I went into this lesson on my toes, slowly, cautiously, almost unwillingly. On the one hand, I was curious, as with all the Art project. On the other hand, I was just not so convinced. On the one hand, there was a new group of kids, I did not know their levels and we were supposed to try doing online what we did face-to-face before. On the other hand, I started to look for all the Miró animals and, randomly, I typed in ‘Miró and a toucan’ and found just that. And it made me burst into laughter, just because it there was an occasion when Joan Miró held a hornbill (aka almost a toucan). I knew I would do it all anyway, even if only to find out whether I can, but I was a bit anxious.
Our Gallery in Miro
The Before
Introduction of colours, a variety of songs, wordwall games and Miro games
Working on building the routine and getting used to the online format
Introduce the artist of the day and his arts. We focused only on the animals and on the colours. We ‘visited’ our MiroBoard Gallery and we tried to guess the animals and match Miro with photographs
And, finally, we tell and listen to ‘Elmer’ for the first time (I have actually only used the video, muted, and I told the story myself. We also included some gestures to involve the kids).
It is necessary to add that this year, due to the fact that we meet online with my Art Explorers, our classes have a slightly different format and we work on two-lesson basis. In lesson A we introduce the vocabulary and the artist, in lesson B: we revise and focus on craft and creation. The activities mentioned above were also executed over a period of two lessons.
The photo of the materials sent before the lesson
The While
Get all the materials ready (a glue stick, a marker, a piece of white A4 paper, some coloured paper or pieces of colourful pages of newspapers and journals), send the list to parents ahead of time
Check that everyone has everything (‘Show me your paper’, ‘Show me your glue’ etc)
Show the kids your coloured paper, call out the colours.
Ask the kids to show you theirs, call out the colours.
Show the kids how you tear off a strip of each colour, show them a ready bunch. Wait for them to get theirs ready.
Draw the elephant step by step. Start with the body, then the legs, the tail, the head, the trunk and the ear (by the way, the full shape of an ear is here only to help the kids visualise the elephant, a part of it will be covered by the coloured paper). Show each step to the camera and let the kids copy. Ask them to show you the paper after they have finished each step. Put the marker away.
Open the glue, spread the glue all over the elephant, evenly, while holding the paper to the camera. Close the glue and put it away.
Tear off a piece of one of your colourful stripes, glue it on the elephant, and then a few more. Invite the kids to do the same (‘Now you’). After a while ask them to show you their copies or ask what colour they are using, only to check how they are doing.
Continue until the elephant is ready.
Take the marker again and draw the eye, a small black circle. This way the creation will be easier perceived as an elephant.
Put up your elephant for the kids to see. Ask them to show you theirs.
The drawing. In one piece and in the puzzle version
The After
Introduce your elephant and describe it: ‘This is my elephant. He is green, blue, yellow and black’.
Ask the kids to do the same.
Watch Elmer, the video again, and, as before, pause and re-enact it with your elephants.
We finished with singing ‘Walking in the jungle’, with our elephants, too.
Comments
I am really happy with how the activity went. Initially, I was worried that preparing the elephant will be too difficult for my kids (but they all could follow me in drawing the elephant, step-by-step, with pauses and modelling) and that preparing the patchwork will be very time-consuming but the magic happened here, too as the kids quickly realised that they were in charge of managing how big the pieces of our ‘patches’ were. The older ones were more dilligent and more accurate with the smaller pieces whereas the younger ones opted for bigger pieces and we all finished at the same time. The patchwork part took about 5 minutes. Only one of my students needed more time (as she does every time) and for that reason we started to watch the story without her elephant to give her a little bit more time. She was watching while finishing and she introduced her elephant and it worked very well.
Overall, the amount of language produced was not quite on the amazing side but this was only our third lesson of the course and I am happy. Last but definitely not least, my kids were happy and very proud of themselves and their patchwork, Miró elephants. There is definitely more to come.
This is the second part of the Craft ABC series. You can find the first part here.
The main activity and the target language practice
This is a craft activity that features in the lesson to provide opportunities for the target langauge practice. As an example I have decided to choose our beloved jellyfish that is the first craft activity that I do with my first-year students, in one of the first weeks of the course. This is the time when we learn and practise colours with flashcards, colourful blocks and realia in general, with simple stories, videos, wordwall games and songs. A craft activity is yet another way of ‘recycling’ the target vocabulary and of giving the students an opportunity to be exposed to it and to use it.
The jellyfish is a super simple craft and even the youngest kids can draw the eyes and the smile on the head (which can be a semi-circle cut out by the teacher or a half of a paper plate) and then to attach the tentacles to the back of it. Kids are really motivated to make their own jellyfish and to drill and call out the colours and to ask for the following one, in a very simple way (‘Blue, please’). As a result, lots and lots of language is produced and everyone leaves the classroom with a creature they made herself. What’s most important, the jellyfish looks good even with the most crooked smile and the most inexpertly glued tentacles. And even if there are only three or four colours used, with the youngest kids.
The follow-up of a story or a song
Craft in this case is an opportunity to reinforce the ideas, concepts, vocabulary and structures introduced in a song or in a story. Or, to put it differently, a story or a song is not introduced only as a starter or a side dish but it becomes the topic for the entire lesson.
The three examples in the photos come from the lessons taught based on the Playway to English 1 by Cambridge University Press. The first one is a flower we made together while retelling the story from unit 7 (The Little Seed which you can also find here) and although we were not able to use all the original story lines, the kids could use the basic ones such as It’s sunny, It’s raining. The little seed is sleeping (at the beginning), The flower is growing (while making the stem) and so on.
The second example is everyone’s favourite Very Hungry Caterpillar which is a storybook we use in year, to accompany either unit 7 (Weather / Spring) or unit 9 (Food). You can find more information on this version of the caterpillar here.
Last, but definitely not least, is a simple craft that was a follow-up of the amazing Super Simple Song called ‘Are you hungry?‘ and it can be used either with the topic of fruit (Playway to English 1, unit 3) as it goes nicely with the theme of the song of monsters sharing fruit with their hungry friends or, in a wider context, with food in general (Playway to English, unit 9). The craft activity becomes the more palpable and 2-D version of a song and it can be used in a mini-role play, sung or spoken, depending on what the kids are ready for.
Props preparation
This type of a craft activity does not have a lot of potential as regards maximising production although the kids are quite likely to use some functional language, the staples of craft (Are you ready? Let’s sit down, Blue, please etc). This type of a craft activity is also quite short, compared with the ones mentioned so far but that is exactly the point. The craft activity is only a prelude. Everything important is to happen later with the finished product used as a tool.
The best example here will be our magic wand. It is simple and easy to make and can be used as a part of a shapes lesson (though, really, there is only one shape involved). The abracadabra TPR activity (Abracadabra, 123, you are…) is a game we play from the very beginning of the course. When the kids are ready to take over, we make a wand for each other and use it in a game and at this point, the kids get to lead the game for real, waving their own, freshly-produced wands and we all mime whatever there is to mime. The langauge is produced and lots of it (Abracadabra, 123, you are…swimming, dancing, flying…OR you are a cat, a happy cat, a hungry dinosaur…) but it is not directly related to the making of the wand.
A part of a Science, Maths or Art lesson
Craft can be also a part of a CLIL lesson or a Maths, Science or Art lesson, depending on whether we are dealing with the EFL or the ESL or bilingual programmes. In this case, the craft activity will create an opportunity for the students to put into practice or to reinforce the real knowledge or skills they have acquired in class, making it more practical, kinesthetic and hands-on.
Below, three examples of such craft activities.
The first one is a Maths lesson in which we were learning about and practising measuring. Apart from working with the rulers and measuring tapes and checking how long our cars, teddy bears, desks, noses and fingers were, the kids also got a simple handout with a section of a certain length and it was their task to measure the strips of paper with rulers, cut of the appropriate piece and glue it underneath.
The second one is one of the lessons devoted to animal habitats which we studied in our Science class. Apart from categorising animals and talking about the habitat, we also did a craft activity in which we created the habitat (here the polar region made of a sheet of blue paper, waves drawn, ice made of cotton pats and the animals glued on). After a series of lessons we had a set of habitats.
The third piece here is one of the activities we made as part of the Kids in the Avangard. In this lesson Paul Klee was our artist of the day and we created our own version of his Cat and Bird.
The non-linguistic aims
Sometimes craft activities have a non-linguistic main aims. Because of their obvious relevance to kids’ lives and the excitement that they generate, they can be used to help kids develop as humans and this can be the reason for their inclusion in a language lesson.
The first activity here is one of my favourite craft activities ever. It can be used in many different thematic lessons but its main advantage is that because, due to its design, it requires a detailed micro-staging and, on the one hand, it can help kids work on their ability to focus and to follow teacher’s instructions in order to be able to turn their circles into cats, dogs, frogs and bees. On the other hand (and it has worked absolutely every single time), it brings an immense sense of achievement and confidence in kids’ own skills since a random circle can become so many things.
The other activity presented here is an example of a festive craft that finds its place in the classroom as part of the seasonal celebrations. Despite the fact that sometimes this vocabulary will be used in class only in a year, when the holiday comes up again, it connects the lesson to the celebrations at home and in kindergarten and it is the easiest way of bringing these festivities into the EFL classroom.
The final activity, our solar system was a wonderful activity that we all enjoyed and one that helped us produce lots and lots of language. However, believe it or not, that was not the reason why we did it. This was our first real whole class project because the kids got an opportunity to work on something together, sharing resources and sharing the space and we produced one huge poster that nobody would be taking home in the end.
This is a lesson I taught with the older YL which started in unit 1 of the National Geographic coursebook, Life that we are using with the summer courses for teens. If you are interested in the original lesson, you can find it in the coursebook, in the second edition.
My brain tends to walk its own ways so pretty quickly it became aparent that much as it is inspiring, we have our own plans (btw, I am really looking forward to teaching the rest of the unit). Since I have already put together bits and pieces that were inspired and dedicated to Andy, this lesson was a step further, to take Andy into the classroom with the older students, too.
So, Andy.
Two pretty girls in puffs posing for the camera in the studio. Blonde and brunette in stockings look confident in front of the camera, hugging each other
Colour. Two pictures aka introduction
Two illustrations (see below). Students work in pairs or small teams and discuss the questions below. Afterwards, they compare the ideas as a class.
Talk about these pictures.
Are they similar or different? What is similar? What is different?
Do you like them? Why?
How do they make you feel? Would you hang them in your bedroom or in your house?
How do the artists use the colours in both pictures? Which one do you prefer?
Would these pictures still be interesting in black and white? Why?
Colours. New idioms aka new language
Students work in small teams. They match the the idiom in the sentence with the meaning.
Check the answers as a class, additional clarification.
Students go back to work in pairs. They come up with the examples to illustrate each idiom and tell mini-stories.
A mini-lecture on Andy Warhol and the way he used to work (Marylin Monroe and the Cambpell Soup)
The whole class works on eliciting the associations with one of the colours, in our case it was grey. The teacher shows some of her associations with the colour. The students try to guess the rationale behind each of the ideas.
The students prepare for the main speaking task: they write the numbers 1 – 10 and they notes about at least three associations for each of the colours
The students work in pairs or small groups. Each of the students presents their associations for the partner to guess the colours and afterwards they explain their choices.
During the feedback session, the students share the most interesting or the most unexpected associations.
Any photograph can be used to accompany Andy’s Marylin. I have used the one that we had in the coursebook, one of a scene from a traditional Indian wedding. Today, if I taught this lesson again (or when I teach this lesson again), I would like to use even a wider range of colour such as a painting by Kandinsky, a a painting by Rothko, a storybook illustration, a child’s drawing etc.
The lesson was taught online so the craft / creation component had to be limited to a speaking task. I was tempted to use a variation of the craft activity we used with my younger students but it was simply impossible.
The aim of this post is the following: by the end of the post, the readers will be more familiar with the concept of connecting the EFL with the elements of Art Exploration and the appropriate craft activities.
As a source of potential inspiration for anyone who might want to try it.
The group
The kids for whom this course has been designed were a group of preschoolers, aged 4 – 6, who are and were part of a greater project at MAMM with Fun Art Kids and I was responsible for the English language slot. I taught them from October 2021 until February 2022 and we had lots of creative fun in English. I used to joke that these classes were the reason for me to wake up on Tuesdays.
My students were beginners and for many of them, if not for all, those sixty minutes of English were the only real exposure and the only real lesson and, despite the fact that it is not a lot of time (at all) we made progress that I was really happy with.
The format
The whole idea behind the Kids in the Avangard programme was that children should be given an opportunity to experience art and all the many ways of creative communication, through music, through dance and movement, through theatre, through visual arts and through English. The programme was run in module, each with their own theme (colour, shape, line etc) and within those modules the kids would participate in lessons that were separate entities devoted to an artist, an artistic movement etc. At the same time, kids work on a performance which takes place at the end of the ‘term’.
It was not easy to nest the English classes in that format but it was not possible. The main idea is that the English classes in which we deal with the beginner students (or a mixed ability group), it was impossible to aim for a very content-rich input and some adaptations had to be made for that. What I decided to do is to focus on giving the kids a good basis of English, including the vocabulary and structure from the pre-A level (although not necessarily not synonymous with and not in the order of the ‘typical pre-school curriculum’) and to combine it with the introduction to the world of the world Art and related craft activities. Just like in the case of all the other classes of the programme, our lessons were connected but each of them was a separate module, too.
The format of the lessons followed a typical EFL pre-school lesson with the hello circle, revision, new material introduction, movement and table time and it was supplemented with and built on songs and stories, too.
The palette of ideas
In the chart below you can see the content and the ideas for some of the lessons I ran as part of the course. In many ways it was an experiment, this whole course and, overall, it was a very successful experiment, the kind that makes you shout out ‘I want more of that!”. However, it was an experiement and, naturally, some lessons were more effective than others, and some ideas better than others.
In the chart below, I have decided to include those that I have tried and tested and loved, as those that I can strongly recommend, ready to use almost. All the misshaped ones will be worked on and developed and presented at a later date, when I have improved them a tiny little bit at least. But, in order to be honest and to share the experience as it was, I have also decided to include some of the things I have learnt by making the mistakes I did make. All of those you will find in the final section of this post aka What not to do.
Thegallery
KleeGoncharovaKandinsky, Malevich, El Lissitzkyvan GoghWarhol De CosterMashkovMonet
Thenot-so-successful sideof theexperiment
The time allowances: either because it is a brand new thing for the kids (aka the entire course) or because it is a new element to the everyday class routine, the students need time to figure things out, to learn how to navigate around it and to make it familiar. Once they do, the whole programme will be a lot more effective and enjoyable. Don’t be upset if it is not an instant success.
The high expectations regarding the content and the input: the main aim of this programme is not to provide the kids with any substantial input on the artist’s life and career. Instead, they are supposed to be given an opportunity to be exposed to the world art and to interact with it.
Kids will produce the language, however, it is most likely to happen during the English language part of the lesson (introduction of the new vocabulary, practice, language games)
Each lesson has three separate objectives (language, Art and craft) and it is perfectly natural that only one of them will be given priority in a lesson and that English and the language production will not always be the main focus. If these classes are taught as a part of the general English course, then it is assumed that they will be balanced with the regular, more productive English lessons. In case of a separate course, this aspect (and potential parents’ expectations) are even easier to manage by outlining the course objectives beforehand.
Many craft activities look good on paper but they might not be easy to implement and to manage in a group of pre-schoolers. Trying, trialling and testing (aka making it first at home, before the lesson) is the best way to avoid and to get ready for at least some of the potential problems.
Time is on your side. Fnding a strong link between the three elements and preparing a coherent lesson gets easier with time. And more and more enjoyable.
There are plenty of things that can be done just with the simple resources such as markers, crayons or watercolours and paper but don’t forget that there is a lot more that can be done! Experimenting is fun!
Why?
If you are still wondering whether to start including art in your EFL lessons, please have a look at this earlier post and here you can find a great website with lots and lots ideas for art activities.
Dear reader! I hope you are here because you have been in search of ideas for a lesson on Art and English for primary school children. If so, you are in the right place! I would like to share with you a lesson that I taught a few months ago as a part of my Art Explorers programme. I would like to start with some blowing my own trumpet in an attempt to inspire you and to think ‘I want one ofthose!‘
our group of Art Explorers was a mixed-age, a mixed-level and a mixed-ability group, with some pre-A, some A1 and some A2 children and we were all united in art. Everyone was involved, everyone was producing as much as they could and everyone had fun.
the kids who took part were the members of five different groups at the school and it was the first time they had a chance to interact with each other, in English.
the children had a chance to revise and practise English, to find out about Andy Warhol, to talk about feelings, emotions and associations and to exercise their creativity in the craft task.
it worked very well as an introduction to our Art Explorers programme
it was relatively low-key as regards the preparation and craft materials as we used the simplest things available: a powerpoint, a handout, a few sets of vocabulary flashcards, a few sets of watercolours, paintbrushes and cups.
it lasted 60 minutes but it could easily be adapted to 45 or 90 minutes, depending on the needs of the group and the age of the students.
We said hello, introduced ourselves and we had a small ‘get to know each other’. Each pair of students got a pile of flashcards (food, toys, sports, colours, animals etc). The students were supposed to pick out one card and to ask each: Do you like…. There was a model question and answers on the board, together with ‘because’ which the older students were already familiar with in order to encourage more developed answers.
Stage 2: Colours and emotions
We revised the emotions and a set of the basic adjectives was displayed on the board as a point of reference. Afterwards, we revised the colours and I introduced the idea of associations. The key word here (‘associations’) is actually quite similar to its counterpart in the kids’ L1 but I decided to use even a simpler structure ‘Green is a happy colour because…’
The kids were put into pairs, for another speaking activity and they were comparing their own associations related to each of the colours. At this point we did not use the flashcards. Instead, eaach pair got a set of markers and they were asked to discuss all the colours in the set. Afterwards we compared our ideas.
Stage 3: The artist of the day
We moved to the TV room to meet the artist of the day. At this point I was using the powerpoint which you can find in the attachments.
First of all we looked at the photo of Andy and the kids said as much as they could, about his appearance and character. Only later did I introduce him properly, albeit briefly – as artist, from the US, a very creative person.
I showed the kids a few paintings and asked what they thought of them. They were using the simplest structures of ‘I like’ and ‘I don’t like’ and, in the case of the older and more advanced students, to provide a rationale for their views.
The Campbell soup was especially interesting. First of all, because we compared it to the local brand of ready made food that the kids could relate to and it was a huge surprise that such a usual item can become an artifact. Second of all, this particular painting was how we transitioned into the theme of the day: how the same item, represented in different colours can create different associations.
Stage: The colours and the emotions
We looked at the photograph of Marilyn Monroe and one of the most famous paintings by Andy Warhol and at the similar painting of Mickey Mouse. We worked as a group and we talked about the different emotions related to different versions of Marilyn and Mickey Mouse and how they made us feel. I wanted to keep it open class in order to give the students a chance to hear as many different versions and ideas as possible to show them that the same painting can generate a great variety of emotions.
Stage: Let’s create
I told the kids that we are going to try to express our emotions and that we are going to be like Andy Warhol. I added that to Andy, Marilyn and Mickey were important symbols because he was American and that we would use some other symbols. At this point, the kids were already shouting out the name ‘Chebourashka’:-)
We went back to the other classroom. Everyone got a handout (see below) and a pencil or a marker. First, we all decided what feelings and emotions we wanted to represent and we labelled all the sections of the handout.
Afterwards, I gave out the painting materials and we sat down to work. The kids were given time to paint and I was painting my own and monitoring and chatting to the kids and asking the follow-up questions.
Stage: Tell me about your Chebourashka
The kids worked in pairs and told their partner about their pictures and the emotions they represented and, whenver possible, provided rationale for that. In that particular lesson, we only had enough time to talk to one partner but, in theory, there is a lot more potential and it is more than recommended for the kids to swap pairs and to talk to as many peers as possible.
Stage: Goodbye
We finished the lesson with cleaning up, with a round of stickers and with a song.
Teaching English through has been something that I have been playing with for quite some time now and it started in the most selfish of ways, namely, I simply wanted to bring my favourite things to class. You know, have these beautiful Georgia O’Keeffee’s skyscrapers hanging by the whiteboard or practising prepositions of place not with the description of the classroom but of everyone and everything in one of the Chagall’s villages. My favourite things, nothing else.
I wanted and I did. Only once I started (and once I started to read about it, to research it, to experiment with the younger and the older, and to read even more and to reflect), I realised that there is a lot more to it, for me and for my students.
Somehow, once you start, it is difficult to stop because new ideas and new projects emerge and there is a lot to write about. This is not my first blog post about combining Art and EFL so if you interested, please have a look here (How to see a city through Art), here (How to hear Stravinsky, although the format can be adapted to any piece of music) and here (How to read storybook illustrations, a lesson not for kids) or here (if you are interested in using realistic and not realistic visuals with children).
With this post, I have decided to take a more organised approach to teaching English through Art, going a little back to the basics, to tell you why you might even want to think about it.
A bit about me and my background
My name is Anka, I am a teacher of English as a foreign language but I am also interested in Art. My first degree is in History and as a part of that adventure many years ago I did have a privilege in taking two terms of History of Art with one of the most amazing teachers ever but I still consider myself only ‘a human interested in the visual arts’, not a professional.
First and foremost I am a teacher of a foreign language and the main aim is always teaching them vocabulary and grammar, the four language skills development and, sometimes, exam preparation. However, I do believe, that there is always room for a bit of Art, here and there, smuggled, hidden and used to develop the language skills.
At the moment, I am taking part in three different projects which, to some extent, involve Art Etc.
my regular classes at BKC IH Moscow, classes which have a clear focus, a curriculum, a coursebook in which I use Art Etc to supplement what we do, for variation
my Art Explorers lessons, a bonus, free-of-charge once a month class for the students of our branch, a project that we are launching only this month
Kids in the Avant-Garde, a cooperation between BKC IH Moscow, Fun Art Kids and the Multimedia Art Museum in Moscow, which gives the kids a chance to express themselves creatively in a variety of ways.
In the long-run, I would like to share here some ideas and activities which we used in all of these projects, but before we get there, here are some of the reasons why including Art in the EFL lessons is a good idea. Let’s go.
The alphabet book based on the animals from the paintings at the Tretyakov Gallery
Teaching English Through Art: all the reasons why you should at least consider it (in a rather random order)
Paintings used in regular EFL lessons as flashcards to introduce or to practise the language are a wonderful tool and a source of variety, to compliment the drawings, cartoons, illustrations and photographs. They will be especially appropriate while teaching animals, clothes, transport, activities, food, the city or the natural world.
Using painting also means exposing children to different styles in Art will help develop their visual literacy skills, even without any special lessons on the theory or the artists’ biographies.
Teaching English through Art with younger children, preschoolers or primary, usually involves some creative activity. This gives the children an opportunity to interact and to experiment with a variety of artistic materials such as paints, watercolours, crayons, fingerpaints and techqniues, for example collage, prints, scratch art and so on.
Kids, of the age, are learning to make decisions, choosing their own composition, lines and colours, not only attempting to become a five or a fourteen-year-old Walhor, Mashkov, Goncharova or Rousseau but personalising it and owning it every step of the way.
Since this creative activity is only an add-on in the regular English classes, it might help children discover a talent and interest in the artistic world, something that might not become obvious otherwise.
Just like any content-and-language-integrated lessons (CLIL), also the Art lessons give the students an opportunity to use the language to access other subjects and areas of knowledge and, especially in the case of the older learners, to see the real purpose of learning a foreign language
Interacting with the world art can be a springboard to discussions which generally generate a lot of language for the students, in relation with their level of English. Since ‘all ideas are good ideas’ (one of the mottos of our classes) and since all interpretations are welcome, students feel free to express themselves and to share what they think.
Art lessons especially lend themselves to learning and practising the language of expressing and asking for opinion, agreeing and disagreeing, talking about associations, possibilities and hypothesis.
Somehow (and this bit is really beyond me) during the Art lessons students, juniors and teens alike, are more likely to use the beautiful English. All of a sudden they realise that there are other adjectives than ‘beautiful’, ‘nice’ or ‘interesting’ and so the language they produce is of a much higher quality than what they normally during the conversations about the everyday topics.
Art can supplement lessons on practically any topic and they will help to ensure that the curriculum and the programme is diverse and engaging.
All of these are simply my reflections based on what I have observed in class. The real research will follow.
If you are interested you can continue reading here:
7 Amazing Benefits of Art for Kids That You Might Not Know Of from the artfulparent.com
Bonus titles: lots and lots of resource books – in the photos accompanying this post.
There is more to come!
Happy Teaching!
P.S. A request!
It is very simple.
I would like to know a tiny little bit more about my readers. There are so many of you, popping in here, again and again, and the numbers of visitors and visits are going up and make my heart sweel with joy. But I realised I don’t know anything about my readers and I would love to know, a tiny little bit more.
Realistic vs non-realistic? Am I am really inside of a huge glass piano?
Preface
A while ago I got into a discussion on why the realistic flashcards aka photographs are much better for YL than the cartoon flashcards.
Oh wait, not quite this way. First (and foremost), as I am typing up this post, I am glancing left and right, for support. To the right, towards the shelf with my storybooks and all the ‘unrealistic’ illustrations and all the imaginary characters and to the left, where the materials for the next Lesson at the Museum are lying (this week: Natalia Goncharova, more of that – soon!). At this point, I still cannot formulate it very well but my guts (and a few years in the classroom and around kids) are telling me that realistic and photographic IS NOT the only way. I object.
Second of all, this discussion, it just was not a discussion at all. I must admit, I am a bit naive when it comes to the social media and I would like to believe that teacher meet there to exchange ideas, to learn from each other, not to preach, making it look like theirs is the only way to do things and recommending that I should do my homework and read first before I voice an opinion (as if the empirical evidence did not matter at all).
Enough of this bitterness, though. Here I am after all, doing my own reading and research, with mixed feelings, if I am to be perfectly honest. A little bit anxious (because what if the research proves that I was wrong, eh? What then? (I am laughing here) and a little bit excited (because what if the research proves that I was right? (still laughing).
This introduction was planned and written before the actual reading did happen but you, dear reader, looking at the title (courtesy of Mr W. Shakespeare of Stratford-upon-Avon), you can guess now where it is all going (based on the research that I have managed to do so far) so if you have very little time on your hands, I will make it easier for you, here is a summary of the whole post:
When it comes to choosing between the visuals with a high degree of iconicity (aka the resemblance between the picture and the object) such as photographs and the visuals with a low degree of iconicity such as cartoons, storybooks illustrations, there isn’t only one answer, one way out, one approach. It is not a case of black and white, good and bad, left or right. It is a beautiful case of ‘well, it all depends’. Done.
Now, if you have more time, follow me. There is more to come.
Realistic vs imaginary: My teacher is a cat.
Act I: Why choose the real photos
The first (and the most important question) to ask here is: How old is the child? A picture is a symbol, a representation of the real object and children will require a certain level of cognitive skills development (such as symbolic development, analogical reasoning, reasoning about fantasy and reality) in order to be able to process that image and to relate it to something that they know from real life.
For example, newborns, who have not become symbols users, when presented with a photographic image and a real object, would always choose the real object over the visuals but, at the same time, if the real object was not present, they would interact with its image in exactly the same way as they would with the real object. These examples come for a truly fascinating article by Gabrielle A. Strouse, Angela Nyhout and Patricia A. Ganea which you can find here.
As shown in other studies they mention, too, it seems that although these young children can transfer the concepts both from cartoons and photographs or realistic drawings to the real world, the more realistic the image the easier the transfer. And for that reason, we find plenty of recommendations for such books to be used with the younger pre-schoolers. This attitude seems to be especially popular according to the Montessori method (although to be honest, I am not very familiar with it, I know it only from reading, not from the classroom, so forgive me for any inaccuracies or faux-pas that I might commit here).
Another interesting argument, and this time applying to not only the youngest children, is how the information presented in the picturebooks might have an impact on children learning about the world. As Strouse (et al) claim, it seems that ‘Fantastical context used in stories may cue children that information presented in books is not transferable to real-world contexts’, especially when the children do not really have any opportunities to connect the book world with the real world because, for example they live in the city and have never been on a farm, or are not supported by adults in their journey through books. The authors claim that it might impact the learning of physics and biology or moral learning. All these arguments would support the use of photographs and realistic cartoons.
Apart from that, there is the obvious argument, applicable both to children, teenagers and adults, alike – we like photographs. According to the professionals such as graphic designers (because this is where this reasearch has taken me, too), photography is used when we strive for accuracy, professionalism and when promoting the object is the real aim. The latter two might not really be relevant to the world of EFL and ESL but the first of them, accuracy is going to be our key word. When presenting vocabulary to children we want them to understand clearly what we mean and a photograph of an elephant will illustrate it better than a drawing of an elephant. We might not only see the tiny little details such as the shade and the texture of the skin but, quite likely, the elephant will be photographed in a natural environment so we will be also able to notice how big it is and what kind of a habitat it lives in. The elephant will most likely be doing something, walking, running, eating or sleeping and this will help us understand a bit more about it. Not to mention that it will also help us produce more language (the secret aim for anything that the English teachers do).
It seems to be especially important in the English lessons while teaching the concepts that students are not familiar with and which they do not encounter in their real life such as the jungle animals (while teaching in Russia), snow (while teaching in Brazil) or Polish pierogi (while teaching outside of Poland). The photographs will help the children understand these concepts better than drawing, although, it has be said that no photographs of snowy landscapes will help you get the real idea of what winter is like unless you have rolled in snow yourself and unless you have actually tried to catch the snowflakes on your tongue. As regards preschoolers, there arises one more question, too – Should we even introduce the concepts, ideas and vocabulary that they are not familiar with in their L1 and in their lives? My personal (and very subjective) answer would be: ‘no’, not in the EFL context, with a limited language exposure and the limited lesson time available. With a very few exceptions, of some cool animals. Perhaps.
Realistic vs illustrations: Two Cookie Monsters
Act II: Why choose illustrations
First and foremost, as children are growing, they develop their cognitive skills and they become better at recognising symbols, using symbols and, last but definitely not least, at creating symbols (here you will find my earlier post devoted to symbolic representation and the EFL with your starter kit). Using illustrations, cartoons and drawing is necessary!
Children are progressively better able not only to distinguish between these and label them as more realistic and a less realistic representations of an animal…
…they might also appreciate the cat on the far right as it is most likely to resemble the cats that they draw in their pictures. And as they are learning to hold a pencil and to produce marks, scribbles, lines and circles, it will be quite a long time before their drawings look like the cat in the middle or anywhere near the cat on the far left. As Bernadette Duffy (see bibliography) says ‘If we intervene with a view that the purpose of art (or, in this case anything that children create (own comments) is to produce an image that is as realistic as possible and therefore think of children as failed artists we may do great harm by imposing inappropriate expectations that do not match children’s developmental stage‘.
Then there are the visual arts and these are full of ‘hurdles’ for a rational mind. Picasso’s faces are far (far far) from realistic. Chagal makes his characters float in the air, as if they were kites (sometimes accompanied by goats). Warhol stubbornly chooses the ‘wrong’ colours and Malevich replaces the whole world with one (amazing) square. And then there is Miro, Bosch, Rothko and many, many, many more. It is, of course, possible to give up on teaching art to such young children, but, before you do, please read why it is a good idea and how it benefits them. For that very reason, all the major galleries and museums include programmes for kids.
As for the graphic designers, among the advantages of the illustrations is the fact that they can be used whenever it is necessary to show the unique features and to stand out, since all the photos of the cat might look the same and the drawings will differ as they will depend more on the artist style, abilities and techniques, when a simple design is needed (for example an icon) and to depict the imaginary.
The last argument seems especially fitting in the world of the early years. Or in the classroom. Children love stories and these feature real children, talking animals and a whole array of imaginary characters such as mermaids, fairies, dragons, dwarves, fish with fingers and children who are going on a bear hunt (something that you should not really be doing in real life, not when you are five and, actually, although this is yet a very personal opinion, never ever ever). This imaginary world is a part of being a child and children do grow out of it, eventually and naturally. Although, still, some of us, even at 40, we like to revisit this world, accompanying Harry Potter to Hogwarts, Frodo to Mordor and Zima Blue in his search of the meaning of life.
Another thing is that, as a material designer for preschoolers (and I am that, too, as all teachers are), I sometimes tend to choose illustrations over photographs specifically because they are simple and easier to colour for my 3- and 4-year-olds and because I want to convey the general meaning of the word ‘bird’, rather than anything specific, for instance ‘a sparrow’
Another reason for choosing the illustrations over more realistic drawings or photographs is that some animals look too realistic and scary. I am one who does not really like touching the spider flashcard (cartoon, but too real and disgustic) and some of my students feel the same way. So, in case of a crocodile, for instance, I might opt for the one on the far right.
Realistic vs imaginary: a class portrait and a teacher of seven fingers (but with amazing eyelashes:-)
Act III: Why do we have to choose? Variety is the answer!
That’s it. A ridiculously short Act III. Nothing more to add. We can and we should use both. Also because the realistic is not always true, either. Have a look at the photo that introduces this post once more: Am I or am I NOT sitting inside of a huge glass piano?
I hope you have enjoyed reading this article as much as I have enjoyed researching for it and that this is definitely not the end.
And a request to you, dear read. All of the sources that I have used directly have been referenced throughout the post. Below you will see some other treasures that you might find interesting. If you have anything else to add to this list – please, let me know in the comments sections.
Two requests, actually – if you have any stories related to children’s reactions to the photographs and visuals used in class, more or less realistic, please share these, too!
Bernadette Duffy, Supporting Creativity and Imagination in the Early Years, Open University Press, Maidenhead
P.S. A request!
It is very simple.
I would like to know a tiny little bit more about my readers. There are so many of you, popping in here, again and again, and the numbers of visitors and visits are going up and make my heart sweel with joy. But I realised I don’t know anything about my readers and I would love to know, a tiny little bit more.
There are many roads that lead to Rome which here will be a synonym of a good lesson. Sometimes it is boredom, when the teacher cannot even bear to look at the coursebook and the official educational materials. Sometimes it is the students, when they bring their world with them, when they learn quickly or, why not, when they don’t behave in the way that we would dream of. Sometimes, it is a random resource, a storybook or craft materials, that you really (really!) want to use.
Sometimes, however, you also find yourself in the middle of a film, Off the Record, a documentary on Laurent Garnier, the DJ, and you gasp because you find out how among all the other things cool that he has done and does, he also takes part in music lessons in a small school, somewhere in a French village, and there, with teens, he explores the meaning of different music styles, he gives them a chance to experience different kinds of music and he guides them into translating these impressions into visual art…
I gasped because I could not decide which reaction I should go for first. Shout out loud ‘Laurent, I love you!’ (just because he finds time to do something for his community and because of all things, he chooses to teach)? Shout out ‘Laurent, me, too! We do it, too!’ (because we entertain ourselves with my students with a similar exercise, albeit on a much smaller scale, when we play the Musical Challenge)? Or shout out ‘Pause the movie, for a moment, for heavens’ sake! I am being flooded with ideas and I need time to take notes!’ Because the Musical Challenge I have put together, good as it was as a warmer or a speaking activity, turned out to have a lot more potential and it be a brand new direction and at the same time an opportunity to combine teaching English through Art that I have been toying with for years now, craft and project work that, I was sure, could help me generate lots and lots of English. What’s not to like?
Crumbs # 19: Teaching English Through Music: Igor Stravinsky
The notes below constitute the outline of a 45-minute lesson I taught during the summer to my primary students aged 8 – 9, of a strong A1 / YLE Movers level whose speaking and listening skills are closer to A2 / YLE Flyers. I had only two students on the day so we did all of the activities whole class.
Revision
A revision game: adjectives – opposites, with the wordwall cards and then a miming game (one of the students choosing the word to mime for the other kids to guess). Another option are the present tenses or the verbs that the kids might need for storytelling.
Russian fairytales
Illustrations of the four traditional stories : About the Fisherman and the Goldfish, the Three Pigs, The Hen Ryaba and The Firebird
Kids turn turns to retell the stories. There is no pre-teaching of any vocabulary, the teacher feeds in the words on the go.
Kids choose their favourite story and talk about their favourite Russian story
Listening number 1
Teacher shows the photograph of Igor Stravinsky, introduces him briefly
Teacher tells the students that he wrote music for one of the four stories
Teacher plays a short piece of the Firebird (for example 38’40 – 40′) and asks the students to guess which of the stories the music could illustrate
Feedback, teacher tells them that the music they heard is called ‘Firebird’ and that it is one of the most popular pieces of modern music.
Listening number 2 / Art
Teacher gives out the template and tells the students that it is a cover of a record / CD with Firebird and that they they are going to design the cover and the illustration.
Teacher says that they are going to listen to another piece of music and draw what they hear. Teacher tells them that perhaps it will be for people who don’t know the story of the firebird, who don’t know Russian fairytales at all and that we need to help them understand what kind of music they might hear.
‘All ideas are good ideas’ is the motto of all of our creative projects, it is good to bring that up again.
Teacher puts the drawing materials and ideally there would be a choice of pencils, markers, crayons, finger paints, watercolours etc. Each student can choose their own.
Teacher plays the final piece of the Firebird (40′ – 46′) and the students are creating their piece. The length of the listening can be extended, either a longer piece can be chosen or the another excerpt can be added, depending on the group and their involvement.
If possible, the kids can be involved in discussing what the music might be illustrating. The Firebird is very energetic and varied, there is a lot of potential for that.
If there is time, kids can prepare two covers, based on two different excerpts from the suite.
Presentation
Kids take turn to present their album covers. They can use the following questions as framework: What is there in your picture? Why? Do you like the music? Why? What are you thinking about when you are listening to it? Kids can either ask each other these questions or use them to prepare a discourse.
All the album covers are displayed on the walls. If there is time, the group can listen to the chosen excerpt again.
Feedback and error correction.
How it went and what I learnt
In short: we loved it.
The kids produced a lot of language throughout the lesson (the teacher is happy).
The kids loved the fact that they could talk about the stories they knew and that they could paint (something that we rarely do). They seemed to enjoy listening to the music, too.
Observing how their ideas are born and shaped was a fascinating experience for the teacher, too. The first impulse was to draw a bird made of fire but, as they listened on, the other, better, more individual and special things began to appear. And they kept working on them, as the music led them.
Afterwards, they talked a lot about their pictures and the creative process. Normally, I ask if I can take the final product, if it is ok to photograph it or to put it on display. This time they were the ones to ask whether I was going to put them up on the noticeboard. It was a lovely moment.
The thing that surprised me most and that was the biggest challenge (or ‘challenge’) was the same thing that made the activity meaningful, motivating and generative, namely the fact that we used the Russian traditional stories as the basis. First of all, they had a lot to say about them and cutting corners (aka a short summary of the story) was out of the question. They wanted to tell me everything (as in: every little detail, significant or not). Second of all, because they were retelling the stories as they knew them, in Russian, they were very reluctant to give up on the beautiful, literary language for which they are not ready yet, in English and looking for those higher-shelf equivalents did get in the way and it did slow them down. Sometimes they were so unwilling to abandon the beauty that they used Russian. It was touching and it was beautiful and I still have not decided what I can do about it and how I can overcome this ‘problem‘ in the future. Because, of course, I want more!
What you can see in the pictures is a beautiful birch tree Daria and a tsunami, to which a sunrise was added, as an afterthought, a few notes later belongs to Antonina. Mine is the sunset which, lame as it is, I am quite happy with because only now did I make a connection between the firebird and the sun. Let it be.
Happy teaching!
P.S. Why Stravinsky? Apart from the fact that “Firebird’ is one of my favourite music pieces ever, it happened so that a few months ago, I used him as a reference with my young teens and their brains just went blank. They had never heard of him. Naturally, I decided to fix that. I rather like the idea that in about twenty years from now, my kids will hear the name Stravinsky in the conversation and their first association will be ‘Yes, we had this lesson once with our English teacher, Anka…’
Malevich and his Black Square are next in line, for the same reason.
There are eight students in the group with whom I trialled this lesson. They are about 12 – 14 years old and we are now finishing the A2 level. The inspiration for this very lesson (apart from my own personal obsession with storybooks and storybook illustrations) was one of the reading tasks that we did cover, taken from Prepare 3 2nd edition by Cambridge University Press in which we discussed books and everything we read in general. The thing that really inspired me to put together this lesson was one of the follow-up questions asked on page 104 and it went: Do you think that books with illustrations in them are just for the little kids? and, which came as a surprise, this was the question that generated a real discussion.
Almost at the same time, I received a delivery from a bookshop with as many as eight new storybooks and that basically was it. I wanted a new lesson, a different lesson.
The teacher brings up (or brings up again, as in our case) the topic of illustrations and drawings in books in general. Students discuss in pairs or teams.
Are the illustrations and drawings only for the little kids?
Are the photographs only for adults?
What do the teenagers like then?
The teacher regroups the students, to make sure that each student has a new partner. The students, now in new pairs, report what they have discussed. Afterwards, the teacher asks each pair ‘Do you have the same opinion as your partner?’, this way summarising the entire discussion so far.
Where’s my baby? by Julie Ashworth and John Clarke
Setting the context
The teacher shows selected illustrations and the titles of the storybooks to be used in class. I have used the covers but these might not always be appropriate. It might be a better idea to choose one of the illustrations from the story. The students discuss the following questions:
What can you see in the picture (on the cover page)?
What can the story be about?
An open class discussion follows. At this point the teacher does not reveal anything about the plot of any of the stories. The students will be able to figure it out for themselves in one of the later stages of the lesson.
I’ve seen Santa! by David Bedford and Tim Warnes
The storybooks selection
When I taught this lesson for the first time I used the following coursebooks
I’ve seen Santa! by David Bedford and Tim Warners from Little Tiger: I have chosen this because they are cosy and warm, something that might be an example of typical, obviously beautiful storybook illustrations which are there only to accompany the text.
Where’s my baby? by Julie Ashworth and John Clark from Longman. This book is a good example of a basic framework chosen to tell the story. All the pages are basically the same scene: Mr Monster Officer and Mrs Monster looking at yet another monster baby. The baby is the only element that is changing from page to page, as the officer’s confusion and Mrs Monster’s desperation grow.
Mr Noisy and the Giant by Roger Hargreaves from Mr Men and Little Miss Magic. This might be a good example of simple and uncomplicated, illustrations that might have been drawn by little children.
Perfectly Norman by Tom Percival from Bloomsbury. This is a gem of a book where the story is told through the words and by the visuals, both of these being separate entities in their own rights, complementing each other.
A Child of Books by Oliver Jeffers and Sam Winston from Walker Books Ltd. This title is unique, like all the books by Oliver Jeffers and here a story of the importance of books is told and illustrated by pictures made of words (which are also the quotes from the classic child literature, all titles acknowledged in the inside covers).
Perfectly Norman by Tom Percival
Vocabulary
We have looked at some of the vocabulary related to storybooks that the students might need in the following stage. In a way, for my students, it was the follow-up on the vocabulary presented in the coursebook, and for that reason I decided to include the following: cover, text, illustrations, writer, illustrator, reader, character, background, details, plot, dark, bright, easy, complex, drawn, printed, painted.
The students were working in pairs, matching the definitions with the terms, follwed by a whole class feedback and an exercise in which we talked together about one of the books, using these words. For this exercise it is best to choose the title that is the biggest in size so that it could be comfortably demonstrated by the teacher and seen by the students. By discussing the storybook together, the teacher can also guide the students and ask some follow-up questions, to model what the students will be requested to do in the following stage. One or two questions from the set below can also be used.
A Child of Books by Oliver Jeffers and Sam Winston
Discussion
The students work in pairs or groups of three. Each team gets one of the storybooks and a set of questions to discuss, based on what they see in the storybook. The teacher sets the time limit and when the time is up, the students exchange the storybooks and the procedure is repeated until all the teams have had a chance to look at all the books.
We worked in four teams and we used about 5 minutes per book.
The questions the students were asked to answer were as follows:
Please describe the book using the key words.
Look at the illustrations only. What is the story about? Can you ‘read’ the story only by looking at the illustrations? Why? Why not?
Look at the text (some or parts). What is the story about? Do you like it?
Do you like the illustrations? Are they simple or complex? Beautiful or ugly? Dark or bright?
Do the illustrations make you feel happy / sad / angry / bored / ? Why?
After all the students have looked at and discussed all the storybooks, the teacher asks them to answer the following questions
Which book has got the best illustrations? Why do you like them?
Which book has got the worst illustrations? Why don’t you like them?
The teacher monitors and helps to keep the discussion going. A whole class discussion follows. The teacher may highlight the main points, as outlined above (the storybook selection) but, really, the main aim of this kind of a lesson and this kind of a discussion is the opportunity for the students to look and to draw their own conclusions and formulate their own opinions. There are no correct or incorrect answers and interpretations.
Mr Noisy and the Giant by Roger Hargreaves
Conclusions
This was the first lesson of this kind with this particular group. It was obvious that, at the very beginning, some of the students did not feel very comfortable with expressing their views and even with formulating them. However, even as we went through the task, it all got easier, with the second or third book and they were all involved in the discussion. It was great to see how they ventured out into evaluating the illustrations and uncovering their meaning for themselves.
Their answers in the final survey on the favourite set of illustrations were also unexpected because of them could not really make up their mind and they chose two, very different books: the more conventional ‘I’ve seen Santa!’ and the more unusual ‘Perfectly Norman‘.
All in all, I did decide to give myself a pat of on the shoulder for that lesson and I am already planning the next one. Maybe it will be devoted to storybooks, maybe not.
If you, dear reader, have any storybooks lying around and no idea for a lesson, here is your lesson plan!
Bonus: an easier start
I have written the post and only then did I realise that, perhaps, not all the teachers will feel perfectly comfortable and ready to enter the world of the storybook illustrations at a full throttle, especially if they have not dealt with this approach to language teaching.
Storybook illustrations can be used on their own, as visuals, only slightly different visuals, as an alternative to photographs or YL scene illustrations. In this case, the teacher can choose any storybook illustrations, in no connection to the story itself or the entire book.
The teacher gives them out and uses them as the basis for one of the following exercises
YLE Starters, Movers, Flyers speaking such as answering questions about pictures, talking about differences
PET speaking picture description
FCE or CAE speaking (compare the pictures and answer the questions)
some of the ideas I shared in my post on using illustrations to develop speaking skills ‘All you need is…a picture’
This way the students (and the teacher) will get introduced to the storybooks illustrations and using drawings will be a lovely and an interesting alternative to the visuals that we usually encounter in our lessons or coursebooks. I promise that it will make a difference! And, on top of everything else, you will be developing your students’ visual literacy!
A while ago, I was teaching my first teens group in Moscow, an amazing bunch of students that I had a privilege to take from A2 to FCE and that I referred to as ‘my monsters’, though never to their face. And this is how this project came to be.
It could be called an attempt at a CLIL lesson. It could be said that the not-yet-dead-historian in me was behind that project but the truth is that, at the time, I was simply bored out of my wits the coursebook we were ploughing through and I wanted something else.
And, inspired by Kenneth McHoan, a character from the Crow Road by Ian Banks and one of his lines (‘He is my son. I’ll fill his head with anything I like’), I decided to teach Art.
The lesson that I am sharing today is the first in the series of ten lessons ‘How to see…’ that I taught as part of our general English course. The group that I trialled it with were B2 young teens but, since then I had a chance to teach it both to adults and pre-teens, C1 and end of A2 levels.
Why we liked it:
I had lots of fun, accompanied in the classroom by my favourite artists.
I did enjoy the change, in the curriculum and the pace, and it did feel great to be teaching a subject, in English, not just the language.
The students did enjoy it, too, being given a chance to have an opinion and to express it, freely and the fact that one painting could generate so many different views.
Last but not least: although it did not happen overnight, I did realise that when my students were given a chance to talk about Art, all of a sudden, they were using the vocabulary from a higher shelf and really working hard on communicating what they thought in a beautiful way.
Lesson 1: How to see a city
Language focus
Aim: to introduce the language and the approach the students will need to be able to deal with the task. Normally introduced in the lesson beforehand, to allow sufficient time for practice and to make sure the students feel relatively confident using in the Art lesson itself.
language to express opinion / to agree / to disagree
expressing opinion: I think, In my opinion. The way I see it.
agreeing: I think so. I agree. Exactly. That’s true.
disagreeing: I don’t think so, I don’t agree. I am not sure.
Three sheep: the name I gave to a trick I learnt from Rafael, to teach your students how to construct their discourse, how to express and justify opinions, even for the lower level
Sheep 1: the opinion itself (I think)
Sheep 2: reasons etc (because, so, and, but)
Sheep 3: an example from the real life
Setting the context
Aim: to help set the context for the Art lesson
T shows the students a few photographs from New York
Questions to discuss
What can you see in these photographs? Do you know the city?
What is New York famous for?
Have you ever been there? Have you seen any films set in New York? Have you read any books set in New York?
Is New York similar to or different from Moscow? Is it similar to or different from any other cities you know?
source: wikiart.org
Interacting with the artwork: stage A
Aim: to provide an opportunity for the students to interact with the painting in a freer way, to provide opportunities for speaking
T divides the students into two groups and assigns a painting, group A to work on Frida Kalho’s painting, group B to work on Georgia O’Keefee’s painting
Each group can be divided into pairs, depending on the group dynamics
The students are discussing their painting, answering the following questions:
What can you see in the painting?
Is it a happy / sad / angry / depressing / scary painting? Why?
In your opinion, how did the artist feel about New York? Did they like the city they lived in? What makes you think that?
Could this image be used in tourist brochures to promote the city? Would it make a good postcard or a souvenir?
How does the painting make you feel? Would you like to have it on the wall in your room? Where could it hang, in an office, in a hospital, in a shop or in a museum?
source: museothyessen.org
Interacting with the artwork: stage B
Aim: to provide an opportunity for the students to interact with both paintings
T mixes the students so that students from group A can work with students from group B, in groups or new pairs
Students show each other their painting and report their personal and their group’s opinions
T gives out new questions for the students to discuss
Which of these two paintings do you like more? Why?
Both of these paintings show New York in a very different way. Why do you think these artists had such a different view of the same city?
Open class feedback
Aim: to report back to class, to compare views
T leads the open class discussion, all the groups present their views, focusing on the two different ways to portray the same city. The teacher reveals that both paintings were painted at approximate the same time (1933 and 1925)
Error correction
The mini-lecture
Aim: to present the background information to provide the background for both paintings
T gives a short lecture, adapting it to the level and the age of the students, highlighting the main points
Both painters were not New Yorkers by birth, they came to the city with their husbands, one from exotic Mexico, the other from a small town in the prairies in Wisconsin.
Frieda felt alienated in the city, she didn’t like it, she missed home, she stayed only to accompany her husband
Georgia lived with her husband, in Manhattan, on the 30th floor, in Hotel Shelton and painted and sketched what she saw from her window.
Perhaps these are the factors that influenced both artists.
Questions from students
Error correction
The follow-up
Aim: to give the students an opportunity to look at their own city and reflect on how their feelings might influence the way they see the city
Part A
T divides the students into new teams / groups of 3
Students discuss the following questions about Moscow / own city:
Do you like Moscow? Is it a good city? Would you like to live here in the future?
What are the main tourists’ attractions?
What are your favourite places in the city?
If you could change something in the city, what would it be?
Open class feedback
Part B
T gives out different paintings / photographs of Moscow / own city
Students discuss the following questions
Look at these three different ways of showing your city in a painting/photograph. Which one is the best? Why? Which one is your least favourite?
If you painted a picture of the city or if you were to take a photo to represent it, what would you include?
Open class feedback
Error correction
The follow-up: homework
Aim: to present an alternative way of looking at a city: through its inhabitants
Option A: Based on the photographs by Stan Raucher who photographs people on the metro in different cities
T selects the photographs / a photograph, appropriate for the age/ level of the students, hands out
SS at home prepare to talk about the photograph
Who are the people in the photograph?
What are they doing?
What are they wearing?
How are they feeling?
Where are they going?
Which city are they from? Why do you think so?
Option B: Based on the stories from Humans of New York, a project that interviews the people in the streets of New York and retells their storiesT selects the story/stories, appropriates for the age/level of the students, grades the language, if necessary, hands out to students
SS at home read the story and prepare to talk about their character:
What is the name of the person?
Where is he/she from originally?
What does he/she do?
What do we know about this person?
What makes this person special?
Would you like to meet this person?
In the following lesson, students report back, in pairs/teams and they choose the most interesting story / person / photograph.
Resources:
Frida Kalho, My dress Hangs there, 1933
Image and the basic information about the painting:
