Personal bilingual education milestones x2

During a slightly quiet moment at a conference in Brussels about a year ago, a colleague and I were reflecting on our working lives in education, and in particular on where we currently teach.  I say currently teach, but that makes it sounds like we are always switching from one school to another. But that for us is definitely not the case. As it has turned out we have been in for the long haul.

Cathy Silk and I started work at the Maaslandcollege in Oss on the same day back in 2001 and have continued our parallel educational routes ever since, Cathy in the English department of our bilingual stream and me in the art department.

During our reflections last year we found ourselves recalling pupils that had passed through our classrooms, colleagues who have come and gone, and just how many lessons we must have taught.  We also made the calculation of how many weeks of teaching we had given to our school.  As it turned out, back then it was around 950 each.  Yes, we were each nearing 1000 weeks of teaching in Oss.  Further calculations and we knew that the milestone of 1000 weeks would occur in mid-November 2020.  We could have a small party we thought, maybe a sort of reunion with some colleagues, ex-colleagues and  pupils, nothing too official, just an occasion to mark a point in a journey that continues and to involve some people who have shared it with us.

So here we are in November 2020, 1000 weeks of teaching later, but no party.  Like so many festive moments, plans have been disrupted.  That is of course no big deal, there are more important things in play at the moment, and such an anniversary is just a moment in time.  But it is worth reflecting on what has caused Cathy and I to have stuck around in the same school for so long.  I think I can probably write for the both of us in saying that quite a few things play a part.

Firstly, being part of the bilingual educational project in the Netherlands and, at the Maaslandcollege in particular, has been both fascinating and rewarding.  Our school was one of the first to begin this form of education back in the mid 1990s.  A form that sees Dutch children taught in English in order to fast track their language learning abilities and ultimately brings them to levels that surprise me every year.

Our colleagues, both present and past have also been a reason to stay.  An enthusiastic, social and knowledgeable group.  In the occasional dip moments there have always been people around to remind you that it is a school that makes you want to be part of the team.  One colleague, Lobke, should get a special mention, she was a twelve old pupil at the school, starting the very same week as we did.  She is now an established member of our bilingual team as a biology teacher, a reminder for us both in the staffroom of the values of the bilingual program.

Educationally, both Cathy and I, have always been given considerable freedom to form and shape our own teaching programs.  This is without a doubt one of the main reasons we have remained so steadfastly committed to our Maaslandcollege.  By giving teachers space to explore and experiment in their work you keep them interested, enthusiastic and awake to new possibilities.

But then there is the school itself.  On paper it is a fairly standard looking sort of school, 1500 or so pupils, quite comprehensive in terms of the educational streams that it offers.  But apart from the staff, it is of course the pupils who make a school. It is difficult to calculate just how many Cathy and I must have taught over the years, other than to say that it is plenty!  They arrive as, maybe rather uncertain of the themselves 12 year olds, you fight and joke with them through the middle years of their secondary schooling and finally they depart with their diploma and a sort of mutual respect as arrived in the relationship.

It’s nice to be able to follow many of my ex-pupils through Linked-in.  The contact is low-key, but does let me see what some of them have moved onto do.  I think also gives the pupils themselves a sort of contact route with something of their own formative teenage educational years.  It’s a line of contact that is very definitely open (as far as I am concerned) to go further if the need presents itself.  Before the summer I was able to help an ex-pupil with the development of a museum educational program she was working on, and next week I will be doing something similar with another who I last taught, I think, about six years ago.  As a teacher, such moments are really greatly valued educational extras.

It is always nice to run into ex-pupils, on the train, at the station, in the supermarket.  It reminds you just why you are in education.  For both Cathy and me it is especially rewarding when these chance encounters involve a young (Dutch) adult launching into an enthusiastic conversation with us in English, fluent and without hesitation, reason enough to have stayed around to reach that 1000 weeks mark!

Studio progress during lockdown

During 2020 in the Netherlands we had the lock down months, the return to a summer of reasonable (but stay at home) normality and then back into lock down again.  I have been in an out of my studio quite a bit. Not for long periods of activity, it was mostly a quite fragmented working process as any number of other commitments seemed to continually get in the way. 

Maybe it is this broken up character of a working process that have been to blame, but I do feel that 2020 has been in terms of my own practical work a period of a few interesting discoveries, but also a number of dead ends.  I know that exploring dead ends is all part of the creative process, but these are generally parts that don’t actually leave you feeling that content or satisfied in what you are doing.

However, as we near the end of 2020, at last I feel these cul de sacs are starting to pay me back in the paintings I’m making.  These steps have been supported by quite a bit of drawing and printmaking to find the way to where I am now. Finally there are a variety of possibilities to be explored, a view I haven’t had for a while as I have struggled through a number of creative processes that can best be described as interesting failures.  And so the twisted, folded and manipulated nature as it is seen in the newest versions of the circular tree paintings can continue.

The long and drawn out tale of a Frida Kahlo painting

Back at the start of 2020 I made a plan.  It was for the group of adult amateur painters that I coach and guide in their creative activities once a week.  As a group we also make an occasional trip out to see an art exhibition that I feel would be both interesting and in some way aligned with the group’s own painting activities. Last year we visited the David Hockney and Vincent van Gogh exhibition at the van Gogh museum in Amsterdam.

My plan, back at the beginning of 2020 was that, as a group we could make a trip to the Drendts Museum in the northern Dutch town of Assen, to see the planned Frida Kahlo exhibition, Viva la Frida!, due in the autumn of 2020.  Without telling the group, and as way of introducing them to my plan, I set them a small painting assignment. 

I used one of the iconic portrait photographs of Kahlo, enlarged it and cut it into vertical strips, each about 40 cm tall by 2 cm wide.  To accompany each strip there was a wooden panel, larger (about a metre tall), but of the same proportions.  The task in hand was simple, use the blurry strip of black and white photograph to make a comparable blurry monochrome painted strip on the wooden panel.

To make it a little more technical I asked the group to do this using oil paints but making no use of black when mixing the grey tints that we needed.  The purpose here was twofold, firstly to challenge the group to experiment broadly with the mixing of chromatic greys, but secondly to result in more variation across the panels when the final composition was assembled.  One would hopefully be a slightly bluey mix of greys, another with more red and another with perhaps a purple edge.

We made a start, and all was going well. 

But then along came Covid-19, lockdown and the weekly painting sessions were suspended.  The painting was half finished, my painters still didn’t actually know what it was they were painting, but at this stage I told them the whole story and what my plans for the autumn had been.  In the meantime the museum in Assen had also had to change their plans.  The Kahlo exhibition was cancelled, or rather suspended, and has subsequently been rescheduled for the autumn of 2021……..I’m sure as a group we’ll be going.

Our group reconvened back in September.  Meeting as two smaller groups, strict social distancing in place and returned to the business of painting, and getting our Frida Kahlo painting finished. 

We almost made it!  Four weeks later, we are back in lockdown, hopefully not for as long as last time.  We are returning to our sharing of creative work in the app group and working at home on some group projects that I assemble as we progress.  Such projects help us all feel that we are still part of a group.  Our Frida work is all but finished, we’re just missing a couple of panels from the outer most reaches of the composition, but the work as it currently stands is a satisfying result and good approach work for the exhibition visit next year.