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Citizenship Image & Identity KS3(1)

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					Brighton Museum & Art Gallery

Citizenship Image & Identity Classroom and Gallery
Resource
Key Stage 3
This resource is designed to complement the existing Image & Identity resource, by exploring the
relationship between cultural and individual identity. By focusing on the KS3 Citizenship concepts of
diversity, tolerance and respect, the resource seeks to develop students‟ understanding of similarities
between different cultures and groups in society, and of the interdependence and social responsibilities
we have towards one another as global citizens.


Brighton Museum & Art Gallery and Citizenship
The museum can support students in learning about Citizenship by
1. providing a positive and calm learning environment for young people to explore sensitive and
   controversial issues, and develop the skills to critically analyze information.
2. providing a cultural and historical context for contemporary debates. The way in which Brighton
   Museum & Art Gallery values, respects and celebrates diversity can provide young people with a
   model through which they can explore and develop their own positive attitudes relating to diversity.
3. making connections between people and cultures. UK society today is enhanced by peoples‟
   languages, cultures, religions, arts, music and literature originating in many parts of the world. The
   smallest object can help young people make a connection between personal, local and global
   spheres – and understand their, and others identity in a wider global context.
4. helping young people to develop empathy and compassion for those whose experiences are
   different from their own. This can encourage students to detect and reject stereotypes (which are
   perpetuated by a lack of understanding and context). Artefacts can help students see the people
   behind the issues and reveal that there are often many more similarities than differences between
   cultures.

The Image & Identity Project
Image & Identity is a national regional museums project led by the V&A, seeking to inspire and engage
young people with museums and galleries and their collections.

Image & Identity draws on museum collections from different cultures. The project aims to foster a
greater awareness and understanding of cultural difference, and of social issues common to all cultures,
such as conflict between generations, territorial groups and social classes. It also aims to encourage
young people to reflect upon their own experiences and identities in their communities, and the ways in
which these can be represented creatively.

Through taught gallery sessions and the Image and Identity pack, the project will encourage young
people to respond creatively to museum collections and displays. Its main aims are to
 inspire young people‟s creativity
   increase their self-esteem and confidence
   improve their performance, behaviour and attitude to learning
Curriculum Links
Knowledge and understanding about becoming informed citizens
1) Pupils should be taught about
     the diversity of national, regional, religious and ethnic identities in the United Kingdom and the
       need for mutual respect and understanding.
     the world as a global community, and the political, economic, environmental and social
       implications of this.

Developing skills of enquiry and communication
2) Pupils should be taught to
     think about topical political, spiritual, moral, social and cultural issues, problems and events by
       analysing information and its sources, including ICT-based sources.
     justify orally and in writing a personal opinion about such issues, problems or events.
     contribute to group and exploratory class discussions, and take part in debates.

Developing skills of participation and responsible action
3) Pupils should be taught to
     use their imagination to consider other people's experiences and be able to think about, express
       and explain views that are not their own.

The pack also relates to QCA schemes of work
   Citizenship (KS4), Unit 3 Challenging racism and discrimination
   Citizenship (KS3), Unit 4 Britain – a diverse society?
   Citizenship (KS4), Unit 9 Consumer rights and responsibilities
Classroom Activities using the Online
           Collections
Classroom Activity 1

Ground Rules

The activities outlined in this pack may stir up challenging feelings for many students. Before
embarking on the activities, it is important to establish a set of „ground rules‟. This will help students
feel free to discuss ideas and views that may be very personal and highly sensitive.

1. Students can discuss ways in which, as a group, they can create a „safe‟ arena for talking about
   sensitive and personal views and ideas.

2. „Rules‟ may include to

      raise personal issues only about themselves and not about others.

      talk specifically about their own image and identity, and not make judgements about that of
       others in the group.

      respect the opinions and ideas of others.

      respond positively and creatively to the opinions and ideas of others.

      respect and celebrate the very different elements that may contribute to each individual‟s image
       and identity.

      think carefully about the language used when describing image and identity - might some
       people find it offensive?

3. Display these rules in the work space, and remind students of them when appropriate.


Classroom Activity 2

What is image and identity?

1. Working in mixed groups of four, students can discuss meanings of and associations with the words
   Image and Identity.

2. One student from each group can then report their ideas back to the whole group.

3. Discuss:
    How is each word defined?
    How are they different?
    Do some words fall into both the image and identity categories?

4. Students can look up the words image and identity in the dictionary.
    What do you think of these definitions?
    Are they the same as yours?
    Do they describe your interpretations of image and identity?
Classroom Activity 3

How do we see ourselves?
Students can explore how they really view their own image and identity through the following activity.
This activity is a useful way of evaluating progress if used at the start of a project on image and
identity, and then again at the very end.

1. Students can begin by writing down as many words as they can think of that define or describe
   themselves (not how they think others see them!).

2. When they have finished, they should choose just one word that they feel is the most important in
   their definition of themselves.

3. Each student can then choose which category this word fits into
    Gender
    Age
    Background
    Culture
    Occupation
    Hobby
    Where you live
    How you look
    Other

4. Students can write this category word down confidentially. The students‟ words can then be
   collected and compiled together into a graph or other pictorial representation to show „how we see
   ourselves‟.

5. Discuss
    Do we all see ourselves in the same way?
    Is this how others see us?
    Will your definition of yourself be the same in 10 years time, 50 years time?
    Are you happy with this definition of yourself?
Classroom Activity 4

What is Cultural Identity?

This activity is designed to encourage students to think about how their identity is affected by wider
cultural influences. It also seeks to demonstrate that each of us has multiple identities.


   1.   Working in mixed groups of four, students can discuss meanings of and associations with the
        words culture

   2. One student from each group can then report their ideas back to the whole group. Culture could
      be defined as
           Gender
           Ethnicity
           History or heritage
           Nationality
           Religious beliefs
           Sexual orientation
           Music
           Art
           Literature
           Sport
           Performance
           Clothes
           Food

   3. Each student selects an aspect of culture and creates a mind map of what this looks like in terms
      of their own identity. For each example they should try to
       Identify who they share this culture with (which community they “belong” to)
       Show how their example has been influenced by other cultures (cultural mixing)

   4.   Discuss
       How is your identity influenced by different groups or cultures?
       How could pinning only one label onto someone be one definition of stereotyping?
       How can cultural stereotyping be avoided?
Classroom activity 5

Think about…cultural identity using museum objects available online.
Use Brighton & Hove Museums‟ online catalogue to begin to explore issues surrounding cultural
identity and the role of citizens in different cultures.

Go to www.virtualmuseum.info/collections and enter the catalogue number in the search box. Ask
students to examine the objects and read the accompanying description before exploring the discussion
points (either in groups or as a whole class).

Image of Object     Discussion Points
                        Why do you think National Identity cards were compulsory in World
                           War Two?

                    The government argues that National Identity cards need to be re-introduced in
                    order to boost national security, tackle identity fraud, prevent illegal working
                    and improve border controls.

 National           Opponents say identity cards will be an infringement of civil liberties, a waste
Registration        of money and may cause friction among ethnic minority communities
Identity card       particularly affected by police „stop and searches‟.
HA106878
                          What do you think?

                          What is the story or message behind this figure?
                          Why was the figure made of and who would have bought it?
                          How would you change the design of the figure to better get its message
                           across?

                          Can you think of a contemporary object that people might buy to show
                           their support for a particular cause?
                          What are the different ways that you show your support for a cause that
Willet collection          you believe in?
Male Figure
DA328622
                          What aspect of life does this artefact portray?
                          What else would you include to give an all-round view of life in Burma?

                          What five artefacts would you use to represent the country that you live
                           in?
                          Why would you choose these artefacts?
                          What impression of the country would be given by these artefacts?

Male Deity
Figure
WA505147
Image of Object    Discussion Points
                       Why are some fashion labels more popular than others?
                       What does the label say about the wearer‟s cultural identity?

                         What ethical or moral issues surround the manufacture of many clothes
                          (workers' rights, social justice and environmental issues)?
Adidas Trainers          Why are so many of our clothes made in poorer countries?
CT003936                 What can consumers do to make a difference to the current clothes
                          trade?

                         How does the painting show the Walpiri people‟s connection with their
                          environment?
                         How does your environment shape your identity?

                         Why do the Walpiri people think it is important to keep the meaning of
                          their creation stories secret? Do you think they are right to do so?

                         Why do you think it is important for Aboriginal people to maintain their
Janganpa                  artistic traditions?
Jukurpa
                         What role does art play in defining a social group‟s shared cultural
acrylic painting
                          identity?
WA507231
      Gallery Activities
Brighton Museum & Art Gallery
Exploring the Fashion & Style gallery
                          Discussion Points

                           Which culture do you think may have influenced this
                            garment?
                               o What is it about its design that makes you say that?

                           Why is it called the Paisley pattern?
                              o Would it be more accurate (and fair) to call it the
                                 Kashmiri pattern? Does it matter what it is called?
       Shawl
                           Can you see other examples of the Paisley motif in this
  Paisley, Scotland
                            gallery?
    1825-c1830
        Wool
                           What impact do you think the mass production of shawls
                            in Paisley had on Indian shawl weavers?
                               o Can you think of a contemporary example of
                                   (un)fair trade?
Additional Information

Commonly referred to in the Western world as the 'Paisley' pattern (after the Scottish
town where most shawls were made), this cone-like form, traditionally found on rugs,
embroideries and all kinds of printed goods and fabrics, is possibly the most important
element of design to have come out of the East.

Shawls became fashionable in Europe following the discovery of Kashmiri shawls by
the British. They were quickly in short supply and enormously expensive! As a result,
they were imitated by British textile manufacturers who sold them for a tenth of the
price. Imitation Indian shawls were so popular that the weaving centres in Edinburgh,
Norwich and Paisley were swamped with orders. For 70 years the patterned shawls
remained fashionable, and the term 'Paisley' became renowned throughout the world.
However, the impact of imitation shawls in India was disastrous; unable to compete with
the production costs and quantities of factories in Britain, Indian shawl weavers faced
destitution. Untrained for any other work, many simply starved.
Exploring the Fashion & Style gallery
                           Discussion Points

                            Which culture do you think may have influenced this
                             garment?
                                o What is it about its design that makes you say that?

                            What does this shirt say about the cultural identity of the
                             person wearing it?
                                o Who might wear this item?
                                o Where might it be worn?
       Shirt
 Australia, Oceania          How could this shirt be described as an example of
       2001                   cultural mixing?
  Cotton; plastic                o How could Fat Boy Slim‟s approach to music also
                                     be described as an example of cultural mixing?
This is a colourful cotton Hawaiian style shirt made by Excelsia in Australia in 2001,
worn by the Brighton based DJ Fatboy Slim (aka Norman Cook). Fatboy Slim's first
release on Brighton's Skint records was in 1995. Since then, he has enjoyed number one
singles and albums, produced numerous re-mixes and is in great demand as a DJ all over
the world

This short-sleeved shirt is printed with multi-coloured designs of tropical islands, palm
trees, huts, flowers, and sailing boats in reds and yellows on a navy blue background.
This shirt is an example of the DJ‟s trademark style: he often incorporates a bright
striking shirt into his look.

The first Aloha shirt was made in Hawaii in the 1920s using imported Japanese silk
Kimono fabric. By the 1930s tropical prints on rayon fabric were being used to make
the distinctive shirts. Popular with tourists rather than native Hawaiians, the shirts soon
became closely associated with surfers, beach boys , Elvis Presley and 1950s rock and
roll.
Exploring the Fashion & Style gallery

                           Discussion Points

                            Which culture do you think may have influenced this
                             garment?
                                o What is it about its design that makes you say that?

                            This object involves a great deal of symbolism. What
                             message or story do you think it is trying to convey?
       Shirt                    o Which parts do you think are most significant?
       Punk
  Manufactured by           What else do you associate with Punk culture?
    Seditionaries
  London, England           How has Punk identity influenced contemporary
       c1978                 mainstream culture?

                            Although not intentional, how could Punk be an example
                             of sustainable fashion?
Additional Information

Since the social changes of the 1950s, young people have increasingly used clothing as a
means of rebellion. This shirt is an example of the Punk style, which was dark and
aggressive, in direct opposition to the Hippy subculture that had gone before. Clothes
featured zips, loops, bondage strips and angry slogans and symbols - designed to shock.

The clothes suited the lifestyle of those with limited cash. Punks cut up old clothes from
charity and thrift shops, destroyed the fabric and refashioned outfits. Whilst torn fabrics,
frayed edges and defaced prints are now considered normal in the 21st century, in the
1970s it shocked many people, because it had never been seen before.

This shirt was bought from the Punk clothes shop Seditionaries in London; run by
Vivienne Westwood and Malcolm McLaren. This shirt has metal clasps, rings and safety
pins with velcro, and a printed image on the front of a large yellow swastika in a blue
circle with an inverted red cross. At the top in large red letters is the word “Destroy” and
along the bottom are the words “I am an antichrist, I am an anarchist” which is a famous
Punk slogan and a line from a Sex Pistols‟ song.
Exploring the Fashion & Style gallery
                           Discussion Points
                            Who might wear these shoes?
                                o Why might they choose to buy these shoes?
                                o What might their criteria be?

                            What responsibilities do we have as consumers?
Vegetarian Shoes               o How else might consumers exercise their consumer
Made by Vegetarian                responsibilities?
      Shoes
Brighton, England           What other ethical issues are associated with the
      2001                   manufacture of clothes (workers' rights, social justice and
 Vegetan; Rubber;            environmental issues)?
    Cardboard
                            What item of clothing would you re-design to make more
                             eco-friendly or sustainable?
Additional Information

“I had started to teach myself to make shoes four years earlier after leaving Art College.
I was inspired to hear that in parts of Africa, car tyres were recycled into soles. This got
me thinking and soon I was making shoes out of anything I could lay my hands on, but
being veggie I didn't want to use leather.” (Robin Webb)

Vegetarian Shoes, in Gardner Street, Brighton, is a brand dedicated to animal-friendly
footwear. Founded by Robin Webb in 1990 is extremely popular with vegetarians and
vegans. The Cheatah running shoe is one of many styles made by Vegetarian Shoes
from a synthetic microfibre called Vegetan. With the look and feel of leather, Vegetan
can also breathe, unlike other plastics. The manufacturer's paper label reads “Vegetarian
Shoes: A treat for your feet if you don't eat meat!'
Exploring the Fashion & Style gallery

                               Discussion Points

                                Who might wear this outfit?
                                What makes you say that?

                                In what ways is this outfit influenced by traditional
                                 Iranian dress?
                                    o How has the designer adapted traditional
                                       Iranian dress? Why might she have done this?

                                Are there any other examples of clothing that has been
                                 influenced by traditional design?

 Shirin Guild Outfit            If you were to design a contemporary outfit based on
 Made by Shirin Guild            traditional clothing – which culture would you start
  London, England                from and why?
        2001                         o What would you keep?
   Linen; Bamboo                     o What would you extend?
                                     o Why would you make these decisions?
                                     o What message would you be trying to convey
                                        about your cultural identity?

Additional Information

Shirin Guild launched her own label in London in 1991. Her outfits, which are loose
fitting and simple, are inspired by the menswear from her native Iran. Removing all
decoration, her garments are minimalist and are more concerned with form and material
than detailed decoration. Using yarns made from paper, hemp, bamboo and steel covered
with silk, Shirin Guild reworks traditional male Iranian dress for the modern day
woman.

This abba coat is large with wide sleeves with material crossing over and fastening at the
front. Worn underneath is a darker cream jumper made from bamboo yarn, with baggy
elasticated trousers with wide, straight cut legs.

Currently in Iran, the Islamic dress code is still observed all over the country. The code
calls for women to cover their hair, necks and arms. Modern women in Iran today wear a
„manteau‟ or overcoat, similar to a uniform. The overcoats have long sleeves and usually
come below the knee.
Brighton Museum & Art Gallery          Image & Identity: Citizenship       Fashion and style gallery activity


                                 Fashion and Style gallery
Exploring the gallery
Give yourself five minutes to look around the whole gallery. Think about which items of clothing you
particularly like and dislike.

       Write down something in the gallery that fits with your interpretation of these cultural Identities

Chinese                                                  British


Youth                                                    Upper class



       Are there any similarities between the things you have chosen? Write down any similarities
        you notice here




Forming and exploring your ideas

   Find an item of clothing or outfit in the gallery that you find interesting.

Make a labelled drawing of the item of clothing or outfit. Your drawing should be a thorough
„description‟ which will help you to remember it in as much detail as possible.




   Describe the kind of person you think would wear this (think about gender, age, background).
    ________________________________________________________________________

   Where do you think the item of clothing or outfit would be worn?

    ________________________________________________________________________

   Write down three ways in which this item of clothing or outfit has been influenced by other cultures
    (you could think about the style, pattern, material, colours)

    1. _____________________________________________________________________

    2. _____________________________________________________________________

    3. _____________________________________________________________________

Developing your ideas

   Draw and/or write your answers

Which item of clothing or outfit best describes     Which item of clothing or outfit best combines
your own cultural identity?                         different cultural influences?




What do you think this gallery is trying to say     What single item of clothing would you add to
about cultural mixing in fashion?                   this gallery? Why?




When you have finished, make sketches in your sketchbook of other objects or ideas in the
gallery that interest you and might influence your work back at school or college.

Exploring the Body & Performance galleries
                       Discussion Points
                           Do you think these patterns mean or represent something?
                            If so, what?

                           Why do you think Maoris have rekindled the practice of
                            Moko (tattooing)?
                            o What role does tattooing play in Maori cultural
                              identity?

 Carving (Head)         Should non-Maori people be able to copy their tattoos? Is
       Maori             it culturally respectful?
  New Zealand,
      Oceania
 Mid 20th century
       Wood
Additional Information

This is an elaborately carved male head made of wood. The carved decoration copies the
traditional tattoos ('moko') of a Maori chief's face. This wooden head represents a Maori
ancestor who had exactly the same patterns tattooed onto his face, carved into his skin
with a razor sharp chisel.

Carving is a sacred activity for Maori people, be it on wood or on the body. On the face
the designs are carefully planned to accentuate the wearer‟s natural features, and to
communicate their identity. The designs used refer to Maori Mythology social status,
achievements and family and community bonds. No two designs are the same.

Since the late 20th century facial tattooing has been revived among Maori people as a
potent expression of identity and pride in their cultural ancestry and traditions.
Exploring the Body & Performance galleries
                             Discussion Points

                                 What parts of the body have been accentuated?
                                  o Why do you think the artist has used wood and
                                    metal to depict her ideal of womanhood?

                                 What does the sculpture tell us about the role of
                                  women in Kalabari society?
                                  o How is that similar or different to the ideals of
                                    womanhood in other cultures?

                                 The sculpture is based on the Iriabo masquerade
       Sculpture                  which was performed at a funeral. What other key
    Iriabo Woman                  life events do people celebrate?
Made by Sokari Douglas            o What role does tradition play in marking these
          Camp                        events? Are there any similarities between
   British; Nigerian                  different cultures‟ traditions?
   London, England
          1995                   How does Sokari Douglas Camp reinvent the tradition
Metal (steel); wood; glass        of Iriabo (in terms of material, role of the artist and
         (mirror)                 performer)?

Additional Information

Sokari Douglas Camp was born and raised in the Kalabari town of Buguma in the
Eastern Niger Delta. Kalabari women are traditionally not allowed to make images, a
restriction based on keeping women's fertility cycles strictly apart from the male process
of creating art. As a sculptor in steel and wood, Sokari transgresses this restriction.

In the Iria ceremony, Kalabari enlarge their waists and hips with layers of cloth. Iriabo
means “Woman in her prime”.

This sculpture, inspired by Sokari Douglas Camp‟s own experiences of the Iria
ceremony, is based on her niece, Dumo Bille. Dressed as an Iriabo for her grandmother‟s
funeral, Dumo came out to dance, looking her very best.

Traditionally she would have been through a period of being fattened up before the
ceremony to display her family‟s prosperity. Like many women today Dumo chose not
to enlarge her body in this way, instead covering herself with a loose fitting blouse.
Exploring the Body & Performance galleries
                              Discussion Points

                                 Which culture is this puppet from? What makes you
                                  say that?

                                 Why do people use performance as a form of protest
                                  or rebellion?
                                  o How can performance be a powerful form of
                                      protest?
          Puppet                  o Can you think of any other examples of art-as-
          Yoktee                      protest?
   Mandalay, Mandalay            Should artists be able to include anything they like in
Division, Burma, South East       their work?
           Asia                   o Are there any circumstances where they should be
     Late 20th century
     Wood (unknown)
                                      censored?
                                 What responsibility do artists have to their audiences?
Additional Information

The dream-like world of Burmese puppet theatre: strings seem to disappear and puppets
take on a life of their own. Sequins and jewels glitter on vivid costumes. Shimmering
marionettes play out fantastic myths and stories.

In traditional court performances, marionettes could 'speak' freely where human actors
could not. The small performers were used to pass on messages, warnings and
grievances that would otherwise go unspoken. They functioned as mouthpieces for the
people

Since 1962 Burma, also known as Myanmar, has been ruled by a military junta which
suppresses almost all dissent. This string puppet (marionette) dressed in a comedian's
costume, was made by Lu Maw, a member of the Moustache Brothers, a "pwe" troupe
(pwe performances combine music, drama and performance) based in Mandalay. The
political satire contained in the Moustache Brothers‟ performances has resulted in some
of the performers being sent to prison for speaking out against the military junta.
Exploring the Body & Performance galleries
                             Discussion Points

                                What culture does this carnival costume come from?
                                 o How can you tell?

                                What does George and the Dragon mean to you?
                                 o What other figures, stories or symbols represent
                                   English culture?
                                 o Should more be made of St George‟s Day?

                                Can you create your own figure or story that
                                 celebrates an aspect of your own cultural identity?

                                How is cultural identity celebrated in carnivals and
   Carnival Costume
                                 parades? How does participating in a parade or
George IV and Dragon
                                 carnival strengthen cultural and community identity?
          English
   Brighton, England
           2001
 textile (cotton); textile
           (silk)

Additional Information

This is a carnival costume showing George IV encircled by a gold dragon, and is a
playful re-interpretation of the George and the dragon myth. The costume was created
by the Bacchanal Carnival Club for the Children's Parade, part of the 2001 Brighton
Festival. For children, their street parade marks the beginning of the Brighton Festival.
In May 2001 this English parade introduced the magic of Caribbean Carnival. Lining the
route, spectators are drawn to the vibrant costumes of the children. Each is vying for
attention and space. The steel band repeats insistently catchy beats; dancers draw
onlookers in from the fringes.

One of the best known stories about Saint George is his fight with a dragon. However, it
is highly unlikely that he ever fought a dragon and even less likely that he ever visited
England. Despite this, Saint George is known as the dragon-slaying patron saint of
England. By tradition 23 April is the day for a red rose in the buttonhole, but in reality
St George‟s Day is not celebrated in the way that countries like Ireland and America
celebrate their national days.
Exploring the Body & Performance galleries
                            Discussion Points
                                Which culture are these earplugs from? What makes
                                 you say that?

                                 How are earplugs worn?
                                  o Why do you think some Zulu women choose to
       Ear Plugs                    wear clip on earrings instead of traditional
        Iziqhaza                    earplugs?
          Zulu
 South Africa, Southern          In what ways are these earplugs similar or different to
         Africa                   earrings you might wear or have seen?
Late 20th century wood;
         plastic                 How do different cultures use jewellery to symbolise
                                  either the wearer‟s cultural identity or social status?

Additional Information

This is a pair of earplugs made of wood and formica. The ear plugs were created by a
Zulu maker in Southern Africa during the late twentieth century and were purchased by
Brighton & Hove Museums in 1999.

In South Africa, discs inserted into a hole stretched through the skin of the earlobe
continue to be a symbol of Zulu national identity. Traditionally the hole is made when a
child reaches adolescence and is considered ready to “have their ears opened”. By the
1950s the piercing ceremony had lost much of its ritual significance. Some
contemporary Zulu earplugs are made as clip-ons.

Traditionally made of wood, in the 1960s and 1970s makers of Zulu ear plugs began to
use perspex and other plastics in their decoration. As the new materials were difficult to
work, motifs became simpler with bold areas of colour, a highly polished finish and,
frequently, brass or chrome studs. Ear plugs of this type are known by the general term
for earplugs iziqhaza.
Brighton Museum & Art Gallery      Image and Identity: Citizenship      Body and performance galleries activity


                                Body and Performance galleries
Exploring the gallery
Give yourself five minutes to look around the whole gallery.

     Look again. Draw or write examples of objects that represent:
Pride in cultural identity                     Cultural tradition




Cultural heritage                                      Community




   List three possible reasons why people might want to celebrate their cultural identity
    1. ___________________________________________________________________

    2. ___________________________________________________________________

    3. ___________________________________________________________________

Forming and exploring your ideas

   Draw and/or write your answers.

What different kinds of performance can be used         Can performance be used to communicate things
to celebrate cultural identity?                         that could not otherwise be conveyed? Can you
                                                        give an example?
       Choose a puppet, costume or mask that particularly interests you.

Make a labelled drawing to show how each different part of the puppet, costume or mask says
something about cultural identity. You could think about the colours, patterns, symbolism, actions,
music and dance.




Developing your ideas

   Draw and/or write your answers.

How do you celebrate your own cultural identity?    How is your identity influenced by different
(Think about music, dance, fashion, art, books,     cultures?
food).




What do you think this gallery is trying to say     What single item would you add to this gallery?
about how different people celebrate their cultural Why?
identity?




When you have finished, make sketches in your sketchbook of other objects or ideas in the
gallery that interest you and might influence your work back at school or college.

				
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posted:2/20/2010
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Lingjuan Ma Lingjuan Ma MS
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