Bouncing off the work of others – Tim Walker and Loving Vincent in the Noordbrabantsmuseum

There is a very strange double bill of exhibitions in the Noordbrabantsmuseum in Den Bosch, the Netherlands. Both, in their different ways, lean heavily on the artworks of Dutch masters from the past. British fashion photographer Tim Walker presents a series of larger than life photographs that take as their reference point Hieronymus Bosch’s painting The Garden of Earthly Delights. Meanwhile, in the neighbouring galleries there is The Loving Vincent exhibition, a display of a cross-section of the thousands of paintings made for the Hugh Welchman and Dorota Kobiela film of the same name. To say that these lean heavily on the work of Van Gogh, would be a massive understatement.

Art in general rarely escapes referencing the past in one way or another. All of those who have any form of creative or artistic practice have their own influences that touch and inform their own production. Having said that though, these two particular exhibitions are extremely explicit in their referencing of influences and acknowledging the creative forces that lie behind their projects.

Let us start with Loving Vincent. I’m used to seeing museum spaces filled by paintings made by Van Gogh. I’m a regular visitor to both the Van Gogh Museum in Amsterdam and my local museum the Kroller Muller in the central Netherlands. Both have excellent collections and both have galleries filled with both the Van Gogh’s art and crowds of visitors. From a distance the experience in Den Bosch looked similar, walls filled with vibrant, loosely painted images and crowds of people. There is though a difference, here there is not a single painting made by the famous Dutch man. It is a strange experience. Like the film itself it is rather a strange experience. If there ever was a painter whose work seems, through its inherent vibrancy, not in need of being animated it is surely Van Gogh. Yet the film does have a sort of hypnotic attraction. The relatively course animation techniques seemingly allowing the paint to flow across the cinema screen. Some parts work better than others and shear visual experience does tend to occupy your attention, at the expense of the narrative that the filmmakers were also trying to present.

The whole project is a Labour of Love. An infatuation with these iconic images. With this as a backdrop, and with the film in the back of my mind, the technical process is kind of interesting to see. But does it all warrant a place in a museum. Is it more than an advertisement for the film? I’ve always maintained in my teaching, even to the youngest pupils that art is about the ideas. Are there ideas here on display here?

There is clearly an audience for the exhibition, but I have to confess to feeling strangely perplexed by the visit. What are we actually looking at here? A series of paintings made by artists, or are they illustrators, who are all working in a style that is as close as possible to the way the Dutch master handled his paint 125 years ago.

Tim Walker’s exhibition in the same museum in Den Bosch is rather different. He too reaches back into art history. This time though, to a single work, The Garden of Heavenly Delights by Den Bosch’s most famous citizen, Hieronymus Bosch. Walker acknowledges in the forward to the display that he has always had a fascination for this particular painting. Is it an image of “naïve joy and freedom” or “playground of corruption and sexual deviance” is one of the introductory questions.

Having seen the work in the show I definitely feel that Walker comes down heavily on the latter choice. These are disturbing images. Staged photographs with a painterly quality, figure compositions that ooze a depraved sexuality and nightmarish menace.

Coming as he does from a fashion industry perspective with its slick images of perfection this does come as something of a contrast. Yes there are certainly elements of his fashion roots to be found. Overly theatrical….perhaps, but the photographs in the Noordbrabantsmuseum make for uncomfortable viewing, for me at least. It begs the question, would Bosch’s original work have offered still more uncomfortable viewing for its original audience? Being as it is, a warning of the hellish world that could be waiting for these original viewers back in the sixteenth century, in the afterlife.

Related post:

Hieronymus Bosch, Chris Berens and Oss

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Don’t change a winning team…..a classroom film project

Or if you prefer, ‘if it isn’t broken, don’t fix it’. There is a great deal in education that is in a constant state of flux, we hear much about the atmosphere of constant change in our schools. There are many good reasons to remain critical of our classroom practices, to improve and refine. Maybe as a result of this situation is comes as something of a relief when you have a lesson element, or in this case a series of lessons, that works so well within its aims that you feel little need to adjust it.

This is very much the case with the ‘remake’ project that use with our film module that we teach to our fifteen and sixteen year olds. This practical assignment follows on heels of a more theoretical part that has involved discussing various film making practices and skills and watching a movie in class together. In recent years we’ve spent time in class discussing the boundaries of truth and fiction in movies and have made use of films such as:

But to get back to the film making practical, the set up is simple and involves taking an existing short film as the basis and dividing it up into short fragments of, say fifteen seconds. Each group involved is then asked to analyse the fragment that they are allotted, with particular attention being given to what exactly the camera is doing. Are we talking about a zooming or panning shot, a close up perhaps or a birds eye view and how long does each shot last exactly? Having recorded all the camera work detail in a storyboard the groups get down to filming the action as precisely as they can (quite a challenge for some groups!).

This year we’ve been working with one original film, five different classes and something like 120 pupils. 18 groups were formed and each had to deliver just 13.5 seconds of edited film that remade a section of Love Sick, our original short film by Kevin Lacy. Love Sick is very well suited to the project because the storyline is simple and very visual. The that fact that all our actors involved in the remake change every 13.5 seconds can potentially produce quite a lot of viewer confusion, but given this simplicity I think the result still bridges these continuity problems quite well.

Once I have all the fragments, I put them in the right order, take the original soundtrack and add that to the pupil version. Normally there is a little extra editing needed at this stage to try and make sound and image match up as well as possible, but I try to keep that to a minimum. Using the original sound sidesteps the thorny problem of pupils trying to record sound with their mobile devices and in practice works as a sort of glue in holding all the fragments together.

To say that the pupils are keen to see the film at the end of the production is a bit of an understatement! They are desperate to see it! And it provides an entertaining and often very funny element of a diploma presentation evening that we have with the classes at around the same time that the project reaches its conclusion.

Last year’s project

Love and Mercy – the Brian Wilson bio-pic in class

Was I sure that this particular film, the Bill Pohlad bio-pic about Brian Wilson of The Beach Boys, was going to work with the twenty-eight fifteen year olds of class V4D? No, not at all. Both our lessons each week are right at the end of the day when pupils are tired and concentration less focused; no, I really wasn’t sure.

But I wanted to show the film because on the surface it ticked many of the boxes that I wanted to refer to in the short film studies course that I offer around this time each year.

Part of the reason for choosing it was that being a bio-pic, the film narrative sits nicely in the global theme that we were dealing with of fact and fiction in the cultural (and in this case in the film) world. But added to this, there were the interesting other issues of:

  • The popular culture of the past being introduced to my pupils
  • The extensive use of music in the film
  • Mental health perspectives being explored
  • The lengths that the filmmakers have gone to, to get the ‘look’ of the film and the actors right

All good reasons to show the film to my pupils and discuss with how the filmmakers involved had set about presenting the story of Brian Wilson to us.

 

Yet sitting in the classroom watching it together I still really wasn’t sure. It’s a fairly long film and we had to spread it over three lessons on three different days, not and ideal setup. If I’m honest, the first 30-40 minutes are a little slow and, for a younger audience perhaps a little confusing as the narrative jumps backwards and forwards between the nineteen sixties and late eighties. Time is spent setting the stage for the main body of the film. That first lesson the class watched with me, they were a little twitchy at times. Sometimes they seemed to be finding Wilson’s unpredictable behaviour funny rather than disturbing.

Were we going to make it to the end of the film, to start with I really wasn’t sure. But I wanted to persist. One of my big aims with the film studies course is to offer material that is outside of the pupils’ normal area of experience. I want to stretch and draw them into new areas, but without going so far that it switches them off.

We returned to the film the following lesson, and slowly, you could see them being drawn into the film. The room went quiet and they became more settled. By the end they were thoroughly engaged and wanting to see how the creeping tension that is built through the film is played out.

Now, two weeks later I am reading the 1000-1200 word essays that the pupils wrote about the movie. I was curious, I felt I really needed the proof, the confirmation that they had enjoyed it as much as I had secretly hoped.

It would seem that my uncertainty about the film was misplaced, almost without exception the reports have been both enthusiastic and well written. A couple of points stand out. The styling of the visual appearance of the film is greatly appreciated. Having shown them a few film clips of the real Beach Boys they see the parallels and the efforts that has been made to create the look of the past and the appearance of the main characters. The focus on the mental health issues experienced by Brian Wilson throughout his life hit home in the minds of the pupils. It made for fascinating reading. The appreciation of the huge difficulties and abuse that Wilson suffered made a very strong impression and undoubtedly broadened their understanding in this area.

 

The film continually jumps from the sixties to the eighties, with two different actors (Paul Dano and John Cusack) playing the role of Wilson. It was interesting to hear which section of the film engaged the pupils most. For me it was Dano and the younger version of the musician. This was partly for the performance, but mostly for the music and the look at the creative process that it gave. However for the bulk of my pupils it was the older phase of Wilson’s life that drew the attention. Why? Well two reasons I think, partly the love story that was being played out with Melinda Ledbetter. But more so for the sense of jeopardy that was being created, was Melinda going to be able to save the hugely vulnerable Brian Wilson from the manipulative clutches of Dr. Eugene Landy?

All-in all reason enough to use the film again next year? The answer is simple, yes certainly.

Sometimes you just don’t need to explain……

Yesterday I used a short film in my lessons that I had not used before, ‘Donkey’, from 2011 by Keri Burrows. I said virtually nothing to introduce the film to the two classes that saw it. It’s a quiet and stylish seven minutes in the form of a reflective monologue. Both times I watched a a hushed attention fell over the room. I watched as the class of often quite chatty pupils were drawn in and as the titles rolled at the end the silence hung in the room. There really was little I had to say, the movie’s message, and it does have a serious point to make, had reached them.

Watching this short film was a part of a brief film studies series of lessons for the classes of fifteen and sixteen year olds that I teach. It’s an introduction to basic filmmaking techniques and approaches. I usually begin with a series of short films that highlight various aspects of film craft such as the role of the speed of editing, sound and music, the positioning of camera and so on.

So why had this particular film carried its message so well to my audience? Well, yes it is a stylishly made and in a way quite elegant film. It’s performed in a form of low key realism that is very accessible. But most of all, and without giving too much away, in terms of content it takes the viewer into a world that is only too recognizable to pupils at a secondary school. For all these reasons it is a short film worth watching in class.

For further analysis of the film see the following link:

Donkey – film analysis

 

Music buying habits of teenagers, copyright and my quietest lessons of the year

For the last few years, during the art and cultural awareness course that I teach to my fourth years (15-16 years old), I have included a series of lessons that focus on the theme of the remix in all areas of culture and how the copyright laws affect both creators and users of culture.

It is an area that is close to the pupils and leads to interesting discussions. I asked them this week about their music buying habits. When I was at school as a teenager, everyone spent money on actually buying the vinyl or CDs of their favourite bands. This week in one of my classes of twenty-four pupils, just four had ever paid directly for a music track (either in the form of a physical object or legal download). A number of others pay indirectly by using Spotify but the majority either download from ‘other’ sources or simply make do with YouTube or (and I still find this slightly surprising) listen to the radio.

The content of the lessons certainly doesn’t just stop at our music buying and listening habits though. I focus more on the creative people whose work in their field could be described as a form of remix and the collisions this may or may not bring with the laws of copyright. This may be in music, film, visual arts or design.

The core of the whole series of lessons is try and get the pupils to evaluate their own position and opinions in just how creative any form of remix is and how this may compare to comparable but ‘non-remix’ work forms.

When I present them at the start of the module with the question of who is being the most creative; someone who takes a box of watercolour paints and makes a picture, someone who plays a Mozart piano sonata or someone using a computer to make a remix? Almost without exception they all choose for the painter. Not that surprising maybe, but it’s just an initial thought in opening up their minds to the world of the remix in all its forms and what it actually means to be creative. In doing this we touch on the laws of copyright, intellectual ownership, the lengths that some cultural practitioners go to in order protect their work and the impact the digital world has had on this complex and changing field.

I make use of some excellent online material such as the films below:

Having presented them with a range of examples and situations to consider I also ask them to have a go at creating their own remix.  I have two main assignments that I make use of.

The first is a digital graphic design assignment. It sounds straight forward enough. They have to design a poster for a music festival. I provide them with a limited collection of image material, a set of about twelve varied pictures that they may use. They are allowed to rework work them, crop, filter and add colour to them. They are also required to add the necessary text to advertise the festival, but the twelve images are the limit, they are not allowed to source any of their own images.

Of course at the end of the design process there are recognizable elements and overlaps in all of the posters. But what is interesting to see, and the pupils see this also clearly for themselves, is that some have been a whole lot more imaginative and varied in their use of the basic material.

The second practical assignment is to use one of the online remix studios and sound libraries to create their very own remix. I use www.soundation.com or www.looplabs.com. They both offer similar possibilities, extensive libraries of sounds and rhythms. Each fragment is just that, a fragment, mostly very short. These have to be combined and built up into a composition.

Let me be clear, I am not a music teacher, this is a little outside of my field. However, in a sense, it is not about producing a beautiful, complex and immaculately combined track. It is about giving the pupils a chance to work with preexisting sound fragments, to order and manipulate them, to challenge them to see just what they can achieve in this very new area of creative practice for them.

soundation

They respond well, once the headphones go on I get my quietest lessons of year. Eyes are glued to the screen, tongues often nipped between lips of concentrated faces. We subsequently spend a lesson listening to the results. Some can really be quite impressive, combining varied sounds and subtle transitions, others, if I’m honest, sometimes sound like a kind of brown, musical soup!

Whichever assignment is chosen, the most important question of all comes at the end. Whilst working on your remix or poster design, making use of ‘other people’s stuff’ as your raw material, ‘did you actually feel like you were being creative?’

Swept along by a film assignment – feel free to use the idea!

Teenagers love a movie. A good film during lesson time is, in the eyes of many of many pupils, about as good as it gets. Because of this I normally start the broad art and culture awareness course that I teach to my fourth years (15-16 year olds) with a module on film making.

The series of lessons is built up essentially of three separate parts.

  1. A few theory lessons that look at the history of film and explore the craft of the filmmaker, along with a little shared group analysis of filmmaking techniques.
  2. We subsequently watch a movie in class, discuss it as a group before the pupils write their own analysis and evaluation report of what we have seen. I use various films for various classes, favorites from the last few years have been Senna and Amy from Asif Kapadia, great for teenagers with an aversion for documentary films. Alongside these two, Catfish and The Babadook have also been greatly enjoyed.

For a little more reflection on watching films in class, take a look at the links below:

Three film, three reactions

Finding the right film

  1. The final part of the module is a practical assignment. The aim of this practical is essentially to get the pupils out of the classroom, and to experience in a more conscious and hands on way, the possibilities of camera use, and alongside this, the importance of the edit.

This third part, the film practical assignment, is without doubt one of my favourite activities of the year. To start with it is a little complex to explain to the class, but once they have got the idea they just love doing it.

The assignment

In bullet points, this is the working process:

  • I choose an existing short film (one that is about five minutes long)
  • I divide my pupils up into groups of about five (often this is done across three or four classes together)
  • I divide the film up into sections (the same number of sections as I have groups)
  • I allocate each group a section (normally 20-30 seconds long)
  • The groups produce a detailed story board of their fragment. This involves making screenshots, notes about what the camera is doing, notes about the performances being given and very importantly exactly how long the individual shot lasts
  • The pupils then head off to reproduce each individual shot as precisely as they possibly can
  • The pupils then edit their own work to result in a fragment of the exact same length as the original section that they had been allocated
  • The groups hand in their piece of work.
  • I then join all the fragments together in the correct order
  • I rip the soundtrack of the original film and drop this onto the pupils’ version, add some titles at the beginning and the end and the job is then essentially finished.

This year’s pupil film:

Based on the following original:

 

A few footnotes

For someone with a little knowledge of even the most simply video editing software this is not an overly complex project. However there are a few things to watch out for. Most importantly is the choice of original film. Script that is spoken ‘on camera’ makes the process a lot more complex. The marrying up of the sound of the spoken text from the original and the pupils mouths is difficult and often requires numerous small adjustments. To limit this, choose a film with a narrator, or simply one with the absolute minimum of speech.

This is an incredibly fun assignment to do. It is a carefully framed up activity, and leaves the pupils with a very clear task to carry out. The results can be fantastic and leave the pupils desperate to see the final version, that in my case, is often made by a group of close to one hundred pupils.

We show the finished product at a social event where both parents and pupils are present. It is a great hit every year!

Below are links to the same assignment from previous years:

 

Lovesick II

Black Coffee II

 

One letter switch – language and graphic design, a CLIL (content and language) assignment

Studying a little graphic design is part of the broad art and culture course that I teach my classes of fifteen and sixteen year olds. Their world is full of this type of visual material in the form of websites, magazines, posters, packaging and video.  However it never fails to surprise me just how little they have actually stopped to think about it and how good design can influence them.

With this in mind I have constructed a series of lessons that explore various forms of graphic design it features interviews with designers and analysis of their work. I like to support this sort of theoretical work with a practical assignment that encourages the pupils to try and get to grips with design issues themselves. It’s a kind of ‘doing is the best form of learning’ approach, a standpoint I am definitely a supporter of.

The assignment

I wanted to set the pupils the task of designing a movie poster. It’s an area of graphic design that they are all familiar with and one that by and large has a number of design elements that come back again and again, ones that they could also be applied in their design work.

The image part of the poster I decided to turn into a small photographic assignment. All photographic imagery had to be made by the pupils themselves, nothing was to be sourced from the Internet.

The language challenge

However before any photography or design work could be started the language element was going to be crucial in determining the direction that the final design would take. The rule I imposed for the fictitious film that they were to design a poster for was simple; they had to take the title of an existing film and then create a new, and completely different direction for it by switching just one letter in the title for a different letter. No other variations were allowed, it was just one for one.

brotherbearI gave a couple of examples to get the ball rolling a little, Pirates of the Caribbean  could become Pilates of the Caribbean or Saving Private Ryan could become Raving Private Ryan. One letter in each case, resulting in film titles that head off in completely new directions and would produce very different posters.

This sounds too simple to be much of a language challenge, but when I watched the class engage with the challenge it soon became clear that it offered more than I expected. The pupils searched through countless film titles on their phones seeking out word and letter switches that could work. It almost reminded me of a classroom of pupils trying to puzzle out crosswords as they juggled with letter and word combinations.

For most there seemed to be two pressing criteria that developed.  Firstly and perhaps most obviously, that the new title had to produce an idea that could also result in a photographic image that they felt that they could actually make, but also the presence of humour seemed important.

I realize now that in terms of creativity I should have shown them one of my favourite, crazy film related websites, Cardboard Box Office. It doesn’t exactly play along the same language related lines, but it is not far off.  In terms of taking a film related image and theme and twisting it in a wonderfully creative way there are few sites to beat it!  I think it would have almost certainly lead to greater creativity in arranging the photographic material. A note to self……next year make use of the cardboard box office!!

setpostersOn the level of extensive content and language integration (CLIL) this is a fairly modest language assignment. But it was a language element that was certainly enjoyed by the pupils. It engaged them and caused a form of creative play that was a positive diversion from the more standard report writing that they are more often involved with.

I’ll be posting a second assignment that continues, in a slightly more complex way , in this direction in a week or two, follow the blog if you’d like to hear about it.

Finding that right movie

Around this time of the year, every year I am faced with the same challenge; trying to find the right feature film to show to the fifteen and sixteen year olds who I teach a broad cultural education program to.

Although the course as a whole covers all sorts of artistic disciplines I like to start the year if possible with a movie, for the pupils its familiar territory and compared to some areas of art and culture film is generally quite accessible to them. The idea is to watch a feature film together and then become engaged with a little film analysis to give them some insight and appreciation of the craft and practices of film making.

babadookI said at the beginning that I try to find a suitable film, well actually I try to find several. I teach three parallel classes of twenty five to thirty pupils, so this year a total of eighty two pupils, and importantly for me that means eighty two reflective essays at the end, each of around one thousand words. I don’t Think that I have to enlarge on what eighty two films about the same film does to your head when you’re marking them!

So with this in mind I often return to films that have proved popular  and effective in the past, but also try to add at least one new one each year. Last year I wrote here at some length about the response on my class to Asif Kapadia’s excellent documentary entitled Senna about the formula one racing driver Ayrton Senna. So struck was I by the class’ response to the film last time that I had no hesitation in showing it again this year to one off my three classes. Once again the atmosphere in the classroom at the end of the movie was amazing, a hushed stillness as the pupils took in and tried to order and evaluate the captivating climax of the film. So much of the average teenager’s entertainment world is often trivial, violent or superficial it is truly fantastic to show them something that has been constructed with such skill that the narrative that all the film fragments carry take us right to the heart of a high profile sportsman’s world, it’s pressures, it’s challenges and ultimately it’s horrendous risks. For many it was wide open eyes and hands on mouths at the end!

You can find further reflections on Senna by clicking here and here for posts from last year.

A second film I chose to use this year was Australian director Jennifer Kent’s excellent The Babadook.  For several years I have wanted to take a look at a horror film with my fourth year groups. But trying to find an appropriate movie has been so difficult. Many teenagers in the fifteen to sixteen age bracket love horror films and have seen many. Others in the class though have seen virtually none or doubt whether they want to see one. Some pupils seem largely insensitive to the tensions of a horror movie whilst others struggle to cope. Add to this a personal requirement to only use a film that I feel comfortable myself showing, also  keeping in mind that I too am a father of a fifteen year daughter. What wouldn’t I mind her seeing at a school screening? With all these points to consider it has been difficult, I’m not happy to show excessive violence, blood or gore, I am also cautious of using a film with a huge number of ‘shock’ moments. Finally though, The Babadook has come along and after watching for myself I felt relatively sure that this could be the one. It has more of a creeping tension, as with many of the best horror movies, the fear is more in what you imagine rather than what you actually see. It also makes use of a good number of ‘classic’ horror film elements, a scary domestic context, relatively innocent key characters, sound effects and ultimately a monster. All good stuff when it comes to critically trying to unpack the movie with the pupils afterwards.

Below is a review of the film by Mark Kermode on BBC radio.

As I write this I am half way through the class with class V4D. I offered an alternative film to anyone who really didn’t fancy a horror film. Three chose that option, which was fine, and a fact that went uncommented on by the rest of the class. I watched the first fifty minutes together with the class this week. I’ve already of course watched the film several times and so regularly found myself watching the pupils watching the film rather than focusing on the film myself!

Reading the reports at the end will be the ultimate test of the enjoyment. But as far as I could see there seemed to be three categories of viewers:

  1. Viewers (most often, although not exclusively boys) who were just lapping it all up, completely enjoying themselves
  2. Viewers who whilst regularly seeming to be frightened by occurrences or frightened in the anticipation of what was going to occur, but who nonetheless were still enjoying the experience
  3. Viewers who when you looked at their faces were either transfixed by the action or turning continuously away.  Were these pupils actually enjoying the experience? Or was it more a question of endurance?

I worry a little about the third category, have they felt pressured to stay and watch? Are they wishing that they had chosen the alternative. I offered the choice again, nobody wanted to leave.

When it comes to writing about their cultural experiences and their opinions pupils are in my experience extremely open and honest, so I expect I’ll get a clearer picture in the end, but for now it’s another forty five minutes of pupil watching as the climax of the movie comes closer and I look forward to the discussions afterwards!

Struggling to extend the teenage world view

The teenagers that I teach grow up in a relatively small provincial Dutch town or the villages in the fields around it. It is essentially, and for most, a very secure and familiar background. The task of showing these young people that they have a place in a bigger picture, a global village if you like, is at times a difficult challenge. A colleague put it something like…”it’s difficult to take our school into the big wide world, but maybe we can bring the world into the school”.

I would definitely connect with such an aim. As a visual arts teacher I see my function to stimulate the pupils’ enthusiasm for art, develop their practical abilities and to show how art and culture has a contribution to make in helping us to engage with important issues around us.

20110427-immigrationIt is with these sorts of thoughts in mind that I have been designing and teaching a series of lessons to my 15 and 16 year olds about how the subject of how illegal immigration has been dealt in the arts. I make use of the work of two Dutch visual artists, the excellent huge scale drawings called Faith, Fear, Face by Carlijn Mens and the photographs Henk Wildschut. I have written about the relevance of their work before on my blog.

For more about Mens and Wildschut click here:

https://petersansom.wordpress.com/2014/05/15/illegal-immigration-and-art/

This year though I have also added the film The Visitor, written and directed by Thomas McCarthy

All three in their various forms give us insight into the lives of illegal immigrants in European or American contexts. All three are fine examples of how various cultural disciplines can engage us with important social and political issues of our time.

I feel very confident of the quality of my examples and indeed of my lesson material. Yet somehow, this year perhaps more than in previous years, I don’t quite feel like the message is getting through. When I reflect a little on this situation my conclusion is that perhaps for too many in my current groups the intellectual and emotional step that they must make to reach an appreciation of the plight of illegal immigrants is just too big.  They’re aware of the problem, they’ve heard it mentioned in the news, but it’s just not their issue. It all seems a million miles away from their daily bike ride to school, the hockey club and shelf stacking in the local supermarket.  I am asking them to be ready to make that conceptual leap and to tune in to the bigger picture. There are a few in the groups I teach who are ready and willing to try to do this, but I have to be honest, I feel with plenty of others I am struggling to help them make this switch. At times there almost seems to be a pride in some in choosing to not engage. They simply don’t feel it is a world that has anything at all to do with their existence.

The truth is, that in some ways they are right. At the moment the connection is slight, an article on the news, a film in a lesson at school. And yet, for some the possible moment when they are confronted with the laws and issues of immigration could be closer than they think, as I’ve been trying to make clear this week. Most of the same pupils out of my classes will, in three or four years time be safely embedded in University life. Many are likely to find themselves doing courses that offer the chance to do placements or work experience in some pretty exotic places. I also know, from my own experience, that such trips can also, from time to time, result in meeting new people and forming emotional relationships that will take them to areas where the state might start to have something to say about the way they want to live their personal lives.  My own story of immigration from England to the Netherlands grew out of exactly this sort of scenario and had its own moments of difficulties and frustration, but these were not nearly so complex as those experiences encountered by a friend who met his wife whilst on a visit to Peru and ultimately wanted to return to the Netherlands with his new partner. Their situation turned out to be a much longer and complicated affair.

As a teacher you dip into all these sorts of personal resources to try and make your point when teaching. But the simple truth is that so much can happen, and so much has to be learnt as an adolescent becomes an adult. Mainstream education has a part to play, you try to lodge some useful baggage in the back of the minds of your learners, to give them some perspectives and insight that might be useful to them in the future. But as a teacher, you also have to accept that it is often a case of planting acorns and hoping for oak trees, you might, but perhaps more likely, you might not be there to see it happen.

Two months later I wrote the following post reflecting on what I wrote above:

Immigration – Pupil work and feedback

Don’t underestimate your class

I remember reading somewhere recently that an excellent way to motive a class is to say something like “I think this is probably too difficult for you….but we’ll give it a go anyway”. The philosophy being, give them a reason to prove you, the teacher, wrong!

At the time I didn’t think much of it, apart perhaps from thinking….’yeah….would they really go for that?’. Well, a couple of weeks later I have to admit to coming up with just such a statement (without intending to) to a class of 12 year olds and then watching them exceed what I thought they were capable of.

Most years I do a little perspective drawing with my first years. It fits in well with talking about the art of the Renaissance. Over time I’ve tried out various assignments, and for my own amusement and variation I continue to do this. This year I decided to try, with one of my classes, something a little more ambitious where they were to produce a two-point perspective interior space drawing, spread over two sheets of paper, with one pupil working on one half of the drawing and a second on the other.  The idea was to simulate collaboration, teamwork and plenty of discussion (in English, as I teach them in English, which is the pupils’ second language), plus of course to learn about perspective.

perspective

After a first session working, fielding questions about vanishing points, how the area where to two pages came together should work and just how accurate it all needed to be, I went home feeling that this was perhaps one step too far.

I returned to the lesson the following week ready to explain this, and that I thought it better if we maybe went for something just a little less ambitious.  There was total amazement and disagreement from the class.  From their perspective they had invested a lesson puzzling it out and felt now that they knew what they needed to do. Slightly reluctantly I gave way to their view and we continued.

Two weeks later and we’re finished and while the standard of drawing from the class is varied (as it always is with any class), the grasp of the perspective rules they have been working with is fantastic, I’m hugely impressed.

Whether or not my ‘I think it’s too difficult for you’ moment with the class was the turning point we’ll never know for sure. But the way the pupils rose to the challenge was fantastic to see.