In the next session, the role of the teacher will involve facilitating discussions surrounding the trip that took place. In doing so, children can share their ideas of particular artworks or processes using art and design terminology which would, in turn, fulfill one of the NC aims (2013). The discussion will also allow children to be critical and gain a deeper understanding of the multiple perspectives that the arts promote (Eisner, 2002). Toward the end of the discussion, children will be introduced to the artist Jennifer Collier and will have the opportunity to discuss and explore her work.
Following the discussion session, children will be given the opportunity to explore different materials in relation to the project. This exploration will be set up with multiple stations across the room, allowing children to explore all the different processes rather than choosing one and solely using that. The stations will also support classroom and resource management. The choice to incorporate stations is inspired by Ogier, who suggests that the environment in which a space is set up to foster children's creativity will allow children to explore freely (2017, p. 38).
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The stations will be; a paper ruffling station, using both double-sided tape and PVA glue to create these (See sketchbook for examples of this approach), an embroidery station using paper and thread, a station with sewing machines (this could be swapped out for an additional embroidery station if the school does not have access to sewing machines), and a station that explores a range of other found materials that could be used for applique. The materials that children will be exploring will mainly be different types of paper, however, some found materials such as bin bags and plastic bottle lids could be explored in relation to the project. This would shine a light on the recycling element of the project, which can be further explored in either science or PSHE lessons, therefore, creating effective cross-curricular links (Barnes, 2018). Furthermore, the use of found materials will reduce the pressure on schools to source lots of materials as the class could bring in suitable recycling materials from home for their project.
Modeling will be provided at each station through verbalizing my thought process and asking children for their ideas as I go. This will give children first-hand experience of how to complete the process whilst supporting them in fulfilling the NC requirements of mastering their artistic skill (DfE, 2013). Some may argue that this will promote a restrictive approach as the modeling would be showing a 'correct' way of achieving the process, which in doing so, could restrict children's creativity as they are only following the teacher's process to achieve a predetermined outcome (Ogier, 2017). However, there will be some children, perhaps those with SEN, who will not know where to start when given materials, and this could cause anxiety. Furthermore, modeling is essential for the sewing machine station as there is an additional health and safety element to consider. Therefore, the session will aim to find a balance between free exploration and controlled modeling.
At this point, children won't have seen any examples of what their project will look like or is aiming to achieve. This is intentional as it will allow for a more natural exploration and development of ideas instead of showing them an example as that could lead to children wanting to replicate this. Furthermore, this approach will hopefully combat the sentiment that children feel anxious about their ability in art (Key and Stilman, 2009) between the ages of 9-11 as per Lowenfeld's stages of artistic development (1987). The self-awareness amongst this age group is important to consider when teaching art to KS2, and this disengagement with Art was evident during my time on placement with a year 6 class. Therefore, the decision to have a mixture of a modeling and exploratory-based approach has been taken as it will hopefully relieve these pressures and will, in turn, provide all children with the opportunity to be creative (National Advisory Committee on Creative and Cultural Education, 1999)
After these initial exploration sessions, children will be shown what their final product could look like and will begin to develop designs for their badge or brooch in their sketchbooks to explore what they would like to achieve throughout the project. It is at this point where design and craft will overlap and children will have the freedom to explore the project in their own way by creating initial designs prior to the making process.
Relating back to teachers' anxieties surrounding Art and Design, assessment could cause some to avoid giving time to the subject due to its subjective nature. This project will use the 8 studio habits of mind suggested by Hetland et al (2013) to ensure there are attainable goals that children can achieve without disrupting individual creativity and requiring children's work to fit into a single category.
The decision to have a project that is craft based was made to ensure that children can explore a range of different processes rather than just drawing. Art and Design is more diverse than this. With schools being engaged in catch-up programs due to the pandemic, it is important, now more than ever, to reintroduce more craft-based learning in Art classrooms. Craft allows for more than just creating an end product, it also supports children's communication and collaborative skills which have been drastically hindered by COVID lockdowns (Crafts Council and NSEAD, 2021). Furthermore, this project will allow children to explore new mediums and gain enjoyment from taking part in Art and Design lessons whilst contributing to a bigger picture of sustainability.
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