hong kong - schoolsonline | creating opportunity · pdf file · 2015-07-13amy...

HONG KONG

About the British Council Creative Education Programme

About the Art

About the Teacher Resource Pack About the Activity Aims and Objectives

Silas Fong - Upon the Escalator Activity One: Using Video to Promote Personal Responses Activity Two: Using Video to Prompt Personal Responses

Activity Three: Using Video to Prompt Descriptive Writing

Wilson Shieh - Five Tallest Buildings in Hong Kong Activity One: Using Art to Prompt Descriptive WritingActivity Two: Using Art to Promote Personal Response Activity Three: Using Art as a Prompt for Creative Writing and a Discursive Essay

Fiona Wong Lai Ching - Crux QuadrataActivity One: Using Artwork to Develop Observation, Thinking and EvaluationActivity Two: Using Artwork to Make Interpretations Activity Three: Comparing and Contrasting

Amy Cheung Wan Man - Down the Rabbit Hole, ‘TAXI’ says Alice Activity One: Using Artwork to Develop Personal Responses

Activity Two: Exploring Character and Responding to Artwork through DramaActivity Three: Using Artwork for Writing Skills

Chow Chun Fai - Reproducing “Infernal Affairs”: I want my Identity Back Activity One: Developing InterpretationActivity Two: Making Connections and Creating KnowledgeActivity Three: Using Visual Art to Focus on Character and Prompt Personal Responses

Adrian Wong Ho Yin - Kasper Hauser, Ramachandra and Natascha, the Dog Girl of ChitaActivity One: Comparing First ImpressionsActivity Two: Using Art to Develop Character PerspectiveActivity Three: From Visual Art to Drama

Gallery WalkDeveloping Personal Responses

About the Prudential Eye Programme

Acknowledgements and Copyright

Image Gallery

CONTENTS

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Appendix Outside Main Pack

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The British Council creates international opportunities for the people of the UK and other countries and builds trust between them worldwide. We are a charity, established as the UK’s inter-national organisation for educational opportunities and cultural relations and are delighted to be the creative education partner for the Prudential

Eye Programme.

The 2015 Creative Education programme engages

teachers, and students, in a range of interactive and

ABOUT THE BRITISH COUNCILCREATIVE EDUCATION PROGRAMME

“This programme brings together the British Council’s skills and expertise across Education and

Arts. For nearly 80 years we have helped people from all over the globe to learn and have been

connecting Artists and Institutions to expand their practice and widen the conversation with

their audiences. With the modern world putting more and more emphasis on entrepreneurialism,

creativity and innovation, we believe we can respond to this, through utilising the Arts to support

and encourage young people to nurture these 21st Century skills.”

- Katelijn Verstraete, Regional Director Arts, British Council

Artist Forum, Singapore, January 2015

thought provoking activities including workshops,

resource packs, training, artist forums/dialogues

and special events. The programme promotes

creativity through art and English. Using the UK’s

extensive experience in creative education and

selected, age-appropriate works from the Prudential

Eye Programme and British Council Collection,

we aim to produce a resource that will have a long-

term legacy for students and teachers.

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The 2015 programme uses a range of works of art from the Prudential Eye Programme, including the Hong Kong Eye exhibition that was held in 2013, and the British Council Collection, to offer a truly international flavour.

The Prudential Eye Programme, curated by Parallel Contemporary Art in collaboration with Saatchi Gallery, offers a global platform for contemporary Asian artists through exhibitions and books:http://www.prudentialeye.com/

ABOUT THE ART

Since 1935 the British Council has been collecting works of British art to promote the achievements of the UK’s best artists and generate a wider knowledge and appreciation of British art overseas. The Collection – which began with a modest group of works on paper - has now grown to more than 9000 artworks and includes painting, prints, drawings, photographs, sculptures and installations. The Collection has no permanent gallery and has been referred to as a ‘Museum Without Walls’: http://visualarts.britishcouncil.org/

British Council Banner 2012, Ed Hall,Cotton drill, Fabric paint, 194 x 358cm,

British Council Collection, © Ed Hall

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This Teacher Resource Pack has been designed and developed by the British Council, as part of the Creative Education programme, in association with the Prudential Eye Programme. The Pack uses art as a trigger for the development of 21st century skills, rich language and creative thinking. The activities are designed to be interactive and to generate responses from pupils and are aligned with the most recent curriculum objectives.

Remember that:•Thereisnorightorwronganswertotheactivities–theobjectiveistoencourage students to think beyond their usual boundaries, to question and to be creative!

•Artworks have been selected because they are likely to interest and challenge your students. The materials are designed to be adaptable, however, and once you have completed an activity with your students, you may wish to repeat the exercise using a different artwork – see how this changes the students’ responses and their engagement with the piece.

•The imagesaredesigned tobeviewed in theiroriginalcolour/black&white style togive them the intended depth and structure; please try to reproduce your classroom materials as closely as possible to the original, or use a LCD projector/visualiser, so that your students are able to appreciate and understand the works as intended by the artist, and in as much detail as possible.

•Wherepossible, providing,multiple copiesof the image for pairs of students to sharewill be advantageous for many of the activities.

•Unless otherwise suggested in the Activity notes, always allow sufficient silent time for close observation, at least 2-3 minutes, before any talk or discussion

The Pack includes activities appropriate for an age range of 13 years old to adults, designed to stimulate a range of skills including viewing, visual literacy, speaking, writing, reading and role-playing. The activities can be used as a starting point for individual lessons, to trigger interactive and creative thinking and responses, or as a series of interrelated activities within a longer, structured educational programme.

ABOUT THE TEACHER RESOURCE PACK

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ABOUT THE ACTIVITY AIMS AND OBJECTIVES

All activities are designed to complement the Visual Arts and English Language Curriculum objectives. Listening, reading and reviewing are receptive skills required for the making of meaning from ideas or information. Speaking, writing and representing are production skills that enable the creation of meaning. Each activity supports the development of the receptive and productive skills belonging to Literacy Development.

The list below gives the overall objective of each of the Literacy Development Categories.

Activity Aims and Objectives – Visual Literacy and Language Learning

The students will learn:

Listening and Viewing•Useappropriateskillsandstrategiestoprocessmeaningfromvisualforms

•Useappropriateskillsandstrategiestoevaluatevisualforms

Reading and Viewing•Processandcomprehendageappropriatevisualformsthroughanalysisand contextual knowledge

•Applycriticalreadingandviewingbyfocusingonimpliedmeaning,higherorderthinking, judgement and evaluation

Speaking and Representing•Planandpresentinformationandideasforavarietyofpurposes

•Useappropriateskills,strategiesandlanguagetoconveyandconstructmeaning during interactions

Writing and Representing•Planandproducecoherentandstructuredtextwithideaseffectivelypresentedand developed for different contexts, audiences, and purposes with relevant content and adequate supporting detail

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SILAS FONG (Hong Kong)

Artist BiographyBorn 1985 in Hong Kong, Silas Fong received his MFA from the Chinese University of Hong Kong in 2012, after graduating with a BA from the Academy

Silas Fong, Upon the Escalator, 2009, Projection, 43 min

Courtesy of the artist

of Visual Arts at Hong Kong Baptist University in 2008. His video, installation and new media works have been shown in exhibitions and screenings in Asia and Europe, including his award-winning Stolen times for sale (2009) that featured in the 2010 Liverpool Biennial after winning the Gold Award in the Interactive Media Category of the 14th Hong Kong Independent Short Film and Video Awards in 2009. He received the Young Artist Award from the 2009 Hong Kong Contemporary Art Biennial, was named one of Asia’s leading design talents in 2010 in Perspective Magazine’s annual ‘40 under 40’ feature, and has been invited to participate in various international residencies. http://hongkongeye.co/en/artist- and-artworks

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Stage One Target Literacy Learning: Listening/Reading and Viewing Speaking/Writing and RepresentingRequired Learning Materials: Image of Upon The Escalator, chart paper, markersNote: This is a still image from a video which is available for public viewing - https://www.youtube.com/watch?v=p9EJ4ZWVTrM

•DistributetheimageofUpon The Escalator or project using a visualiser.

•Afterviewingtheimage,askstudentstogatheringroupsoffour.

•Eachgroupshouldnowcreateamindmaponchartpaper,generatingasmanywordsascome to mind when they view the image.

•Writethephotographcaptionatthetopofthemindmap.

•Eachgroupshoulddecideonasong,apoem,astory,orafilmthatcomestomindwhenviewing the image and write the title under the mindmap.

•Displaythecompletedmindmapsandgivestudentsachancetovisitallthecreatedmindmaps.

Stage TwoTarget Literacy Learning: Speaking/Writing and RepresentingRequired Learning Materials: Student mindmaps, visualiser, A4 paper, markers

•Studentsworkinpairs.Giveeachpairofstudentstwocompletedmindmapsfromother students. Give them a few minutes to read the mindmaps.

•Studentsworktogethertomakedrawingsofwhattheyvisualiseafterhavinglookedat the mindmaps.

•Theythendisplaytheirdrawingsonthewall.Studentsthenwalkroundtheroomandattemptto identify which drawings are representations of their mindmaps.

ACTIVITY ONEUsing Video to Promote Personal ResponsesSilas Fong: Upon The Escalator

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Target Literacy Learning: Listening/Reading and Viewing Speaking and RepresentingRequired Learning Materials: Image of Upon The Escalator

•ShowthestudentstheimageofUpon the Escalator

•Askstudentstoconsidertheimageforafewminutesandchooseoneofthepeopleintheimage.

•Askthefollowingquestions:“Whoiss/he?Whyiss/heontheescalator?Whatwouldyouliketo knowabouther/him?”

•Pairstudentsandinstructeachpairtocreatesixinterviewquestionstoasktheirchosenpeople.

•Eachpairwillshareandcomparetheirsetofinterviewquestionswithanotherpair.

•Asktheclassforvolunteerstorole-playoneofthepeopleinthevideo(donotexcludethepossibility of male students playing the role of a woman and vice versa).

•Selectanothervolunteertorole-playtheinterviewerusingoneofthestudents’setsofquestions (Teacher’s choice).

•Aftertheinterview,askstudentshowconvincingtheintervieweewasinrespondingtothequestions? Wereyousurprisedbytheresponses?Whyorwhynot?

ACTIVITY TWO

Using Video to Promote Personal ResponsesSilas Fong: Upon The Escalator

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ACTIVITY THREE

Using Video to Prompt Descriptive WritingSilas Fong: Upon The Escalator

Target Literacy Learning: Listening/Reading and Viewing Speaking/Writing and RepresentingRequired Learning Materials: Image of Upon The Escalator; selected literature passage (Teacher’s choice)

•Selectapassagefromliteraturethatfocusesoncharacterdescription.(Useapassagefrom a selected work the students are presently studying or have studied in the past).

•Reviewthecomponentsofthenarrativewithyourstudents.

•Askthestudentstovisualiseasyoureadthepassage.

•Askthestudentstochoosea“talkpartner”anddiscusshowsuccessfultheauthorhasbeenat being descriptive.

•Openthediscussiontotheclassforstudentstoshare.

•DistributecopiesoftheimageofUpon The Escalator by Silas Fong or project using a visualiser.

•Instructstudentsthattheyaretowriteadescriptiveparagraphdescribingoneofthepeopleas s/he is on the escalator. Use these question prompts to support the planning stage of the students’ writing:“Whatdoess/helooklike?Whatiss/hethinking?Whatiss/hefeeling?Howaretheothers ontheescalatorviewinghim/her?Howwouldtheperspectivebedifferentifyourdescriptionwas writteninfirstpersonasopposedtothirdperson?”

•Inasubsequentclassaskthestudentstosharetheirdescriptiveparagraphsingroupsoffour.

•Askthethreegroupmemberswhoarelisteningtosupportthereaderwithconstructive comments (e.g.: I was able to visualise the person on the escalator well; Tell me more about whatyoumeant;Ilikethewordsyouchose;Whydidyouchoosethem?etc.)

Extension Activity: Descriptive Writing•Askthestudentstowriteamagazinearticleabouttheirchosenperson.

•Promptthewritingplanwiththefollowingquestions: -Whoistheperson? -Whathass/hedonetohaveanarticlewrittenaboutthem?

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WILSON SHIEH (Hong Kong)

Wilson Shieh, Five Tallest Buildings in Hong Kong, 2011, Ink and gouache on silk, 90 x 115cm


Artist BiographyBorn in Hong Kong in 1970, Wilson Shieh received aB.A.degree(fineartsmajor)andaM.F.A.degreefrom The Chinese University of Hong Kong in 1994

and 2001 respectively. He set up his studio in Fotan industrial district of Hong Kong in 2008. He started his artistic practice in Chinese gong-bi (meticulous fine-line) style figure painting, with contents ofsexuality, role play, costume play and cultural symbols presented in a contemporary approach. Oneoftheiconicseriesisthe“Architecturedresses”in which ladies dressed up in costumes symbolise skyscrapers in modern big cities. In recent years, he expands his art form in other media such as printmaking, acrylic painting, drawing and collage, transforming his painting practice into live projects and installation.http://hongkongeye.co/en/artist- and-artworks

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FAY GODWIN (UK)

Artist BiographyFay Godwin was born in Berlin and spent the early part of her life abroad, travelling with diplomatic parents. She did not take up photography until the mid 1960s when she started to make pictures of her children, and she was largely self-taught, having mastered the rudiments of developing and printing beforeshemetherfirst‘teacher’,thephotographerEuan Duff. Her inclusion in Bill Brandt’s important

Fay Godwin, Large Cloud, Near Bilsington, 1981, Silver Print, 28 x 28cm,

British Council Collection© The British Library Board FG3017-1

survey of landscape photography The Land (Victoria and Albert Museum, London 1976) established her reputation. The work that cemented this began on a holiday in the Lake District following the walks described in Alfred Wainwright’s guides. http://collection.britishcouncil.org/collection/artists/fay-godwin-1931/initial/g

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Stage One Target Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: A4 paper, markers, colouring pencils Note: Do not show the image of Five Tallest Buildings in Hong Kong until Stage Two

•Askyourstudentstoclosetheireyesandthinkabouttheirneighbourhood.Guidetheir thinking with the following questions: -Whatdoyousee?People?Animals?Plants? -Whatdoyouhear? -Whatdoyousmell? -Whatistheweatherlike? -Howdoesitmakeyoufeel?

•Afterafewminutesofquietreflection,askthestudentstosharetheiranswerswithapartner/ small group.

•Then,askthestudentstoillustratetheirneighbourhoodonA4paper.

•Whenillustrationsarefinished,askthestudentstosharetheirpictureswithasmallgroup explaining what they have drawn and why.

Stage TwoTarget Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Image of Five Tallest Buildings in Hong Kong and illustrations from Stage One

•ShowstudentstheimageofFive Tallest Buildings in Hong Kong and ask them to compare it with their drawings from Stage One, working in small groups/pairs.

•Duringthesmallgroupdiscussion,askthefollowingquestionstoguidetheirthinking: -WhatarethesimilaritiesbetweenyourillustrationandtheonebyWilsonShieh? -Whatarethedifferences?

•Gooverthefeaturesofdescriptivewritingwithyourstudents.

•StudentsshouldimaginethemselvesinthecitydepictedinFive Tallest Buildings in Hong Kong; ask them to describe what a typical day would be like living in one of the buildings.

ACTIVITY ONE

Using Art to Prompt Descriptive Writing Wilson Shieh: Five Tallest Buildings in Hong Kong

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Target Literacy Learning: Listening/Reading and Viewing Speaking/Writing and RepresentingRequired Learning Materials: Image of Five Tallest Buildings in Hong Kong

Stage One •AskthestudentstolookattheimageofFive Tallest Buildings in Hong Kong and ask the question“Howdoesthisillustrationmakeyoufeel?Writethreewordsthatdescribeyourfeelings.”

•Askthestudentstosharetheirwordswithasmallgroupandexplainwhytheychosethose words.

Stage Two •Explaintostudentsthattheyaregoingtodoanactivitycalled“HumanStatues”.Insmallgroups theymustusetheirbodiestocreateeitheroneofthefollowing“scenes”: - Recreate the city of Hong Kong. This could be the physical landscape or a representation of how the city makes you feel. - Pretend you are people living in this city. (Additional prompt: pretend you are a person peeringintoawindowofahome/officebuilding/restaurant,etc.Whatdoyousee?)

Stage Three •Askthestudentstosharetheir“HumanStatues”eitherinpairsofgroupsthatrotate,oronegroup infrontoftheclass.Explainthat,oncethe“HumanStatutes”areinposition,membersoftheother group/class can tap individuals in the statue and ask them to explain what they are doing (e.g.:explanation:“Irepresent….;Iam…;Toshow…”) Note: remember to ask the students if they are happy to be “tapped” by their classmates during this activity.

Stage Four •Haveasmallgroup/classdiscussionbasedonthefollowingquestion:“Didothergroups’ “HumanStatues”interpretationoftheillustrationchangeyouropinionoftheartwork?How?”

ACTIVITY TWO

Using Art to Promote Personal Response Wilson Shieh: Five Tallest Buildings in Hong Kong

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Target Literacy Learning: Listening/Reading and Viewing Speaking/Writing and RepresentingRequired Learning Materials: Images of Five Tallest Buildings in Hong Kong and Large Cloud, Near Bilsington

Stage One •ShowstudentstheimageFive Tallest Buildings in Hong Kong and ask the following questions, tobeansweredfirstindividuallyandthensharedingroups: -Writedownthreewordsthatdescribethingsyouseeintheimage? -Whatdoesthisworkremindyouof/makeyouthinkof?

Stage Two •NowshowstudentstheimageLarge Cloud, Near Bilsington. Ask the same discussion questions from Stage One.

Stage Three •Showstudentsthesample“diamante”poemandaskthemtoidentifythepartsofspeechof each of the words in the poem (see sample on next page). Then ask the following question: “Whatdoyounoticeaboutthetwohalvesofthepoem?”(Answer:theyarecomparing two things).

•Askthestudentstowritetheirowndiamantepoemscomparingthetwopiecesofartwork. OnehalfofthepoemshouldreflectFive Tallest Buildings in Hong Kong, the other Large Cloud, Near Bilsington.

Stage Four (optional)•Gooverthefeaturesofdiscursiveessaysandaskthestudentstowriteapieceansweringeither of the following questions: -“Lonelinessfrequentlyoccursinheavilypopulatedcities;inthesecitiesmanypeoplefeel utterly alone and cut off, even when surrounded by millions of other people, experiencing a lossofidentifiablecommunityinananonymouscrowd.”Doyouagreeordisagree? -Isexcessiveconsumerismasymptomofloneliness?

ACTIVITY THREE

Using Art as a Prompt for Creative Writing and a Discursive Essay Wilson Shieh: Five Tallest Buildings in Hong KongFay Goodwin: ‘Large Cloud, Near Bilsington’

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Subject One

Adjective (about subject 1), adjective (about subject 1)

Gerund (about subject 1), gerund (about subject 1), gerund (about subject 1)

Noun (subject 1), noun (subject 1), noun (subject 2), noun (subject 2)

Gerund (about subject 2), gerund (about subject 2), gerund (about subject 2)

Adjective (about subject 2), adjective (about subject 2)

Subject Two

citycrowded, polluted

rushing, shopping, pushingbuilding, people, field, cloudrelaxing, strolling, thinking

peaceful, greencountryside

ACTIVITY THREE (STAGE THREE)Five Tallest Buildings in Hong Kong RESOURCES - Worksheet

Diamante Poem Template

Diamante Poem Sample

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FIONA WONG LAI CHING (Hong Kong)

Fiona Wong Lai Ching, Crux Quadrata, 2004,Terracotta, 35 x 35 x 7cm

Courtesy of artist and Evelyna Yee Woo Kan

Artist BiographyBorn 1964 in Hong Kong, Fiona Wong studied in the UK and gained a BA and MFA from the Chinese University of Hong Kong. She is an independent artist and currently lectures in Sculpture at the Hong Kong ArtCentre.Herhand-madeandfiredterracottaworks

have been presented in solo shows in Hong Kong and also featured in Porcelain White at Chelsmore Apartment in New York in 2000. She has also participated in exhibitions in the Chinese Museum in Melbourne, Australia; Harewood House in Leeds, UK; Musée de la céramique at Château de Vallauris in France; East-West Centre Gallery in Honolulu, the Icheon World Ceramic Center in South Korea; the Taipei County Yingko Ceramics Museum in Taiwan and the Ariana Museum in Geneva, Switzerland. She received the Starr Foundation Fellowship through the Asian Cultural Council in 2000. Her works are in numerous public collections including the Hong Kong Museum of Art, Hong Kong Heritage Museum and The Opposite House, Swire Hotels, Beijing.http://hongkongeye.co/en/artist- and-artworks

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RICHARD LONG (UK)

Artist BiographyFor almost four decades Richard Long has made nature the subject of his work. He has said that his sympathiesareclose tobothArtePovera, “simple,modest means and procedures,” and ConceptualArt,“theimportanceofideas.”Almostfromtheoutsetof his career, Long began working out of doors and using natural materials like grass and water: an early work from 1964 consisted of a snowball and

Richard Long, Sahara Line, 1988, Colour photograph, 114 x 83.5cm,

British Council Collection© Richard Long. All Rights Reserved, DACS 2015

the track it made when rolled. This in turn evolved into the idea of making sculpture simply by walking. http://collection.britishcouncil.org/collection/artists/richard-long-1945/initial/l

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Stage One: ObservationTarget Literacy Learning: Listening and ViewingRequired Learning Materials: Image of Crux Quadrata, chart paper, markers, visualiser

•ProjecttheImageofCrux Quadrata using the visualiser and invite students to study the sculpture.

•Askthestudentstomakeobservationsaboutthesculpture,namingfivethingstheyseeon or within the sculpture.

•Pairstudentsuptosharetheirobservations.

•Bringstudentstogetherandaskeachtonameonethingthathis/herpartnerobserved that was different from their own observations.

•Makeaclasslistofobservationsduringthesharingtime.

Stage Two: ThinkingTarget Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Image of Crux Quadrata, visualiser

•ProjecttheImageofCrux Quadrata using the visualiser.

•Preparestudentstobuilduppossibleinterpretationsofthesculptureratherthannamingit, by using these suggested questions: -Whatisyourfirstimpressionofthissculpture? -Whatdoesthisworkremindyouof? -Whatgrabsyourattentioninthisworkofart? -Whydoyouthinktheartistcreatedthiswork? -Istheartistmakinganyparticularstatementthroughthisartwork? -Howdoesthisartworkshoworiginalityorimagination? -Howmightdifferentaudiencesviewthiswork?(e.g.;teens,adults) -Whatotherquestionsdoyouhaveaboutthisartwork?

•Askthestudentstorespondtothequestions,andextendtheirthinkingbyasking“Whatdoyou seethatmakesyousaythat?”

ACTIVITY ONE

Using Artwork to Develop Observation, Thinking and EvaluationFiona Wong Lai Ching: Crux Quadrata

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Stage Three: EvaluatingTarget Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Image of Crux Quadrata, visualiser

•Placethefollowingstatementontheboard:“ThesculptureCrux Quadrata is an important pieceofwork,representingourculturalvalues.”

•Askthestudentstotakeastand,fororagainstthestatement.

•Organisestudentsingroupsoffourandaskthemtoparticipateinadebate.

•FollowthedebateformatofAffirmativevsNegative.Encourageallgroupmembersto say at least one thing. An argument is introduced with one supporting opinion/fact bytheAffirmativeside.TheNegativesiderespondswithasupportingopinion/fact. Each side presents three opinions or facts in this way and then the fourth member of the group summarises the arguments made by his or her respective side. Limit the debate to 15 minutes.

•Afterthedebate,askthestudentstoevaluatewhethertheirpointofviewhasshiftedfromtheir initialresponsetothestatement.Askthestudentstoconsideriftheywereinfluencedby thedifferentperspectivesthatwerepresentedbytheirclassmatesduringthedebate?

•Askthestudentstosharetheirreflectionsinaplenarysession.

ACTIVITY ONE - Continued

Using Artwork to Develop Observation, Thinking and EvaluationFiona Wong Lai Ching: Crux Quadrata

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ACTIVITY TWO

Using Artwork to Make Interpretations Fiona Wong Lai Ching: Crux Quadrata

Stage One: Set upTarget Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Image of Crux Quadrata

•Askthestudentsiftheyhaveanythingpersonallyorintheirfamilythatisofgreatvaluetothem because it is old or from another generation.

•Inplenary,askthestudentstosharetheirresponses.Electonestudenttobeclassscribeand to record the different items that are shared during the discussion.

•Reviewthelist.Askthestudents,“Whydoweplacegreatvalueonobjectsthatareconsidered to beold.”

•Placestudentsingroupsoffour.Askthestudentstoreflectuponanddiscussthequestion.

•After10minutes,askthestudentstoelectonememberofthegrouptosummarisewhatthe group has discussed.

•ProjecttheimageCrux Quadrata. Ask the students to study the image for two minutes. After viewing, conduct a class discussion based on these suggested questions: -Whatisyourfirstimpressionofthissculpture?Shareyourthoughts. -Isthisobjectold?Whyorwhynot?

Stage Two: Thinking Critically: Making MeaningTarget Literacy Learning: Reading and Viewing Speaking and Representing Writing and Representing Required Learning Materials: Image of Crux Quadrata, Making Meaning worksheet

•ProjecttheimageofCrux Quadrata. Ask students to work in groups of three and recall the discussion in Stage One about the value of old objects. Ask students to integrate all the ideas they have considered thus far and circulate among the groups as they discuss these questions (allow about ten minutes): -Whydoyouthinkthevisualartistcreatedthiswork? -Whatistheartisttryingtocommunicateandwhy?

•Distributecopiesoftheworksheet,MakingMeaning.Studentscompletetheworksheet individually as a record of how they arrived at their own meaning and interpretation of the artwork, using the knowledge they created through the group discussion.

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ACTIVITY TWO - Continued

Using Artwork to Make Interpretations Fiona Wong Lai Ching: Crux Quadrata

Stage Three: Creating and EvaluatingTarget Literacy Learning: Viewing, Speaking and Representing Required Learning Materials: Image of Crux Quadrata, notebooks, coloured crayons, markers

•AskstudentstorecallthediscussionfromStageOneandsummarisethekeypoints.

•ProjectimageofCrux Quadrata. After a brief viewing, ask the students if the image reminds them ofacommonsymbol?Whatdoesitrepresent?

•Informthestudentsthattheywillnowthinkofasymbolthatisimportanttothemandmakea drawing of their chosen symbol using coloured crayons an/or markers.

•Studentsdisplaytheirartworksonthewall.Encouragestudentstowalkaroundtheroomand evaluate others’ symbols.

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MAKING MEANING - Worksheet

Artwork: Crux Quadrata

Artist: Fiona Wong Lai Ching

These are my initial impressions of the artwork.

These are my changing impressions of the artwork - how my thoughts and feelings about the artwork changedsincemyfirstimpression.

I like /do not like this sculpture because. . .

Doyouthinkthisisanimportantwork?Doesitsayanythingaboutourculturalvalues?

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Target Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Images of Crux Quadrata and Sahara Line and a visualiser

•Begintheactivitybyaskingstudents“Whatmakesanartworkasculptureandnotanotherart form,likeapainting?” (Note: You are not expecting a technical answer, but only trying to see what experiences the students have had with sculpture as an art form.)

•Projectthetwoimages(Crux Quadrata, Sahara Line)andgivestudentssufficientviewingtime.

•Placestudentsingroupsoftwoandaskthemtoreflectuponthesequestions: -Wheredowefindworksofart? -Whatsimilaritiesdoyouseeintheimages? -Whatdifferencesdoyouseeintheimages? - Could the image Sahara Linebeaphotographofoneormoresculptures? - If you agree, describe what sculptures you see in the image. How are the images within the photographdepictingman-madeornaturalsculptures? -Ifyoudisagree,explainwhy?

•Usingthefollowingquestion,askthestudentstoreflectuponthisquestioninaplenarysession: “Didyour point of view about art and sculpture change from your initial response. How did it change?Why?”

ACTIVITY THREE

Comparing and ContrastingFiona Wong Lai Ching: Crux Quadrata Richard Long: Sahara Line

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AMY CHEUNG WAN MAN (Hong Kong)

Amy Cheung Wan Man, Down the Rabbit Hole, ‘TAXI’ says Alice, 2004, Wood, metal, plastic, wheels and mirror, 450 x 150 x 170cm


Artist BiographyBorn in Hong Kong, Amy Cheung gained a BA in History of Art and Fine Art from Goldsmith’s College in London and an MFA in Mixed Media from the

Slade School of Fine Art, London. She has created numerous interventions and public art projects across the world including the Studio Air - Helsinki 2000 European City of Culture Program and the Kaohsiung Museum of Fine Arts, International Container Arts Festival in Taiwan. Cheung was chosen as Becks’ New Contemporaries in 1997 and the UNESCO Aschberg Laureate in 2004. She has participated in artist-in-residencies in Australia and Europe and most recently in New York under an Asian Cultural Council Fellowship. Cheung represented Hong Kong with two other artists in The Devil’s Advocate: A Song and a Landscape show in the 52nd Venice Biennale.http://hongkongeye.co/en/artist- and-artworks

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Stage OneTarget Literacy Learning: Reading and ViewingRequired Learning Materials: Image of Down the Rabbit Hole, ‘TAXI’ says Alice

•DistributecopiesoftheimageDown the Rabbit Hole, ‘TAXI’ says Alice or project a web version or use a visualiser

•Askthestudentstothinkofthreewordsthatcometomindwhenviewingthephotograph. Share those words with a partner, giving an explanation for the chosen words.

•Continueviewingtheimagefortwominutesandthenaskthefollowingquestions? -Whatisdocumentedbythephotograph? -Whatdoyouthinkhappened? -Doyouthinkthisisarealeventorhasthephotographbeenstagedbytheartist?

Stage TwoTarget Literacy Learning: Reading and ViewingRequired Learning Materials: Image of Down the Rabbit Hole, ‘TAXI’ says Alice, Photo Analysis worksheet

•Givestudentstwominutestostudythephotographindependently.

•Askthemtoformanoverallimpressionofthephotographandrecordtheirimpressionson the Photograph Analysis worksheet (section A, Initial Observation).

•Whentheworksheethasbeencompleted,askthestudentstoformgroupsoffourandshare their responses.

ACTIVITY ONE

Using Artwork to Develop Personal Responses Amy Cheung Wan Man: Down the Rabbit Hole, ‘TAXI’ says Alice

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PHOTOGRAPH ANALYSIS - Worksheet

A. Initial Observation

Study the photograph, Down the Rabbit Hole, ‘TAXI’ says Alice, for two minutes. Form an overall impression ofthephotograph.Whatdoyouseeandfeel?

B. A Closer LookDivide the photograph into quadrants and study each section to see what new details become visible.

People

Quadrant 1

Quadrant 2

Quadrant 3

Quadrant 4

Objects Activities

28

PHOTOGRAPH ANALYSIS - Worksheet

C. Making Inferences

Based on what you have observed above, list three things you might infer from this photograph, with a justificationforyourinference.

Inference Why?

Inference Why?

Inference Why?

29

PHOTOGRAPH ANALYSIS - WorksheetResource: Photograph divided into four quadrants

30

Stage OneTarget Literacy Learning: Reading and ViewingRequired Learning Materials: Image of Down the Rabbit Hole, ‘TAXI’ says Alice, completed Photo Analysis worksheet from Activity One (if Activity One has not been undertaken, complete the worksheet at the start of Activity Two).

•AskthestudentstoreviewthePhotoAnalysisworksheetfromActivityOne.

•Placestudentsinpairs.Assignpairstotheleftorrightsideofthephotograph Down the Rabbit Hole, ‘TAXI’ says Alice, and ask them to examine their section in detail.

•Givethestudentsafewminutestoexaminetheimage.Askthemtothinkaboutthepeoplein the photograph (the person they can see and a person they can not see; e.g. a passenger in the taxi or a friend of the woman in the right half), paying particular attention to dramatic expressions and body language.

•Givestudentsfiveminutesforagroupreflection,consideringthefollowingprompt:“Think aboutthepeopleinyourhalfofthephoto.”Considerphysicalappearance,actions,theirinternal monologues and what they might be saying.

Stage TwoTarget Literacy Learning: Listening and Viewing Speaking and Representing Required Learning Materials: Image of Down the Rabbit Hole, ‘TAXI’ says Alice In their pairs, students will now create a role-play, taking up positions as shown in the photograph and being prepared to act in role for two to three minutes.

•FromtheworkdoneinStageOne,studentsneedtobepreparedtointerpretandexpresstheir character’s emotions and feelings, through body language, movement and dialogue. Students begin the role-play frozen and in position as shown in the photograph. After two or three minutes, the action is stopped, and the actors freeze.

•Thosestudentsviewingtherole-playshouldprovidefeedbacktothegroup,withconstructive comments and by composing and asking three questions of the actors.

ACTIVITY TWO

Exploring Character and Responding to Artwork through DramaAmy Cheung Wan Man: Down the Rabbit Hole, ‘TAXI’ says Alice

31

Target Language Learning: Writing and RepresentingRequired Learning Materials: Image of Down the Rabbit Hole, ‘TAXI’ says Alice, copies of a newspaper article from a local newspaper (Teacher’s choice), computer

•Reviewwiththestudentsthecharacteristicsofanewspaperarticleasatext-type.

•Identifythefeaturesofyourchosennewspaperarticle.

•Askthestudentstobecomenewspaperjournalists.Theyaretoprepareanewspaperarticle about the scene depicted in the photograph.

•Askthestudentsto“publish”theircompletedFactualRecount,includingareproductionofthe image Down the Rabbit Hole, ‘TAXI’ says Alice.

•Inasubsequentclass,arrangestudentsingroupsoffour.Askthestudentstotaketurns reading their completed article to the other group members, in the manner of a radio or television newscaster.

•Askthestudentstocompareeachofthearticles,discussingsimilaritiesanddifferences in style andwhatdetailsoftheincidentwerehighlightedandwhy?

ACTIVITY THREE

Using Artwork for Writing Skills Amy Cheung Wan Man: Down the Rabbit Hole, ‘TAXI’ says Alice

32

CHOW CHUN FAI (Hong Kong)

Chow Chun Fai, Reproducing “Infernal Affairs”: I Want My Identity Back, 2007Acrylic on paper, 10 x 15 x 58cm


Artist BiographyBorn 1980 in Hong Kong, Chow Chun Fai holds a BA in Fine Art and MFA from the Chinese University of Hong Kong. He is known for his paintings of iconic

HongKonglandscapes,taxisandmorerecentlyfilms.His solo exhibitions include Viennafair: Paintings by Chow Chun Fai in Vienna in 2008 and Painting, Grass, Ceiling: Paintings by Chow Chun-Fai at the Hong Kong Arts Centre in 2003. Chow Chun Fai’s group exhibitions span biennials and exhibitions in China, Hong Kong, Munich, Singapore and the UK including Charming Experience at the Hong Kong Museum of Art in 2008, The Pivotal Decade: Hong Kong Art in Manchester, UK and China’s Next Wave in Munich in 2007, the 2003 Hong Kong Biennial and the 2012 Liverpool Biennial in the UK.http://hongkongeye.co/en/artist- and-artworks

33

DAVID SHRIGLEY (UK)

Artist BiographyDavid Shrigley is best known for his drawings and photographs, which make witty observations on mundane situations from everyday life. His works tap into a particularly British sense of humour, including puns, double entendres, sarcasm and pessimism; they are regularly reproduced as greetings cards,

David Shrigley, Please do not return…, 1998,C-Print, 25 x 25cm,

British Council Collection© David Shrigley. Courtesy Stephen Friedman Gallery

T-shirts and badges and are extremely popular around the world. http://collection.britishcouncil.org/collection/artists/shrigley-david-1968/initial/s

34

Stage OneTarget Literacy Learning: Reading and Viewing Speaking and RepresentingRequired Learning Materials: Images of Quadrants 1 and 2 of Reproducing “Infernal Affairs”: I want my Identity Back, visualiser, the Zoom In worksheet

•Explainthatinthisactivity,studentsmustactasdetectivestobuildupmeaningboth individually and collectively.

•Discussthefollowingquestionwithyourstudents:“Whathappenstoourthinking,whenwe onlyknowsomeofthefactsofasituation?”

•AsQuadrant1oftheimageisrevealed,askthestudentstoindividuallycompletetheZoom In worksheet. They will be recording their observations of what they see, and making a hypothesis or interpretation of the image and a prediction on what will come next in the reveal process, based on what they have already seen.

•Repeattheprocess,revealingQuadrant2.Askthestudentstoidentifyanythingnewthatthey see in the image and consider how this new information affects their previous interpretation.

•StoptherevealprocessafterviewingQuadrant2.

ACTIVITY ONE

Developing InterpretationChow Chun Fai: Reproducing “Infernal Affairs”: I want my Identity Back

Before you start, divide the image into quadrants. You will be revealing the painting to your students, using a visualiser, one quadrant at a time. As the quadrants are revealed, give the students a few minutes to view the image before starting each activity.

Reveal the painting quadrants in the following order: 1, 2, 3, 4.

Quadrant 1Quadrant 3

Quadrant 2Quadrant 4

35

Stage TwoTarget Literacy Learning: Speaking and Representing Reading/Listening and ViewingRequired Learning Materials: Images of Quadrant 3 and 4 of Reproducing “Infernal Affairs”: I want my Identity Back, visualiser, the Zoom In worksheet

•AskthestudentstoformgroupsofthreeandsharetheirZoomInworksheetswiththeirgroup members (allow around 15 minutes).

•Continuetheprocessdescribedabove,nowrevealingQuadrants3and4.Askthestudents to identify anything new that they see and consider how this new information affects their previous interpretation. Ask the students to record their individual observations and ideas on the worksheet.

•Askthestudentstoreturntotheirpreviousgroupingsandsharetheirworksheets.

Stage ThreeTarget Literacy Learning: Speaking and RepresentingRequired Learning Materials: Image of Reproducing “Infernal Affairs”: I want my Identity Back, visualiser, completed worksheet

•Bringthestudentsbacktogetherandhaveaclassreflection,guidedbythese suggested questions: -Howdidyourinterpretations/hypotheseschangeovertime? -Howdidseeingmoreoftheimageinfluenceyourthinking? -Whatpartofthepaintingwasmostrichininformationforyou? -Whatpartofthepaintinghadthemostdramaticeffectonyou? -Whatwouldtheaffecthavebeen,iftherevealshadhappenedinadifferentorder?

ACTIVITY ONE - Continued

Developing InterpretationChow Chun Fai: Reproducing “Infernal Affairs”: I want my Identity Back

36

ZOOM IN - Worksheet

Observations What do you see? What do you feel?

Hypothesis / InterpretationWhat is this image

representing?

PredictionWhat do you think will

be revealed in the next quadrant?

Quadrant 1

Quadrant 2

Quadrant 3

Quadrant 4

Title of Artwork:

Name of Artist:

37

Stage OneTarget Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Image of Reproducing “Infernal Affairs”: I want my Identity Back, visualiser, the C-E-C worksheet

•Writethefollowingwordsonthewhiteboard:Connect, Extend, Challenge (C-E-C)

•Explaintostudentsthattheywillbeviewingapaintingthatrequiresthemto“makemeaning”.

•ProjecttheimageReproducing “Infernal Affairs”: I want my Identity Back for students to view.

•Asaclass,askthestudentstoconsiderthefollowingquestionsthatwillguidethemwhen viewing the image: -ReflectinguponthepreviousdiscussioninActivityOne,howaretheideasandinformation presentedinthepaintingconnectedtoyourpriorknowledgeaboutthethemeofthepainting? -Whatnewideascometomind,aswediscussthepainting?

Stage TwoTarget Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Image of Reproducing “Infernal Affairs”: I want my Identity Back, visualiser, the C-E-C worksheet

•ContinuetoviewthepaintingReproducing “Infernal Affairs”: I want my Identity Back. This time studentswillbeaskedtoreflectindividuallyaboutthequestionsposedinStageOne.

•AskthestudentstocompletetheConnectcolumnontheC-E-Cworksheet,independently.

•Askthestudentstonowsharetheirconnectionswithapartner.

ACTIVITY TWO

Making Connections and Creating KnowledgeChow Chun Fai: Reproducing “Infernal Affairs”: I want my Identity Back

38

Stage ThreeTarget Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Image of Reproducing “Infernal Affairs”: I want my Identity Back, visualiser

•Conductawholegroupdiscussion,basedonthefollowingsuggestedquestions: -Whodoyouthinkthemenare?Wherearetheyfrom?Wheredoyouthinktheyare? Whyaretheythere? - There is a beach and the ocean in the background and the men are facing away from them. Howarethebeachandoceandepicted?Describethem.Whatdotheyrepresent?Whatcan themenexpectiftheygoontothebeachorintotheocean? -Therearetwomenfeaturedinthepaintingbutonefeaturesmuchmorethantheother.Why? Whatdoyouthinktheyaretalkingabout? -Howdoesthispaintingmakeyoufeel?Why? -Wouldyouliketobewiththemeninthispainting?Why? -Whatdoyouthinkistheartist’smessage?

Stage FourTarget Literacy Learning: Reading and ViewingRequired Learning Materials: Image of Reproducing “Infernal Affairs”: I want my Identity Back, visualiser, the C-E-C worksheet

•Askthestudents“Howtheirideashavebroadened,deepened,orexpandedinsomewayasa resultofthegroupdiscussioninStageThree?”

•Askthestudents“Whatareyoustillwonderingabout,inregardtotheimage?” “Whatisstillchallengingtounderstandabouttheimage?”

•StudentsindividuallyrecordtheirresponsesontheC-E-Cworksheet

•WiththesamepartnerwhosharedtheirconnectionsinStageTwo,studentsnowsharethe Extend and Challenge sections of their worksheets.

•CollecttheC-E-Cworksheetsanddisplaythemaroundaphotocopyofthepainting,tomake the whole class’s thinking visible.


Making Connections and Creating KnowledgeChow Chun Fai: Reproducing “Infernal Affairs”: I want my Identity Back

39

CONNECT-EXTEND-CHALLENGE- Worksheet

Image Title:

Image Artist:

ConnectWhat connections can you

make to what you view in the

image and what you already

know? What does it remind

you of? What feelings does it

create for you?

ExtendHow has your thinking

changed after viewing and

discussing the image with

your class?

ChallengeWhat are you still wondering

about when you view this

image? What questions do

you still have?

40

Stage OneTarget Literacy Learning: Listening/Reading and Viewing Speaking/Writing and RepresentingRequired Learning Materials: Image of Reproducing “Infernal Affairs”: I want my Identity Back, chart paper, markers, visualiser

•AsktheclasstospendtimeviewingtheimageofReproducing “Infernal Affairs”: I want my Identity Back, as a whole.

•Askthestudentsthefollowingquestions: - Describe the scene depicted in the painting. -Whatgrabsyourattentioninthework? -Ifyoucouldtakeawalkintothispainting,wherewouldyoubeinthescene? - Why has the artist chosen the title Reproducing “Infernal Affairs”: I want my Identity Back for thisartwork? -Whatmessagedoyouthinktheartististryingtogivetheviewer?

•Usingthevisualiser,focusinonthemaincharacterinthepainting.Magnifythatpartoftheimage.

•Askthestudentstofocusonthefeaturedcharacterinthepaintingandaskthese suggested questions: -Howoldistheman? - Describe the man’s appearance, his facial expression. - Describe his body language. -Isheagoodguyorabadguy?Whathelpedyoudecide? -Whatlanguagedoyouthinkhespeaks?(Englishoranotherlanguage) -Whatdoyouthinkheisfeelingatthismoment?

•Dividethestudentsintogroupsoffour.Distributeasheetofchartpaperandmarkersto each group.

•Askeachgrouptocreateanimageofthemanshowninprofile.Followingthat,students should create a mindmap with words, ideas, and thoughts that best describe their interpretation of this character.

•Displaythefinishedmindmapsaroundtheclassroomandconductagallerywalk,wherestudents have time to visit each of the created mindmaps.

ACTIVITY THREE

Using Visual Art to Focus on Character and Prompt Personal ResponsesChow Chun Fai: Reproducing “Infernal Affairs”: I want my Identity BackDavid Shrigley: Please Do Not Return...

41

Stage TwoTarget Literacy Learning: Speaking/Writing and RepresentingRequired Learning Materials: Images of Reproducing “Infernal Affairs”: I want my Identity Back and Please Do Not Return... by David Shrigley, visualiser, writing notebook

•ProjectanimageofPlease Do Not Return... Ask the students: -Whatisthesubjectofthisphotograph?Wheredoyouthinkthisphotographwastaken? -Doyouthinkthewordsonthebookinfluenceyourimpressionsorunderstandingof thephotograph? -Doyouthinktheartworkismissinganything?(e.g.;moreobjects,aperson,people,details in the setting) -Whydoyouthinksomeonewouldloseabooklikethisonpurpose?

•ProjecttheimageofReproducing “Infernal Affairs”: I want my Identity Back, side by side with Please Do Not Return... Ask the students: -Doyouthinkthisbookcouldbelongtothemaincharactershowninprofile,inthepainting Reproducing “Infernal Affairs”: I want my Identity Back. -Ifthisbookdidbelongtotheman,doyouthinkhewouldwritethesewordsonthecover?

•AskthestudentstobelievethatthebookfeaturedinPlease Do Not Return... does belong to the man in Reproducing “Infernal Affairs”: I want my Identity Back, and to write a diary entry from the perspectiveoftheman,writinginthefirstperson.

•Studentswillsharetheirdiaryentrywithapersonotherthanthosewhowereintheirgroup for Stage One. Students should listen for similarities, differences and new insights.

•AskthestudentsiftheirthinkingaboutthepaintingReproducing “Infernal Affairs”: I want my Identity Back, has changed.

•WhatdoyouthinkisthemessagetheartistofReproducing “Infernal Affairs”: I want my Identity Back wantstoleavewiththeviewer?

ACTIVITY THREE - Continued

Using Visual Art to Focus on Character and Prompt Personal ResponsesChow Chun Fai: Reproducing “Infernal Affairs”: I want my Identity BackDavid Shrigley: Please Do Not Return...

42

ADRIAN WONG HO YIN (Hong Kong)

Adrian Wong Ho Yin, Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita, 2011, Wood, steel, laminate, carpet, foam, faux fur, acrylic, animatronics, 96 x 144 x 96inches


Artist BiographyBorn 1980 in Chicago, US, Adrian Wong holds a double degree in General Psychology and Art and Art History from Stanford, later completing a MA in Developmental Psychology there and an MFA in Sculpture at Yale University. He has been based in Hong Kong since 2005 and also currently

teaches Sculpture at Virginia Commonwealth University. Wong’s practice spans sculptures, video, photography and installations that draw together collective superstition conjuring psychic narratives. He has participated in a wide range of exhibitions and biennials worldwide including in Bangkok, Basel, Berlin, Hong Kong, Miami, Munich, New York, Prague, Sao Paolo, Singapore, Shanghai, Sydney, Taipei and Tokyo. He participated in the 2010 DETOUR Design Exchange to Japan and received numerous awards including the 2007 Videotage FUSE Fellowship, Hong Kong and the 2003 Daniel and Mildred Mendelowitz Fellowship, US. His works are in the public collections of the Hong Kong Art Museum, Kadist Foundation, Paris and San Francisco and other private collections.http://hongkongeye.co/en/artist- and-artworks

43

ACTIVITY ONE

Target Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Image of Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita, visualiser, three sheets of chart paper, markers

• Project the image Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita, showing only one-third, or one panel at a time. The horizontal reveal would probably be the best option (see resource on the next page)

•Allowstudentssomeviewingtime.

•Askthestudentstothinkofonewordthatcomestomind.

•Letthemknowthatwearegoingtocreatea“graffitiwall”.Givestudentsthefirstsheetofchart paperandaskthestudentstowritetheir“word”onthepostedsheet.

•Revealthesecondpanel.Givethesecondsheetofchartpaper.Repeattheprocess.

•Revealthethirdpanel.Givethethirdsheetofchartpaper.Repeattheprocess.

•Oncethethreechartpapershavebeencompleted,askthestudentsiftheyseeany commonalities.Aremanyofthewordssynonymous?Doesthesamewordappearmultiple timesinthesamepanel?Isthesamewordrepeatedinotherpanels?

•Askthestudentswhytheartisthasusedthreeimagestoconveyhisidea/message?Discuss.

•Usingthecollectionofwordsfromallthreechartpapers,askforastudentvolunteertocreate a word cloud graphic. Use either http://www.wordle.net/ or http://www.tagxedo.com/.

•PlacethewordcloudgraphicbesideadisplayedcopyoftheartworkKasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita, visualiser.

Comparing First Impressions Adrian Wong Ho Yin: Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita

44

ACTIVITY ONE - Resource

Horizontal Reveal

Vertical Reveal

1

1

3

2

2 3

45

ACTIVITY TWO

Stage OneTarget Literacy Learning: Listening, Speaking and Viewing Required Learning Materials: Image of Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita, visualiser

Note: Initially, people are more likely to answer questions, by stating the obvious. Success with this activity will, however, be dependent on the students’ ability to infer and hypothesise what might be happening in the artwork.

Encouragethestudentstogivemoredetailsbyaskingthemquestionssuchas:“Tellmemoreaboutwhatyouarethinking?”Theobjectiveoftheactivityistoencourageparticipantstodevelopa rich, full sense of character; to lead them to be aware of the complexities of a character and move beyond their own positions and viewpoints.

•Setuptheactivitybyaskingstudentsasaclass,whatitmeanswhensomeonesays,‘Haveyou everwalkedinanotherperson’sshoes?’Askthemtoexplainbydescribingasituationwherethis couldhappen.Whywouldsomeoneaskyoutodothat?

•Projecttheimage,Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita. Give students a chance to view and think about the image.

Using Art to Develop Character PerspectiveAdrian Wong Ho Yin: Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita

46


Stage TwoTarget Literacy Learning: Listening, Writing, Speaking and Viewing Required Learning Materials: Image of Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita, Step Inside worksheet

•Askstudentsto‘stepinside’theartworkandbecomeoneofthecharacters.Writewhichonein the centre box of the worksheet.

•Fromtheperspectiveoftheirchosencharacter,askstudentswhattheywouldsayiftheir characterwasasked,“Whatdoyousee?”Shareobservationsasaclass.

•Fromtheperspectiveoftheirchosencharacter,askstudentstothinkaboutwhatthecharacter knows (his/her knowledge, skills) and what s/he believes (his/her values). Individually complete Part One of the Step Inside worksheet.

•Nextfromtheperspectiveoftheirchosencharacter,askstudentstothink“Whatdoess/he careabout?”(Whatisimportanttohim/her?)IndividuallycompletePartTwooftheStepInside worksheet.

•Againfromtheperspectiveoftheirchosencharacter,askstudents“Whatmightyourcharacter wonderaboutorwhatquestionsdoess/hehaveabouther/hislife?”(Whatdoess/hehopefor? Whatdoess/hedreamabout?)IndividuallycompletePartThreeoftheStepInsideworksheet.

•Placestudentsintogroupsofthree(eitheringroupswhochosethesamecharacterorin groups which chose one of each of the three characters). With the other members of their group, students share their responses. Allow for 15 minutes.

Stage Three Target Literacy Learning: Writing and Viewing Required Learning Materials: Image of Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita, visualiser, Step Inside worksheet

Evaluation:•Aftersharingresponses,studentsconductaself-evaluation.Studentsshouldreflectupon the following: -Howwelldoyoufeelyouwereableto‘stepinto’thecharacter’sshoes? -Doyoufeelyouunderstandthecharacterbetter? - Did you gain more insights about the character(s), by sharing your responses in the group. Explain.

Using Art to Develop Character PerspectiveAdrian Wong Ho Yin: Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita

47

STEP INSIDE - Worksheet

Name of Artist: Adrian Wong Ho Yin

See / Observe?

Part Two: Care About?

Part One: Know / Believe?

Part Three: Wonder and Question About?

Step InCharacter

48

ACTIVITY THREE

Stage OneTarget Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Image of Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita, visualiser

•ProjecttheimageofKasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita.

•Askstudentstoconsiderthefollowingquestions: -Whatstorydoyouthinktheartworkistellingus? -Whatmessagedoyouthinktheartistwantstoleavewiththeviewer?

•AskstudentstothinkofthetitleofthisworkKasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita. Ask them what the title could mean and why the artist chose this title.

•Wouldtheirideasabouttheartworkchangeifitwascalled‘John,BobandMary’?How?Why?

•Tellthestudentsthefollowinginformation: - Kaspar Hauser was a German boy who said he grew up in a room which was totally darkened - Ramachandra is an Indian god who is considered to be very kind, brave and devoted to religious values and duty. - Natascha The Dog Girl of Chita lived with her father and grandparents but was locked in a room with dogs and cats. Her family treated her as a family pet.

•AskstudentstodiscussingroupsofthreewhichofthefiguresisKasper,whichoneRamachandra andwhichoneNatascha.Whatdotheythinkthethreecharactersaretalkingabout?

From Visual Art to DramaAdrian Wong Ho Yin: Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita

49

ACTIVITY THREE - Continued

Stage TwoTarget Literacy Learning: Speaking and RepresentingRequired Learning Materials: Image of Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita, writing notebooks

•Askstudentstochooserolesforthemselves;theycaneitherchoosetherolesofKasper, Ramachandra and Natascha or they can choose the roles of John, Bob and Mary (how might thenamechangesaffectthedialogue?).Theyhavetopreparearoleplaybetweenthethree characters which depicts what their conversation is about.

•Askstudentstopractisetheirroleplaysandthenperformitinfrontofanothergroup–orinfront ofthewholeclass.Asstudentswatchthedifferentgroupsperforming,theyshouldreflectonhow thechosenroleshadaninfluenceontheroleplay.Afterafewgroupshaveperformed,students discuss the following questions in their groups: -Whichwasmoreinteresting?TheroleplaybetweenKasper,RamachandraandNataschaorthe onebetweenJohn,BobandMary? -Isthetitleanartistchoosesimportantforhowaviewerinterpretstheartwork? -DiditchangeyourideasaboutAdrian’sartwork?How? - Should the artist give the viewer some information about the title and the reasons for choosing it?Why?/Whynot?

From Visual Art to DramaAdrian Wong Ho Yin: Kasper Hauser, Ramachandra and Natascha, the Dog Girl of Chita

50

GALLERY WALK

Target Literacy Learning: Listening and Viewing Speaking and RepresentingRequired Learning Materials: Visual Images 1-8, chart paper, markers, Gallery Walk worksheet

Stage One•Informstudentsthatyouarewonderingwhatideastheyhaveaboutart?Whatisart? Howwouldyoudefineart?Whatisthepurposeofart?

•Askthestudentstoformgroupsoffour.Provideasheetofchartpaperforeachgroup. Instruct each group to create a mind map. Placing the question in the centre of the page, group members contribute as many ideas/thoughts as they have about art.

•Aftercompletingwebs,eachgroupdecidesononemembertopresenttotheclass.

•Afterthepresentations,askthestudentstoidentifycommonideasthatappearedfromthe different groups.Combiningalltheideas,createacommondefinitionoftheword‘art’.

Stage Two•Displayaprintedcopyoftheeightimages.

•HandoutcopiesoftheGalleryWalkworksheet.Instructstudentstovisiteachoftheartworks displayed and complete the worksheet. Encourage students to discuss the artworks, but remind them that their responses should be personal.

What is art?

51

GALLERY WALK

Stage Three•OncestudentshavefinishedtheGalleryWalk,askthemtostandnexttotheartworktheyliked best. In these groupings, students should discuss why they have chosen that artwork. In addition, askthegrouptoreferbacktotheclassdefinitionofart,createdinStageOne.Howdoestheir chosenartworkreflectthedefinition?

•Distributechartpapertoeachgroup.Askthestudentstocreateanewmindmap,withthetitle of their chosen artwork placed in the centre. Each tangent on the mind map should list an aspect oftheartworkthatmatchedtheclassdefinition.

Title of Artwork

52

GALLERY WALK - Worksheet

Makeapersonalresponsetoeachoftheartworks.Afterfinishing,ranktheimages:1 - being your favourite, 8 - being your least favourite.

Image

Prudential Eye Awards 2015 Khvay Samnang CambodiaUntitled, 2014Courtesy of the artist

Prudential Eye Awards 2015 Christine Ay TjoeIndonesiaThe Flying Balloon, 2013Courtesy of the artist and Ota Fine Arts

Prudential Eye Awards 2015 Seung Hee HongSouth Korea Der Zwang zur Tiefe #4 (Force to Depth), 2007 Courtesy of the artist

Prudential Malaysian Eye 2014 Ahmad Sukri MohdMalaysiaMiracle, 2012Courtesy of the artist

Prudential Eye Awards 2015Hannah BertramAustraliaAn Ordinary Kind of Ornament (Singapore), 2015Courtesy of the artist

A

B

C

D

E

RankingThis artwork appeals

to me. Why?This artwork does not

appeal to me. Why?

53

GALLERY WALK - Worksheet

Makeapersonalresponsetoeachoftheartworks.Afterfinishing,ranktheimages:1 - being your favourite, 8 - being your least favourite.

Image

Prudential Eye Awards 2014Lam Tung PangHong KongCondition 1, 2009Courtesy of the artist

Singapore Eye 2015 Samantha Tio Meng / MintioSingaporeConcrete Euphoria, Benjamin Sheares Bridge Singapore (Construction of Marina Bay Sands), 2008 Courtesy of the artist

Prudential Eye Awards 2015 Meekyoung ShinSouth Korea Toilet Series, 2014 Courtesy of the artist

British Council Collection Peter Doig UKCanoe Island© Peter Doig. All Rights Reserved, DACS 2015

F

G

H

I

RankingThis artwork appeals

to me. Why?This artwork does not

appeal to me. Why?

54

GALLERY WALK - Thumbnails

Prudential Eye Awards 2015 Khvay Samnang

CambodiaUntitled, 2014


Prudential Malaysian Eye 2014 Ahmad Sukri Mohd

MalaysiaMiracle, 2012


Singapore Eye 2015 Samantha Tio Meng / Mintio

SingaporeConcrete Euphoria,

Benjamin Sheares Bridge Singapore (Construction of Marina Bay Sands),

2008Courtesy of the artist

Prudential Eye Awards 2015 Christine Ay Tjoe

IndonesiaThe Flying Balloon, 2013

Courtesy of the artist and Ota Fine Arts

Prudential Eye Awards 2015Hannah Bertram

AustraliaAn Ordinary Kind of

Ornament (Singapore), 2015Courtesy of the artist

Prudential Eye Awards 2015 Meekyoung Shin

South KoreaToilet Series, 2014Courtesy of the artist

Prudential Eye Awards 2015 Seung Hee Hong

South KoreaDer Zwang zur Tiefe #4 (Force to Depth), 2007


Prudential Eye Awards 2014Lam Tung Pang

Hong KongCondition 1, 2009Courtesy of the artist

British Council Collection Peter Doig

UKCanoe Island

© Peter Doig. All Rights Reserved, DACS 2015

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ABOUT THE PRUDENTIAL EYE PROGRAMME

Established in 2008 by David and Serenella Ciclitira and sponsored by the region’s leading life insurer and asset manager Prudential, the Prudential Eye Programme is an initiative that nurtures artistic talent. The programme aims to develop arts infrastructure in territories where this is lacking, in order to provide artists with the platforms, support and recognition they need to develop their careers. It works to build networks and opportunities for artists and galleries through strategic partnerships and a variety of platforms.

Previous projects from the Prudential Eye Programme include Korean Eye (2009 to 2012), Indonesian Eye (2011), Hong Kong Eye (2013) and Prudential Malaysian Eye (2014): a series of international touring exhibitions and publications providing emerging Asian artists with opportunities to showcase their work. To date, the programme has held 19 exhibitions worldwide, which have been viewed by over two million people. The Programme’s latest exhibition, Singapore Eye, is currently being held at ArtScience Museum, Marina Bay Sands until 28 June 2015.

In January 2014, the Prudential Eye Programme launched the Prudential Eye Awards in Singapore as a Contemporary Art Awards platform to honour the accomplishments of emerging artists throughout greater Asia. The annual awards focus on emerging artists from across Greater Asia and highlight the breadth, range and diversity of the works being made by emerging Asian artists. The second edition of the Awards was held on 20 January 2015, with ChimPom (Japanese collective) declared as the winner and walking away with the opportunity for a solo show at the Saatchi Gallery.

Artist Forum, Singapore, January 2015

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ACKNOWLEDGEMENTS AND COPYRIGHT

ENQUIRIES

TEACHER MATERIALS AUTHOR

•AbouttheBritishCouncilcollection–http://visualarts.britishcouncil.org•AboutthePrudentialEyeprogramme–www.prudentialeye.com•AbouttheCreativeEducationprogramme–www.britishcouncil.sg/creative-education •TodownloadResourcePacksforEastAsia– https://schoolsonline.britishcouncil.org/classroom-resources/creativity-in-the-classroom

Materials developed by Martin Yakabuski and Leslie Davis, Teacher Development Centre, British Council, Singapore and adapted by Richard Davis and Sue Magee, Teacher Development Unit, British Council, Hong Kong.

Curatorial & Photography Partner

Co-sponsor

Design Partner

Co-sponsor

The British Council would like to thank Parallel Contemporary Art Ltd, the Artists, Galleries, Collectors and other rights holders for their kind permission to reproduce the images in this publication and for their use in association with teacher creativity workshops and associated lessons and activities using the learning materials. All images that appear in this publication are subject to copyright and may not otherwise be reproduced or used without permission from the relevant rights holder.

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Der Zwang zur Tiefe #4 (Force to Depth), 2007Installation and photography, mixed media, pigment print, 133 x 115cm


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Miracle, 2007Mixed media on canvas, 203 x 203cm


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Concrete Euphoria, Benjamin Sheares Bridge Singapore (Construction of Marina Bay Sands), 2008

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hong kong - schoolsonline | creating opportunity · pdf file · 2015-07-13amy...

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