Monday, December 21, 2009
Carols, Culture and Creativity
Just been to the Mandeville School carol concert at St Mary's Church. A really good evening with a programme that ranged from Islamic Nasheeds, raga through Bollywood dancing to Silent night with all the best carols in between. Also really good to hear (as a visual learner I was going to say 'see') teacher colleagues original arrangements and personal creativity. There are times when I really miss being a teacher in a school.
Thursday, December 17, 2009
Primary Sculpture
I saw a really good sculpture in a primary school recently (Long Crendon).
The design came from children and it was made by a local sculptor welding the shapes cut from assorted pipes. Brilliant rusted orange colours. It is about values and the leaves that hang from the branches contain words by the children.
I've not seen anything like it in schools but it did remind me of the wonderful African 'tree of life' sculpture welded entirely from old guns, pistols and ammunition clips that was in the British Museum a couple of years ago.
Sunday, December 06, 2009
Gormley and Chalfonts at Saatchi
Just a brilliant evening and thanks to Chalfonts Community College for inviting me. Went to the private view of the Saatchi Schools Prize where James Coffey a student at CCC was in the shortlist. The work was a delightful and simple animation entitled Miracle. Following the theme of low tec but sensitive I have added my mobile phone photo of Antony Gormley announcing the prizes and praising the students and their teachers. Technically rubbish but rather Gormleyesque in a modest sort of way I thought.
We (teachers) speculated that for the rest of his life James will visit the Saatchi Gallery and privately note that his work had also hung on that wall in that spot which is currently displaying an Emin or whatever. Evenings like this make it worthwhile. Well done Chalfonts Art Department.
Thursday, November 26, 2009
When I were a lad
Spent an evening at a 6th form exhibition (Chalfonts CC). It was for parents and was celebrating the work from a weekend residential course spent in London and Brighton. The work was excited and exciting. But the most noticeable characteristic was the sheer visual maturity of the work. Completed work and sketchbook pages showed a sophisticated curiosity about ideas and compositions, issues and textures. There was also a delighted acceptance of innovative and challenging contemporary artists such as Anish Kapoor at the RA and an artists' collective in Brighton.
It left me feeling slightly envious, and humbled, reflecting on how things had changed since I started teaching; when ten weeks with the school skull, wine bottle and drape was the height of 6th form sophistication. But that was forty years ago. Some of these students had taken 3,000 photographs over three days using a camera with a telephoto lens that I had not been able to afford until I was in my thirties. No wonder they were visually sopisticated and aware. It were not like that when I were a lad.
It left me feeling slightly envious, and humbled, reflecting on how things had changed since I started teaching; when ten weeks with the school skull, wine bottle and drape was the height of 6th form sophistication. But that was forty years ago. Some of these students had taken 3,000 photographs over three days using a camera with a telephoto lens that I had not been able to afford until I was in my thirties. No wonder they were visually sopisticated and aware. It were not like that when I were a lad.
Tuesday, October 20, 2009
Testing the 'C' boundary
In a daily routine of emails and meetings it was a pleasure to join art teachers and just talk about teaching art and students: like the yr 10 student whose sole expectations from life were "make up, a baby and love" probably in that order.
We met to review and share work at the boundary of GCSE 'C' and 'D'. There were ten teachers from four schools. In the event all schools entered for Edexcel examinations and so we were unable to compare results from different exam boards. Encouragingly we found that there was consistency in the samples from these four schools. The 'D's and 'C's did correspond and it was possible to discern a consistent order of merit across the schools. It was interesting to note the defining difference between C and D grades. It seemed to be, not so much in technical expertise or formal fluency but in the intellectual curiousity and maturity of the student. Work at a D grade seemed to be shallower and monochromatic in scope whereas work at a C grade suggested a narrative which was deeper and richer.
We noted that during recent Edexcel training teachers were told to ignore changes to specifications and in effect carry on as they had always done. In addition there was some agreement that, this year, moderators were encouraging teachers not to emphasise the absolute need for writing and to accept that visual analysis and reflection could demonstrate critical evaluation and understanding.
We noted that the similarities were far more obvious than the differences between schools. Characteristics of all work were: brainstorming, open ended experimentation in sketchbooks, references to several artists and consequent stylistic experiments, use of photographic references and the internet. Often the final piece was the weakest and the preparation seemed to contain many hours of work. This prompted a discussion about the possibility of students spending a disproportionate amount of time working and reworking development pages in their journals rather than spending time creating successfully realised works of art.
Many students had worked from figures with varying degrees of success. I mentioned a website I had seen earlier in the day featuring the work of the dance company Philobulous. A short brilliant piece by two dancers creating an extraordinary sequence of shapes and combinations using just two bodies. Certainly worth looking at for ideas about the use of figures.
Finally one really good idea a teacher's small assessment note attached to work with a paper clip which contained comments - 'A good thing is...', Could be better if...', Relevant to Assessment Objective AO1, AO2, AO3, AO4'. Thanks to Kirsty for that. And to the teachers of Sir William Ramsay Arts College, Holmer Green School, Amersham School and Chalfonts Community College.
We met to review and share work at the boundary of GCSE 'C' and 'D'. There were ten teachers from four schools. In the event all schools entered for Edexcel examinations and so we were unable to compare results from different exam boards. Encouragingly we found that there was consistency in the samples from these four schools. The 'D's and 'C's did correspond and it was possible to discern a consistent order of merit across the schools. It was interesting to note the defining difference between C and D grades. It seemed to be, not so much in technical expertise or formal fluency but in the intellectual curiousity and maturity of the student. Work at a D grade seemed to be shallower and monochromatic in scope whereas work at a C grade suggested a narrative which was deeper and richer.
We noted that during recent Edexcel training teachers were told to ignore changes to specifications and in effect carry on as they had always done. In addition there was some agreement that, this year, moderators were encouraging teachers not to emphasise the absolute need for writing and to accept that visual analysis and reflection could demonstrate critical evaluation and understanding.
We noted that the similarities were far more obvious than the differences between schools. Characteristics of all work were: brainstorming, open ended experimentation in sketchbooks, references to several artists and consequent stylistic experiments, use of photographic references and the internet. Often the final piece was the weakest and the preparation seemed to contain many hours of work. This prompted a discussion about the possibility of students spending a disproportionate amount of time working and reworking development pages in their journals rather than spending time creating successfully realised works of art.
Many students had worked from figures with varying degrees of success. I mentioned a website I had seen earlier in the day featuring the work of the dance company Philobulous. A short brilliant piece by two dancers creating an extraordinary sequence of shapes and combinations using just two bodies. Certainly worth looking at for ideas about the use of figures.
Finally one really good idea a teacher's small assessment note attached to work with a paper clip which contained comments - 'A good thing is...', Could be better if...', Relevant to Assessment Objective AO1, AO2, AO3, AO4'. Thanks to Kirsty for that. And to the teachers of Sir William Ramsay Arts College, Holmer Green School, Amersham School and Chalfonts Community College.
Monday, August 10, 2009
Old Advisers
Last night I was at a party in Greenwich overlooking the river and the ill fated dome - which was illuminated against the fading twilight and ofset by a flock of small hot air ballon/lanterns floating away towards deptford. But the point of this is about the comment made by Andrew (art adviser Newham) that he was the last art adviser left in London. We old advisers talked of the now almost complete disappearance of art advisers as a class. Julia (retired) felt that subjects were being undermined and diluted.
But I dont think this is true. Looking at the exhibitions this year shows that art education is vibrant and improving. It also seems to me that innovative new ideas are moving round the system and we continue to develop, evolve and learn from each other. It seems to me that subject development is alive and that teachers are supported in many ways. There is now much more advice support and professional development about improving teaching - its just that it is now generic, whole school and consistent across all subjects.
Recently I was able to observe groups of teachers on a course led by the head of one of our schools designed to move teachers and teaching to become outstanding. There were teachers from two other schools there. They worked in threes and came from different subject bases. The whole point was to share, research and develop a new repertoire drawn from the different subject experience of all of these teachers. The sharing and blending of approaches from different subject backgrounds was at the heart of this exciting programme. Nowadays many schools have set up similar teaching development groups engaged in what is action research and professional development.
Other programmes developed by the National Strategies provide really good advice and support for subject leadership, Assessment for Learning, for instance. All of these provide good support for art teaching - strengthened by the fact that it draws upon the wider repertoire of all subjects to move practice forward. So the old notions of subject development managed primarily through subject silos is no longer the norm but I dont think it means that the subject is not being developed. One of the key causes of weakness in schools cited by Ofsted is the lack of in-school consistency, and schools everywhere are being encouraged to bring all teaching up to the standards of the best.
So the first point of this summer rant is that the demise of subject advisers and possibly the demise of subject focussed professional development does not mean that the subject is not being developed and there is evidence that teachers' pedagogy is being extended and enriched by very strong generic programmes delivering consistency across subjects in a school.
There are other important factors at work though. We all learn best from our peers and without doubt some of the best support for secondary art in bucks has come from the work of ASTs. This work done by a practising art teacher working with and alongside art teachers in other schools has been excellent. I have seen departments which have made significant improvements and who now have a self confidence in their own practice which is enabling them to take control of their own development. Again nothing to do with subject experts giving advice - just teachers working together.
Some really exciting work in Bucks can be seen at Chalfonts Community College where significantly innovative practice is being developed and shared. Again the point is that it is actually happening in classrooms and when it is talked about, for instance at national conferences, it is the teacher who presents.
There are other significant sources of very real and significant support available to art teachers. The Diploma's and the Change Schools programme of Creative Partnerships provide opportunities for art teachers to work alongside designers, craftspeople and artists; developing their own thinking, repertoire and creativity.
So I dont agree that the demise of the 'subject expert/adviser' represents the demise of subject support or development - it seems to be stronger than ever. But the changed emphasis towards school focused development rather than subject focused support leaves a danger of losing sense of community and the local network of local friends, colleagues fellow art teachers. So join NSEAD and find ways to stay in touch with other local art teachers wherever possible.
But I dont think this is true. Looking at the exhibitions this year shows that art education is vibrant and improving. It also seems to me that innovative new ideas are moving round the system and we continue to develop, evolve and learn from each other. It seems to me that subject development is alive and that teachers are supported in many ways. There is now much more advice support and professional development about improving teaching - its just that it is now generic, whole school and consistent across all subjects.
Recently I was able to observe groups of teachers on a course led by the head of one of our schools designed to move teachers and teaching to become outstanding. There were teachers from two other schools there. They worked in threes and came from different subject bases. The whole point was to share, research and develop a new repertoire drawn from the different subject experience of all of these teachers. The sharing and blending of approaches from different subject backgrounds was at the heart of this exciting programme. Nowadays many schools have set up similar teaching development groups engaged in what is action research and professional development.
Other programmes developed by the National Strategies provide really good advice and support for subject leadership, Assessment for Learning, for instance. All of these provide good support for art teaching - strengthened by the fact that it draws upon the wider repertoire of all subjects to move practice forward. So the old notions of subject development managed primarily through subject silos is no longer the norm but I dont think it means that the subject is not being developed. One of the key causes of weakness in schools cited by Ofsted is the lack of in-school consistency, and schools everywhere are being encouraged to bring all teaching up to the standards of the best.
So the first point of this summer rant is that the demise of subject advisers and possibly the demise of subject focussed professional development does not mean that the subject is not being developed and there is evidence that teachers' pedagogy is being extended and enriched by very strong generic programmes delivering consistency across subjects in a school.
There are other important factors at work though. We all learn best from our peers and without doubt some of the best support for secondary art in bucks has come from the work of ASTs. This work done by a practising art teacher working with and alongside art teachers in other schools has been excellent. I have seen departments which have made significant improvements and who now have a self confidence in their own practice which is enabling them to take control of their own development. Again nothing to do with subject experts giving advice - just teachers working together.
Some really exciting work in Bucks can be seen at Chalfonts Community College where significantly innovative practice is being developed and shared. Again the point is that it is actually happening in classrooms and when it is talked about, for instance at national conferences, it is the teacher who presents.
There are other significant sources of very real and significant support available to art teachers. The Diploma's and the Change Schools programme of Creative Partnerships provide opportunities for art teachers to work alongside designers, craftspeople and artists; developing their own thinking, repertoire and creativity.
So I dont agree that the demise of the 'subject expert/adviser' represents the demise of subject support or development - it seems to be stronger than ever. But the changed emphasis towards school focused development rather than subject focused support leaves a danger of losing sense of community and the local network of local friends, colleagues fellow art teachers. So join NSEAD and find ways to stay in touch with other local art teachers wherever possible.
Saturday, July 18, 2009
Coughs and sneezes
In the last month or so we have been working with the Health Protection Agency (HPA) and the Primary Care Trust (PCT) to monitor and support schools in the face of the swine flu pandemic. Intially it was treated according to the plans prepared earlier which assumed a more serious illness than the one that we actually seem to have. It is, in most cases, slightly milder than seasonal flu. It currently seems unlikely that the illness will cause serious concerns for most of us but it may be the case that continuity in education could be a problem through spasmodic bouts of pupil and staff absence through autumn and winter.
In the circumstances it may be sensible to give some thought to how education could be sustained if the curriculum becomes disrupted. So I have begun to set out some ideas on the Bucks Grid for Learning. I have also opened up a collaborative page (called a wiki if anyone is interested) so art teachers could share ideas and comments. You will need to logon to Bucksgfl using your username and password to contribute - although anyone should be able to read it. It can be used by primary and secondary teachers and I rather like the idea of cross phase co-operation. In truth I set up the wiki because I am intrigued at the opportunity to work together in the face of a common issue using this simple technology. So swine flu is not a dire emergency to be solved but an excuse to try something out. Do have a look and contribute if you can.
In the circumstances it may be sensible to give some thought to how education could be sustained if the curriculum becomes disrupted. So I have begun to set out some ideas on the Bucks Grid for Learning. I have also opened up a collaborative page (called a wiki if anyone is interested) so art teachers could share ideas and comments. You will need to logon to Bucksgfl using your username and password to contribute - although anyone should be able to read it. It can be used by primary and secondary teachers and I rather like the idea of cross phase co-operation. In truth I set up the wiki because I am intrigued at the opportunity to work together in the face of a common issue using this simple technology. So swine flu is not a dire emergency to be solved but an excuse to try something out. Do have a look and contribute if you can.
Wednesday, July 15, 2009
Gifted and Talented
Earlier this term I wrote about two 6th form students who were clearly gifted and whose choice of career seemed almost predetermined by their natural ability. They were going to follow degree courses in architecture and stage design.
Today in Turnfurlong Infants School I found a third pupil who displayed extraordinary talent. This time she is six years old. Her ceramic rat is extraordinary. The shape of the muzzle, eye sockets and flattened forehead shows an ability to understand and model form with a maturity and mastery which is way beyond her age. I was able to talk to Leah and to confirm that it was her own work and that she worked from a picture. It is true that her grandmother is a potter and her father an architect but the modelling is her own and she described how she constructed it over a paper and bubble wrap body which burned off in the kiln - six years old.
To conclude this post it is interesting to note this other small ceramic sculture. This time from a sixth form student at the Royal Grammar School. He had made a set of small nudes all developed from an extruded clay tube. It makes a nice counterpoint.
Tuesday, July 14, 2009
On Display
Coming in to work this morning through Aylesbury shopping centre it was good to see a set of large panels from the Cottesloe School. They are from Year 9 students and follow study of Japanese art including Manga. Really impressive well done Cottesloe art department.
Monday, July 13, 2009
Cross Fertilisation.
I saw this work in Haddenham Junior School a couple of weeks ago. Its based on Clarice Cliffe and pupils had to design the shape and the decoration.
It was interesting to note the cross-over of practice from secondary to primary phase, because I first saw this exercise in Sir Henry Floyd Grammar School five years earlier. Here it was by 6th form students. It is not uncommon to see ideas for work being passed around secondary schools but it is quite unusual to see ideas cross phases in this way.
It was interesting to note the cross-over of practice from secondary to primary phase, because I first saw this exercise in Sir Henry Floyd Grammar School five years earlier. Here it was by 6th form students. It is not uncommon to see ideas for work being passed around secondary schools but it is quite unusual to see ideas cross phases in this way.
Thursday, July 09, 2009
Textiles and Tracey
Spent time this evening at Sir William Ramsey (Arts College). As always a superb show. Its intriguing to see how work continues to evolve and develop in this department. A particular strength is in the textiles which are always exquisite and never fail to delight. Interesting to see the way that some students this year are using stitching to draw with. There are similar echoes of Tracey Emin in the work of some other schools such as the large stitched nudes from Aylesbury High. These can be seen in this years gallery on Flickr.
Tuesday, June 30, 2009
Hockney
Watched the BBC Imagine programme on Hockney tonight. Inspiring and intriguing as always and as wryly challenging as he was when we first encountered the Bigger Splash as a painting and a film. But a motif of these art exhibitions has been the role of photography in so much of the work. As a tool, a medium and often as an intrinsic part of the subject matter. I recall reflecting on this in a 2006 blog entry. Intriguing to watch Hockney in a post photography mode outside capturing landscape and childhood directly with a brush and oil paint. Reminded me of this landscape by a student at Holmer Green this year.
It also reminded me of a time when as a young head of department I ran a weekend residential course for my 6th form students in February. The focus was drawing and we intended to work from still life. But it snowed overnight and so we spent Saturday outside in the Kent countryside painting. It is true that work taken directly from first hand experience is different from work filtered through a lens. Not necessarily better but certainly different.
It also reminded me of a time when as a young head of department I ran a weekend residential course for my 6th form students in February. The focus was drawing and we intended to work from still life. But it snowed overnight and so we spent Saturday outside in the Kent countryside painting. It is true that work taken directly from first hand experience is different from work filtered through a lens. Not necessarily better but certainly different.
Creative Nesting Boxes
Brilliant idea from Chalfonts Community College. All 6th form fine art students were invited to make a work of art from a nesting box. Here are a couple of the results. They were supported in this project by Pippa North an artist working with the school.
...and another inherent sensibility
A couple of weeks ago I wrote of a couple of students who exhibited a natural aptitude and talent for a particular professional practice. The other day I saw another student with a natural talent, this time for illustration. I really liked these illustrations: they made me smile. This was at Aylesbury High School.
There were also some excellent robust, life drawings, some of which were developed into textile pieces (Tracy Emin). They were a refreshing counterpoint to the large numbers of closely observed and painted portraits developed from digital photographs and the work of Jenny Saville, Lucien freud et al.
Wednesday, June 24, 2009
At last some interesting work with 'Paint Magic'
For those who don't know, Paint Magic is a primary level bit-map paint programme. I cannot remember ever seeing much that was interesting being produced with this software - until today. At Haddenham Junior School there was a really dramatic large (2 meter high) panel. The image has been developed from small tiles based on a master picture. I really liked it - the colour, normally a weakness in the software, works in this exercise and every pupil has had to work with care to draw the image. It was just good to see the large bright complex panel rather than small scale, crude, mouse drawings.
KS3 Cancelled
I have just heard from Emma that the moderation meeting for KS3 has been cancelled because the other schools have not been able to attend. This is disappointing especially as teachers at the Grange had worked hard to negotiate and arange this.
I know that in most parts of the country subject networks are a thing of the past. I had hoped that arts colleges would take a lead in supporting the local networks of art teachers but this has not been the case. Then I had hoped that it would be possible to set up an art teachers' association so that the network could be owned and led by teachers themselves. This does not seem to be working particularly well either. Back to the drawing board.
I know that in most parts of the country subject networks are a thing of the past. I had hoped that arts colleges would take a lead in supporting the local networks of art teachers but this has not been the case. Then I had hoped that it would be possible to set up an art teachers' association so that the network could be owned and led by teachers themselves. This does not seem to be working particularly well either. Back to the drawing board.
Tuesday, June 23, 2009
Jenny Saville has alot to answer for.
I saw the Dr Challoner's High A level exhibition tonight. Its a show I look forward to. The work always has a challenging self regarding intensity. It is engaging and at times moving, as these students at a girls; grammar school gaze unblinkingly and honestly at themselves and their world. This year is unusual. The course encourages individual responses and the department has a really good library of reference books in the department (probably the best that I know of in Bucks). These students also visit major London galleries and usually there will be a variety of different references and influences in the work.
This year it seemed all students were wholly engaged in portraits - large, painterly closely cropped and expressive - often anguished. References were Jenny Saville, Lucien Freud, Maggi Hambling and Egon Schiele. The work was excellent and it was clear that AS students had already fully exploited and mastered the techniques they were exploring. It will be really interesting to see what these students do for the A2 work next year they already have a mature and masterly painting technique. They are already at ease using portraiture and figures to make genuinely expressive pictures - what next?
This year it seemed all students were wholly engaged in portraits - large, painterly closely cropped and expressive - often anguished. References were Jenny Saville, Lucien Freud, Maggi Hambling and Egon Schiele. The work was excellent and it was clear that AS students had already fully exploited and mastered the techniques they were exploring. It will be really interesting to see what these students do for the A2 work next year they already have a mature and masterly painting technique. They are already at ease using portraiture and figures to make genuinely expressive pictures - what next?
Friday, June 19, 2009
Change I do hope so
Writing this while attending a creativity conference organised by Creative Junction. I should be in a workshop but I am just too old to 'do drama'. It is sharing and celebratory meeting for schools in the current ‘Change School’ programme. This is a Creative Partnership three year funded programme which involves schools working with creative practitioners to develop creativity in the curriculum and in teaching and learning.
One salutary reminder from a keynote address was that that the current funding pattern is probably secure until 2011. It occurs to me that a real issue for all of us is to consider what will be left in 2012 for the next generation of children. How is this work ensuring that teaching, pedagogy and the curriculum is being changed and how are we evaluating and then embedding any significant new practice we are developing. I worry that we are spending our time (and finite funding) on projects for children which simply confirm what we already know - that children enjoy and become enthused by changes to routines and access to artists. But if the programme is predicated upon this level of funding for artists in schools I fear it is simply not sustainable. Far more important for me is the need to change, inform and inspire teachers so that they can lead creativity for this and all the subsequent generations they teach.
The role of artists, or creative practitioners is also an intriguing issue. I worry that too often they fall back into the simplistic default role of workshop leader. This is the least important role, not least because children’ work should be led by teachers who are always best placed to manage and lead learning. The artist as workshop leader is a problem for various reasons. They may not be good teachers - why should they be? They may respond to the expectations the school has of them by setting up formulaic workshops in which children are no more than apprentice labourers in the production predefined by the artist, with little ownership and little access to first hand creativity.
Earlier there was a significant presentation by Priory School about work they are doing to support the peer and self review of creativity for pupils. It unpacks and reinterprets the conceptual framework of creativity developed by Ken Robinson and transforms these into a set of cards/pictograms which enable children and teachers to reflect upon different aspects of creativity. It was used to confirm and analyse the nature of creativity being developed and through reflection, sustain and improve the experience.
But it was good to once again join a group of teachers excited, dedicated and discovering for themselves why it is important and exciting to be a teacher.
Tuesday, June 16, 2009
A priviledge and a pleasure
Just a short note to record the work of two young men. Both are 6th form students. One at The Royal Latin, the other at the Misbourne. Their art work was extraordinary in its self confident maturity.What was particularly moving was the obvious and compelling logic of their next steps one to architecture, the other to stage design. Everything they had made showed a natural mastery, fascination and precocious talent within their chosen fields. Their choice of career seemed absolutely inevitable in view of their inherent talent. It was inspiring to have a glimpse of such natural talent at the begining of their careers. At such times it is good to be an art teacher.
Chemical or Digital?
More schools are offering photography at A level this year. It's not just the easy access to digital camera's and Photoshop either as many offer both chemical as well as digital processing: although the sheer ubiquity of digital photography must have something to do with it. It is curious that, although it could be done digitally, teachers are prepared to fight for the dedicated darkroom space, cost of equipment, chemicals and cameras that are required for 'real' photography.
Superficially it seems perverse and talking to teachers, there is often only a rather vague assertion, that in some ways digital is good for you, to justify the extra effort. But, on reflection I cannot recall taking a good photograph with any digital camera - although I used to be quite good with my old SLR. Talking to teachers tonight (at the Amersham school 'A' level exhibition) I begin to see the point. It is not so much in illustrating the original meaning of cropping and dodging and, to be frank, the magic of chemical developing is only a transient pleasure. But what was apparent in the photographs of these students was a practice which used a camera and viewfinder to search, frame and capture a particular, unique and transitory event - I guess it may be the only legitimate use of the awful phrase 'moment in time'. These photographs were simply different to the point and click, scatter gun, approach of most digital photographs. Images had been thoughtfully pursued and captured, not opportunistically grabbed and processed after the event.
Whether it is worth the full paraphernalia of the darkroom is still a moot point but I recognise that I really do need to buy a digital SLR.
Superficially it seems perverse and talking to teachers, there is often only a rather vague assertion, that in some ways digital is good for you, to justify the extra effort. But, on reflection I cannot recall taking a good photograph with any digital camera - although I used to be quite good with my old SLR. Talking to teachers tonight (at the Amersham school 'A' level exhibition) I begin to see the point. It is not so much in illustrating the original meaning of cropping and dodging and, to be frank, the magic of chemical developing is only a transient pleasure. But what was apparent in the photographs of these students was a practice which used a camera and viewfinder to search, frame and capture a particular, unique and transitory event - I guess it may be the only legitimate use of the awful phrase 'moment in time'. These photographs were simply different to the point and click, scatter gun, approach of most digital photographs. Images had been thoughtfully pursued and captured, not opportunistically grabbed and processed after the event.
Whether it is worth the full paraphernalia of the darkroom is still a moot point but I recognise that I really do need to buy a digital SLR.
Thursday, May 21, 2009
Arts Mark
Just a note about Artsmark as we ran some training this afternoon. Information about the next round (round 10) will be published on the Artsmark website at the end of July. As usual there will be some slight changes but it makes sense to use this year's materials for an initial rough audit this term. This should enable schools to begin to build any changes into next year's programme. It would be sensible to ensure that the school has an 'Arts Policy' this term. It would allow time for it to be approved by governors. It would also get 'buy in' from colleagues, SLT and governors - without this it will be an uphill task.
It is worth noting that rumour has it that the Arts Mark criteria may well change in response to the new curriculum models in both secondary and primary phases. This is clearly appropriate. It may also be that a radical rethink of the programme might take place - it is increasingly expensive to administer with increasing numbers of schools applying. The Arts Council are making no guarrantees about the future of Arts Mark beyond this next round.
Saturday, May 16, 2009
Every Child is begining to Matter
It has been a curious week working across the whole educational spectrum from infant schools to university courses. I am an external examiner for art on the BA Hons Primary Education offered by Birmingham University and today I attended a briefing meeting for external examiners across the brand new Faculty of Education, Law and Social Sciences. We were told of the synergy between these recently introduced bedfellows on the Perry Bar campus - so look out for courses in criminology and early years.
It was interesting to hear of recent innovations in the university to improve the learning experience for students by listening to students in seminars and consultations to review the experience from the student's perspective. Curious that the previous evening I had been with a primary school's governing body looking at the process of appointing a new headteacher and we noted how many adverts included quotes from infant children saying what they wanted in their new headteacher. Is ECM genuinely changing from an ernest slogan into an all embracing new mind set in which the children's (student's) voice is actually begining to change practice in all phases of education?
Another intriguing, and new idea for the university, was the notion that if students fail a module, rather than engage in a sequence of resits, they should be invited to agree and sign a 'learning contract'. This would define expectations of what they should do like; attend lectures, write essays, read books and also what the university would do like provide guidance etc. The curious thing for me was that they were going to do it after the student had failed. In schools we are now doing this before students fail in ordwer to prevent them from failing. But there are again very clear parallels with the developing culture in schools. A few days earlier I had been working with a group of secondary schools dicussing how interventions, coaching, mentoring and picking students up from home to get them into the exam on time is making a difference. These schools no longer acknowledged student failure and provided CPD to do better next year but they took personal and responsibility for intervening with every student at risk of failing and took action this week and next week and every other week if necessary. Again every child is really begining to matter.
It was interesting to hear of recent innovations in the university to improve the learning experience for students by listening to students in seminars and consultations to review the experience from the student's perspective. Curious that the previous evening I had been with a primary school's governing body looking at the process of appointing a new headteacher and we noted how many adverts included quotes from infant children saying what they wanted in their new headteacher. Is ECM genuinely changing from an ernest slogan into an all embracing new mind set in which the children's (student's) voice is actually begining to change practice in all phases of education?
Another intriguing, and new idea for the university, was the notion that if students fail a module, rather than engage in a sequence of resits, they should be invited to agree and sign a 'learning contract'. This would define expectations of what they should do like; attend lectures, write essays, read books and also what the university would do like provide guidance etc. The curious thing for me was that they were going to do it after the student had failed. In schools we are now doing this before students fail in ordwer to prevent them from failing. But there are again very clear parallels with the developing culture in schools. A few days earlier I had been working with a group of secondary schools dicussing how interventions, coaching, mentoring and picking students up from home to get them into the exam on time is making a difference. These schools no longer acknowledged student failure and provided CPD to do better next year but they took personal and responsibility for intervening with every student at risk of failing and took action this week and next week and every other week if necessary. Again every child is really begining to matter.
Sunday, May 10, 2009
FFT, Myths and Reality
There are many misconceptions about FFT data. The most prevalent myth is that somehow FFT takes performance in English Maths and Science and through some obscure psychometric testing uses this to predict aptitude in Art. In fact this is not true. FFT only uses SATs data to identify pupils with similar starting points and then produces a profile of how this group performed in their art exams. Having identified the performance of the group it then estimates the probability of children with the same starting point achieving different grades. Essentially its a sum, an estimate, a statistical possibility. Its not a target or a prediction.
A few advisers have been developing a working paper to try to explain the nature and role of FFT in target setting in art. This can be found at www.FFTart.wikispaces.com This provides explanation and some recommendations that may be helpful.
A few advisers have been developing a working paper to try to explain the nature and role of FFT in target setting in art. This can be found at www.FFTart.wikispaces.com This provides explanation and some recommendations that may be helpful.
Wednesday, May 06, 2009
New Media New Ideas
I spent a day with artists and KS3 students at Chalfonts Community College recently. This was during their regular off-timetable creativity/enrichment days. A key feature of the event was that these artists were mainly working in new media. There were filmakers, sound engineers, flash software animators, artists using digital images and even some using traditional crafts. This was an intensive two day experience. At the end of the day work was shared and most children had completed the task - made and edited the film, created the animation, recorded the radio jingle.
Some of these were full of the natural and naive humour of youth, others were more predictable. However, the main point is that the children and teachers were all gaining first hand and intensive experience of using new media: making and editing film and sound. These are new experiences and skills. It will be interesting to see how they will be developed in the next few years. Perhaps in three years time the geography homework will be to make a radio broadcast about traffic in the town centre rather than conduct the survey and write it up.
In addition to drawing down expereince of new media into the heart of Key Stage 3 and begining to develop a critical mass of users - both students and teachers - there is another model being developed here.
Every term the curriculum in KS3 is collapsed for one or two days and this provides an opportunity for students to work with greater intensity than normal. It also provides an opportunity to work with other professionals AOTs (adults other than teachers as they were once called). This is intriguing because it is embedded in the regular curriculum and sustainable by the AOTs because it involves focussed work for only one or two days. It is not possible to sustain this engagement by following the traditional school timetable of an hour a week. So this is a significant model.
Some of these were full of the natural and naive humour of youth, others were more predictable. However, the main point is that the children and teachers were all gaining first hand and intensive experience of using new media: making and editing film and sound. These are new experiences and skills. It will be interesting to see how they will be developed in the next few years. Perhaps in three years time the geography homework will be to make a radio broadcast about traffic in the town centre rather than conduct the survey and write it up.
In addition to drawing down expereince of new media into the heart of Key Stage 3 and begining to develop a critical mass of users - both students and teachers - there is another model being developed here.
Every term the curriculum in KS3 is collapsed for one or two days and this provides an opportunity for students to work with greater intensity than normal. It also provides an opportunity to work with other professionals AOTs (adults other than teachers as they were once called). This is intriguing because it is embedded in the regular curriculum and sustainable by the AOTs because it involves focussed work for only one or two days. It is not possible to sustain this engagement by following the traditional school timetable of an hour a week. So this is a significant model.
Monday, March 16, 2009
Virtually teaching
I am so impressed by this course from Chalfonts Community College about designing computer games. It involved children in KS3, KS4, KS5 and some teachers. It was delivered on Thursday evenings at 7.30pm and access was from home via the internet using Adobe Connect (web conferencing software - free to Bucks Schools). The course was delivered by Roxana Hadad talking from Chicago. At the sessions Roxana brought in professional games designers from different parts of the USA.
Have a look at this session with Gary Rozenweig a designer of flash games, a company director and author of books on computer games. Gary is talking from Denver and using a simple web cam.
Here is a link to another session. The guest for this session is Gregory Trefry from New York. He is a senior games designer and shares some of his work and ideas about games and games design. This includes concepts of street games.
You will see that throughout the sessions the students are using text messaging to talk to each other and the teachers on the course. So interaction on a vareity of levels across the atlantic and the USA. The course was set up by Greg Hodgson (Chalfonts CC) and Roxana mainly using Skype which was convenient and free.
There are so many significant feature of this project. It demonstrates something that Greg and I have been talking about for some years. This provides some of the answers to our questions. Is it possible and what does it mean to use the web to have teaching/learning partners who are not teachers and may be in other parts of the world? Does it work - well yes it does. Is it expensive and dependent on high levels of technology? No it isnt. Can you develop an online course and deliver it outside the confines of the school building and timetable? Yes you can. I guess these courses show that the technology is freely available and works, the issues now are really all to do with the pedagogy. Web conferencing is no longer new but what does it mean for our schools, teachers and students to make the best use of it. Many questions still to be answered but this must be a glimpse of, at least part of, the future.
Technorati Tags: education, it, innovation
Have a look at this session with Gary Rozenweig a designer of flash games, a company director and author of books on computer games. Gary is talking from Denver and using a simple web cam.
Here is a link to another session. The guest for this session is Gregory Trefry from New York. He is a senior games designer and shares some of his work and ideas about games and games design. This includes concepts of street games.
You will see that throughout the sessions the students are using text messaging to talk to each other and the teachers on the course. So interaction on a vareity of levels across the atlantic and the USA. The course was set up by Greg Hodgson (Chalfonts CC) and Roxana mainly using Skype which was convenient and free.
There are so many significant feature of this project. It demonstrates something that Greg and I have been talking about for some years. This provides some of the answers to our questions. Is it possible and what does it mean to use the web to have teaching/learning partners who are not teachers and may be in other parts of the world? Does it work - well yes it does. Is it expensive and dependent on high levels of technology? No it isnt. Can you develop an online course and deliver it outside the confines of the school building and timetable? Yes you can. I guess these courses show that the technology is freely available and works, the issues now are really all to do with the pedagogy. Web conferencing is no longer new but what does it mean for our schools, teachers and students to make the best use of it. Many questions still to be answered but this must be a glimpse of, at least part of, the future.
Technorati Tags: education, it, innovation
Thursday, February 26, 2009
Artist in Residence at Aylesbury County Museum
In April and May Ros Asquith will be artist in residence at Aykesbury Museum. Ros is a cartoonist, writer and illustrator. Her cartoons appear in the Guardian twice a week. During the residency there will be open studios on Monday and Tuesday afternoons from 1.30pm to 4pm. Schools may find this really useful in supporting the development of creativity and drawing.
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