then Gammelyn was passing through the country, and when he heard of all this, he felt very sorry for the goldsmiths, who had done nothing wrong, but had told honest truth about themselves to the King. So he set his bright wits to work, and at last said, “I think I can save the goldsmiths their heads for I have found a way of making such a dress as this fine Princess desires.”

Then he went to the King and said, “I have a way for making a dress of beaten gold.”

“But,” said the King, “have a care, for if you fail I shall assuredly cut off your head.”

All the same Gammelyn took that risk willingly and set to work. And first he asked that the Princess would tell him what style of dress it should be; and the Princess said, “Beaten gold, light as gossamer, thin as beeswing, soft as swansdown, and it must be made thus.” So she showed him of what fashion sleeve and bodice and train should be. Then Gammelyn caused to be made (for he had a palace full of workers put under him) a most lovely dress, in the fashion the Princess had named, of white cambric closely woven; and the Princess came wondering at him, saying that it was to be only of beaten gold.

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“You wait awhile!” said Gammelyn, for he had no liking for the Princess. Then he asked the King for gold out of his treasury; but the King supplied him instead with gold from the stores of the imprisoned goldsmiths. So he put it in a sack and carried it to a mill and said to the miller, “Grind me this sack full of gold into flour.” At first the miller stared at him for a madman, but when he saw the letter in Gammelyn’s hands, which the King had written, and which said, “I’ll cut off your head if you don’t!” then he set to with a will and ground the gold into fine golden flour. So Gammelyn shouldered his sack and jogged back to the palace. The next thing he did was to summon all the goldbeaters in the kingdom, which he did easily enough with the King’s letter; for directly they saw the words “I’ll cut off your head if you don’t!” and the King’s signature beneath, they came running as fast as their legs could carry them, till all the streets which led up to the palace were full of them.

Then Gammelyn chose a hundred of the strongest and took them into the chamber where the wedding dress was in making. And the dress he took and spread out on iron tables and, sprinkling the golden flour all over it, set the men to beat day and night for a whole week. And at the end of the week there was a splendid dress that looked as if it were of pure gold only. But the Princess said, “My dress must be all gold, and no part cambric—this will not do. “ “You wait!” said Gammelyn, “it is not finished yet.”

Then he made a fire of sweet spices and sandalwood, jasmine, and mignonette; and into the fire he put the wonderful dress.

The Princess screamed with grief and rage; for she was in love with the dress, though she was so nice in holding him to the conditions of the decree. But Gammelyn persevered, and what happened was this: the fire burnt away all the threads of the cambric, but was not hot enough to melt the gold; and when all the cambric was burnt, then he drew out of the fire a dress of beaten gold, light as gossamer, thin as bee’swing, soft as swan’sdown, and fragrant as a wind when it blows through a Sultan’s garden.

So all the goldsmiths were set free from prison; and the King appointed Gammelyn his chief goldsmith.

But when the Princess saw the dress, she was so beside herself with pride and pleasure that she must have also a dress made of pearl, light as gossamer, thin as beeswing, soft as swansdown. And the King sent for all his jewelers and told them that such a dress was to be made; but they all went down on their bended knees, crying with one voice, “Sire, the thing is not to be done.” And all the good they got for that was that they were clapped into prison till a way for doing it should be found.

Then the King said to Gammelyn, “Since my jewelers cannot make this dress, you must do it!”

But Gammelyn said, “Sire, that is not in our bargain.” And the only answer the King had to that was, “I’ll cut off your head if you don’t.”

Gammelyn sighed like a seashell; but determining to make the best of a bad business, he set to work.

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And, as before, he made a dress in the fashion the Princess chose, of the finest weaving. He made each part separate; the two sleeves separate, the body separate, the skirt and train separate. Then, at his desire, the King commanded that all the oysters, which were dredged out of the sea, should be brought to him. Out of these he selected the five finest oysters of all; each one was the size of a tea tray. Then he put them into a large tank, and inside each shell he put one part of the dress—the weaving of which was so fine that there was plenty of room for it, as well as for the oysters. And in course of time he drew out from each shell—from one the body, from one the skirt, from one the train, from one a sleeve, from another the other sleeve. Next he fastened each part together with thread, and put the whole dress back into the tank; and into the mouth of one oyster he put the joinery of body and skirt, and into the mouth of another the joinery of skirt and train, and into the mouth of two others the joinery of the two sleeves, and the fifth oyster he ate. So the oysters did their work, laying their soft inlay over the gown, just as they laid it over the inside of their shells; and after a time Gammelyn drew forth a dress bright and gleaming, and pure mother of- pearl. But “No,” said the Princess, “it must be all pure pearl, with nothing of thread in it.” But, “Wait awhile!” said Gammelyn, “I have not finished yet.”

So by a decree of the King he caused to be gathered together all the moths in the kingdom— millions of moths; and he put them all into a bare iron room along with the dress and sealed the doors and windows with red sealing wax. The Princess wept and sighed for the dress: “It will be all eaten,” said she. “Then I shall cut off his head,” said the King. But for all that, Gammelyn persevered.

And when he opened the door, they found that every thread had been eaten away by the moths, while the mother-of-pearl had been left uninjured. So the dress was a perfect pearl, light as gossamer, thin as beeswing, soft as swansdown; and the King made Gammelyn his chief jeweler and set all the other jewelers free.

Then the Princess was so delighted that she wished to have one more dress also, made all of butterflies’ wings. “That were easily done,” said Gammelyn, “but it were cruel to ask for such a dress to be made.”

Nevertheless the Princess would have it so, and he should make it. “I’ll cut off your head if you don’t,” said the King.

Gammelyn bumbled like a bee; but all he said was, “Many million butterflies will be wanted for such a work: you must let me have again the two dresses—the pearl, and the gold—for butterflies love bright colors that gleam and shine; and with these alone can I gather them all to one place.”

So the Princess gave him the two dresses; and he went to the highest part of the palace, out onto the battlements of the great tower. There he faced toward the west where lay a new moon, louting toward the setting sun; and he laid the two robes, one on either arm, spreading them abroad, till they looked like two wings—a gold and a pearl. And a beam of the sun came and kissed the gold wing, and a pale quivering thread of moonlight touched the pearl wing; and Gammelyn sang: “Light of the moon, Light of the sun, Pearl of the sky, Museum of Art – DeLand What’s the Story? 54

Gold from on high, Hearken to me!

“Light of the moon, Pearl of the sea, Gold of the land Here in my hand, I render to thee.

“Butterflies come!

Carry us home, Gold of the gnome, Pearl of the sea.”

And as he sang, out of the east came a soft muttering of wings and a deep moving mass like a bright storm cloud. And out of the sun ran a long gold finger, and out of the moon a pale shivering finger of pearl, and touching the gold and the pearl, these became verily wings and not of dresses. Then before the Princess could scream more than once or the King say anything about cutting off heads, the bright cloud in the east became a myriad of butterflies. And drawn by the falling flashing sun and by the faint falling moon and fanned by the million wings of his fellow creatures, Gammelyn sprang out from the palace wall on the crest of the butterfly wind, and flew away brighter and farther each moment; and followed by his myriad train of butterflies, he passed out of sight, and in that country was never heard of again.

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Resource for Inspired Activity Part 2 Elements of Fairy Tales Opening Line/Setting— Fairy tales purposely do not reveal a specific setting. They take place ‘long ago,’ ‘far away,’ or ‘once upon a time.’ They do not reveal the time and place so that it can apply to anyone, anywhere. Likewise, many fairy tales end with the line "and they lived happily ever after."

Main Characters—Fairy tales have clearly defined good characters and bad characters. The good characters are the heroes and heroines. These characters are often described as kind and good natured. They most often find themselves in unfair situations, such as Snow White, a sweet young girl who was envied by the queen. On that same note, fairy tales always have bad characters, the villain. The villain is sometimes a witch or sorceress, dabbling in the dark arts, or it could be a gnome or monster. The story reveals this through their appearance, actions, and words.

Royalty – Fairy tales usually feature royal settings or characters. There is often a castle, queen or king mentioned within the story.

Problem– The plot of a fairy tale focuses on a problem that must be solved. The whole story revolves around that problem, and the happily ever after is derived from finding a solution to the problem. The problems in some fairy tales are very big problems that usually involve death.

Repeated events/words— There is a pattern of 3 that occurs in fairy tales– three little pigs, Goldilocks and the three bears, three times that Jack climbs the beanstalk, and three times that Rumpelstiltskin spins the straw into gold.

Magical Element— Fairy tales always include some sort of magic. It is common to see talking animals who befriend the hero or heroine. Fairy tales with princesses often describe the princess singing and dancing with animals. Even everyday objects can be alive. Fairy tales include such magical characters as fairies, trolls, elves and goblins. We know that fairy tales are fictitious because they contain something magical that could not happen in real life.

Solution–Even though fairy tales usually include “a deadly problem,” there is always a way for the hero or heroine to avoid it.

Ending–Fairy tales always have a happy ending. The hero or heroine win and they live the rest of their lives ‘happily ever after.’

Universal Lesson/Moral – Fairy tales provide lessons on some sort of universal truth. It's a world where goodness prevails. The story can be focused on coming of age, love, dreams and hope. It shows that the kind hero or heroine can win in the face of adversity and an evil villain.

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Resource for Inspired Activity Part 2 Elements of Fairy Tales Worksheet Identify and describe each of the following in the fairy tale.

Opening Line/Setting ____________________________________________________________________________ ____________________________________________________________________________

Main Characters ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ___________________________________________________________________________

Royalty ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ Problem/Plot ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ Repeated events/words (pattern of 3) ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________

Magical Element ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________

Solution ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________

Ending ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________

Universal Lesson/Moral ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________ Museum of Art – DeLand What’s the Story? 57

Resource for What A Character Activity Part 2 Definition of simile: A simile is a figure of speech that makes a comparison, showing similarities between two different things. A simile draws resemblance with the help of the words “like” or “as.” Therefore, it is a direct comparison. Simile introduces vividness into what we say.

Authors and poets utilize simile to convey their sentiments and thoughts through vivid word pictures.

Simile Examples:  Her cheeks are red like a rose.  He is as funny as a monkey.  The water well was as dry as a bone.  He is as cunning as a fox.

Definition of metaphor: A metaphor is a figure of speech that makes an implicit, implied, or hidden comparison between two things that are unrelated, but which share some common characteristics. In other words, a resemblance of two contradictory or different objects is made based on a single or some common characteristics. When you portray a person, place, thing, or an action as being something else, even though it is not actually that “something else,” you are speaking metaphorically. The metaphor is different from a simile, because we do not use “like” or “as” to develop a comparison in metaphor poems and metaphor sentences. It makes an implicit or hidden comparison and not an explicit one.

Metaphor Examples:  My brother was boiling mad. (This implies he was too angry.)  The assignment was a breeze. (This implies that the assignment was not difficult.)  Laughter is the best medicine.  Words are daggers when spoken in anger.  His words are pearls of wisdom.

Characteristics of a List Poem     

A list poem can be a list or inventory of items, people, places, or ideas.

It often involves repetition.

It can include rhyme or not.

The list poem is usually not a random list. It is well thought out.

The last entry in the list is usually a strong, funny, or important item or event.

Explain that the list poem is a very old form of poetry. The challenge of a list poem is to make it lively and interesting, not just a bland list.

Add interest to the list poem with good description and comparisons, repetition, and thoughtful line breaks. Poets use similes and metaphors to "paint a picture" in words. Students should strive to create a poem that is packed with interesting similes and metaphors; a poem that recreates the artwork through the senses.

The individual lines in a list poem do not have to be a complete thought or sentence. You can repeat lines for emphasis. You can also break a sentence in any place you choose and continue Museum of Art – DeLand What’s the Story? 58

it on the next line. This adds rhythm to the lines and helps your reader want to read on to your completed thought. Remember that as the writer you are trying to say something to the reader -pointing something out--saying, "Look at this," or, "Think about this." There's a beginning and end to the list poem just like in a story and it needs to make sense and have some kind of flow.

List Poem Examples: I Hear America Singing

by Walt Whitman I hear America singing, the varied carols I hear, Those of mechanics, each one singing his as it should be blithe and strong, The carpenter singing his as he measures his plank or beam, The mason singing his as he makes ready for work, or leaves off work, The boatman singing what belongs to him in his boat, the deckhand singing on the steamboat deck, The shoemaker singing as he sits on his bench, the hatter singing as he stands, The wood-cutter’s song, the ploughboy’s on his way in the morning, or at noon intermission or at sundown, The delicious singing of the mother, or of the young wife at work, or of the girl sewing or washing, Each singing what belongs to him or her and to none else, The day what belongs to the day—at night the party of young fellows, robust, friendly, Singing with open mouths their strong melodious songs.

My Noisy Brother

by Bruce Lansky My brother's such a noisy kid, when he eats soup he slurps.

When he drinks milk he gargles.

And after meals he burps.

He cracks his knuckles when he's bored.

He whistles when he walks.

He snaps his fingers when he sings.

And when he's mad he squawks.

At night my brother snores so loud it sounds just like a riot.

Even when he sleeps My brother isn't quiet.

(Source: https://alanjwrightpoetrypizzazz.blogspot.com/2008/09/list-poems-are-easy-tolike.html?m=1)

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STANDARDS The projects and activities in these curriculum materials address state learning standards for the arts, English language arts and social studies. Because lesson plans are designed to be adapted and tailored by educators, they are not accompanied by individual lists of standards addressed. The standards listed below reflect those inherent in many of the lessons and programs in the museum.

Strand Reading Cluster 1: Key Ideas and Details LAFS.K12.R.1.1

Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.R.1.2

Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.R.1.3

Analyze how and why individuals, events, and ideas develop and interact over the course of a text.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Cluster 2: Craft and Structure LAFS.K12.R.2.4

Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.R.2.5

Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.R.2.6

Assess how point of view or purpose shapes the content and style of a text.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Cluster 3: Integration of Knowledge and Ideas LAFS.K12.R.3.7

Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.R.3.8

Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

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LAFS.K12.R.3.9

Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Cluster 4: Range of Reading and Level of Text Complexity LAFS.K12.R.4.10

Read and comprehend complex literary and informational texts independently and proficiently.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Strand Writing Standards Cluster 1: Text Types and Purposes LAFS.K12.W.1.1

Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.W.1.2

Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.W.1.3

Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

Cognitive Complexity: Level 3: Strategic Thinking & Complex Reasoning

Cluster 2: Production and Distribution of Writing LAFS.K12.W.2.4

Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

Cognitive Complexity: Level 3: Strategic Thinking & Complex Reasoning

LAFS.K12.W.2.5

Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.W.2.6

Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Cluster 3: Research to Build and Present Knowledge LAFS.K12.W.3.7

Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

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LAFS.K12.W.3.8

Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.W.3.9

Draw evidence from literary or informational texts to support analysis, reflection, and research.

Cognitive Complexity: Level 3: Strategic Thinking & Complex Reasoning

Cluster 4: Range of Writing LAFS.K12.W.4.10

Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Standards for Speaking and Listening Cluster 1: Comprehension and Collaboration LAFS.K12.SL.1.1

Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.SL.1.2

Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.SL.1.3

Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Cluster 2: Presentation of Knowledge and Ideas LAFS.K12.SL.2.4

Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.SL.2.5

Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.SL.2.6

Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

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Strand Language Standards Cluster 1: Conventions of Standard English LAFS.K12.L.1.1

Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.L.1.2

Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Cluster 2: Knowledge of Language LAFS.K12.L.2.3

Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Cluster 3: Vocabulary Acquisition and Use LAFS.K12.L.3.4

Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.L.3.5

Demonstrate understanding of word relationships and nuances in word meanings.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

LAFS.K12.L.3.6

Acquire and use accurately a range of general academic and domainspecific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.

Cognitive Complexity: Level 2: Basic Application of Skills & Concepts

Social Studies Strand Geography SS.6.G.1.Su.d

Understand how to use maps and other geographic representations, tools and technology to report information.

SS.8.G.2

Understand physical and cultural characteristics of places

Strand World History SS.912.W.1

Utilize historical inquiry skills and analytical processes.

SS.912.W.1.3

Interpret and evaluate primary and secondary sources.

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Strand Humanities SS.912.H.1

Identify& analyze the historical, social, and cultural contexts of the arts.

SS.912.H.2

Respond critically and aesthetically to various works in the arts.

BIG IDEAS AND ENDRUING UNDERSTANDINGS (EUs) FOR THE ARTS - MUSIC, DANCE, THEATRE AND VISUAL ART BIG IDEA C CRITICAL THINKING and REFLECTION: Critical and creative thinking, self-expression, and communication with others are central to the arts.

EU C1: Cognition and reflection are required to appreciate, interpret, and create with artistic intent.

EU C2: Assessing our own and others’ artistic work, through critical thinking, problem-solving, and decision-making, is central to artistic growth.

EU C3: The processes of critiquing works of art lead to development of critical-thinking skills transferable to other contexts.

BIG IDEA S SKILLS, TECHNIQUES, and PROCESSES: Through dance, music, theatre, and visual art, students learn that beginners, amateurs, and professionals benefit from working to improve over time.

EU S1: The arts are inherently experiential and actively engage learners in the processes of creating, interpreting, and responding to art.

EU S2: Development of skills, techniques, and processes in the arts strengthens our ability to remember, focus on, process, and sequence information.

EU S3: Through purposeful practice, artists learn to manage, master, and refine simple, then complex, skills and techniques.

BIG IDEA O STRUCTURAL ORGANIZATION: Works in dance, music, theatre, and visual art are organized by elements and principles that guide creators, interpreters, and responders.

EU O1: Understanding the organizational structure of an art form provides a foundation for appreciation of artistic works and respect for the creative process.

EU O2: The structural rules and conventions of an art form serve as both a foundation and departure point for creativity.

EU O3: Every art form uses its own unique language, verbal and non-verbal, to document and communicate with the world.

BIG IDEA H HISTORICAL and GLOBAL CONNECTIONS: Experiences in the arts foster understanding, acceptance, and enrichment among individuals, groups, and cultures from around the world and across time.

EU H1: Through study in the arts, we learn about and honor others and the worlds in which they live(d).

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EU H2: The arts reflect and document cultural trends and historical events, and help explain how new directions in the arts have emerged.

EU H3: Connections among the arts and other disciplines strengthen learning and the ability to transfer knowledge and skills to and from other fields.

BIG IDEA F INNOVATION, TECHNOLOGY, and the FUTURE: Curiosity, creativity, and the challenges of artistic problems drive innovation and adaptation of new and emerging technologies.

EU F1: Creating, interpreting, and responding in the arts stimulate the imagination and encourage innovation and creative risk-taking.

EU F2: Careers in and related to the arts significantly and positively impact local and global economies.

EU F3: The 21st-century skills necessary for success as citizens, workers, and leaders in a global economy are embedded in the study of the arts.

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Resources Artists Stephen Althouse http://www.stephenalthouse.us/ Donne Bitner https://artsondouglas.net/collections/donne-bitner Ramón Carulla https://www.lagaleriafineart.com/ramon-carulla-biography Carolina Cleere http://www.carolinacleere.com/ Julio Larraz http://artsy.net/artist/julio-larraz;http://www.continiarte.com/en/artist/julio-larraz/; https://www.artstar.com/collections/julio-larraz Reynier Llanes http://www.jonathangreenstudios.com/Artists/Reynier-Llanes; http://reynierllanes.com/biography; https://www.artistaday.com/?p=22926 Kirsty Mitchell https://www.kirstymitchellphotography.com/galleries/wonderland/

Fairytales, Folktales, Fables and Myths Aesop’s Fables http://www.aesopfables.com/ Our online collection of Aesop's Fables includes a total of 638 Fables, indexed in table format, with morals listed. Some audio versions are available. There are also fairytales from Hans Christian Anderson. Also includes lesson plans.

The Grimm Brother’s Homepage http://www.pitt.edu/~dash/grimm.html All things Grimm Brothers!

World of Tales http://www.worldoftales.com/ Extensive list of folktales, fairytales and fables from around the world. This is an outstanding resource that includes many of the stories as well as historical background on the genres.

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Lesson Plans Fairy Tale Lessons for 5th Grade Students https://www.tes.com/lessons/xpvGv50fWvW1og/fairy-tale-lessons-for-5th-grade-students Multiple resources including lesson plans and links to other website resources.

Fairy Tales through Gaming: The Ancient Arc of Modern Storytelling Whitney Strix Beltrán https://www.tor.com/2016/11/10/fairy-tales-through-gaming-the-ancient-arc-of-modernstorytelling/ Kids Soup http://www.kidssoup.com/activity/fairy-tales-preschool-activities-crafts-and-printables FAIRY TALES PRESCHOOL ACTIVITIES, CRAFTS, AND PRINTABLES Lessons for Teaching About Fables, Fairy Tales, Folktales, Legends, Myths, Tall Tales https://www.educationworld.com/a_lesson/lesson/lesson279.shtml MasterClass Fairy Tales vs. Folktales: What’s the Difference? Plus Fairy Tale Writing Prompts https://www.masterclass.com/articles/fairy-tales-vs-folktales-whats-the-difference-plusfairy-tale-writing-prompts#what-is-the-difference-between-fairy-tales-and-folktales

Multicultural Fairy Tales -- The Stuff of Magic by Christine Elmore https://teachers.yale.edu/curriculum/viewer/new_haven_04.02.01_u Curriculum unit on multi-cultural fairy tales.

Myths, Folktales, and Fairy Tales https://www.scholastic.com/teachers/unit-plans/teaching-content/myths-folktales-andfairy-tales/ Students learn about a genre through participation in Scholastic's Myths, Folktales, and Fairy Tales online activity. By interviewing accomplished genre writers and storytellers, taking part in online writing activities, and using interactive technology tools, students delve into the history, meaning, and cultural importance of each distinct genre.

Pro Teacher http://www.proteacher.com/070031.shtml Folk and Fairy Tale Teaching Resources Re-Writing Myths and Fairy Tales Lesson Plans https://www.livebinders.com/play/play?id=2096518 2nd Grade - 12th Grade Language Arts Lesson Plans and Resources for Re-writing Fairy Tales and Myths Teaching About Story Structure Using Fairy Tales http://www.readwritethink.org/classroom-resources/lesson-plans/teaching-about-storystructure-874.html?tab=4 K-2 Museum of Art – DeLand What’s the Story? 67

Other Another Bite of the Poisoned Apple: Why Does Pop Culture Love Fairy Tales Again? http://entertainment.time.com/2012/05/30/another-bite-of-the-poisoned-apple-why-doespop-culture-love-fairy-tales-again/ 5 Real-Life Examples of Fairy Tales Coming True https://www.livescience.com/41208-fairy-tales-that-came-true.html These illustrations show what 9 classic fairy tales would look like in the modern world — and the predictions are genius https://www.insider.com/modern-version-fairytales-illustrations-2018-3 13 Reimagined Fairy Tales That Are Way Better Than A Typical Happily Ever After https://www.bustle.com/articles/148016-13-reimagined-fairy-tales-that-are-way-betterthan-a-typical-happily-ever-after How fairytales grew up https://www.theguardian.com/books/2014/dec/12/how-fairytales-grew-up-frozen Where Do Fairy Tales Come From by Marina Warner http://www.bbc.com/culture/story/20140930-where-do-fairy-tales-come-from Everyone knows them – but how do they come to be? And why are they similar all over the world? In an excerpt from her new book, academic and writer Marina Warner investigates.

Video Clips Poor Unfortunate Souls--The Little Mermaid (1989) http://www.youtube.com/watch?v=VyFVG4VfPmg Under the Sea-- The Little Mermaid (1989) http://www.youtube.com/watch?v=jgA2xo0HYrE Be Our Guest-- Beauty and the Beast (1992) http://www.youtube.com/watch?v=ov4tE7XRTUA&feature=related Bibbidi-Bobbidi-Boo-- Cinderella (1950) http://www.youtube.com/watch?v=_TKBHJeEljU

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