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Theatre Alibi
by Daniel Jamieson
Teachers Resource PackWritten & compiled by Dorinda Hulton
Art SupplementWritten & compiled by Sandie Hicks
With special Art Supplement
Cabbage Heart for 5 -11 year olds
Cabbage HeartTeachers Resource PackThis year’s teacher’s resource pack has been specially designed anddeveloped to accompany Theatre Alibi’s performance of Cabbage Heart.
It’s intended as a resource for teachers of children at Key Stages 1 and 2and may be used either before, or after, the performance. Aspects of itare especially relevant to PSHE, Art, Literacy and History. This yearwe’ve also produced a special Art Supplement full of ideas to encourageyour pupils to be creative.
We’ve also included worksheets suitable for photocopying for classroom use.The worksheets are marked with borders so that you can spot them easily.
DORINDA HULTON
ContentsDeveloping self-confidence ..............................3 PSHE (plus worksheet)
Different kinds of friendship ............................5 PSHE (plus worksheet)
Enjoying growing things....................................7 Art, Science
Popular acts on the Music Hall Stage................8 Art, History
Finding out more about Ancient Egypt ..............9 Art, History
Thinking about the meaning of paintings ........10 Art, History
Things we miss about people ..........................12 PSHE (plus worksheet)
Telling stories through pictures......................14 Art, History (plus worksheet)
Creating the shape of a sculpture with words ..16 Art, Literacy
Finding out about a famous sculpture ............18 Art, Numeracy
Responding to the performance......................21
ART SUPPLEMENT....................................22
Resources ......................................................41
The script and production photos can be downloaded fromwww.theatrealibi.co.uk from September
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Developing self-confidenceIn Cabbage Heart, Jelly is a nine year old girl who loves drawing butthinks she’s rubbish at it. Perhaps her lack of self-confidence is becauseher Nan says she can’t draw for toffee. Or perhaps it’s because she’sfrightened people might laugh at her. Or perhaps it’s because she hasn’tfound a good teacher to help her. Or perhaps it’s a mixture of all thosereasons.
There can be all sorts of reasons why people can think they’re not very good atdoing things. Ask the children, in pairs, to think of ways of developing their ownself-confidence; and/or ways of helping each other to develop self-confidence.After some discussion in pairs, encourage the children to share their thoughts witheach other in a big group.
In the story, Jelly makes friends with Mags who is a world famoussculptor. Some time ago, when Mags was an art student, she was shy asa mouse. Like Jelly, she was terrified of what other people might thinkabout her work - so for weeks on end she couldn’t make a thing.
“Adults (as well as children) can sometimes think they’re no good at doing things”
Ask the children if they think the statement above is ‘true’ or ‘false’. If they dothink it’s true, can they give examples of things that adults might feel scared toeven try? Can they think of ways they might overcome their fears? Some children,for example, may have seen the film The King’s Speech which tells the story of KingGeorge VI – and how a good teacher helped him overcome his stutter. It’sreassuring to be reminded that even a king can lack self-confidence sometimes.
On the next page are a number of things people can do to help themselvesdevelop their self-confidence and overcome their fears of trying to do things thatseem difficult. Ask the children to work in pairs and answer the question at the topof the page. The list of helpful suggestions is jumbled up with other responses thatmay not be so helpful, so the children can sort out their answers into two categories:“Helpful” and “Not very helpful”. Perhaps, they could include a third category forsome of the less obvious answers: “It depends”. Can the children explain thereasons for their answers?
Ask the children to make up their own stories about someone who thinks theyare rubbish at doing something, and how they manage to overcome their fears.Does the person try several different things one after the other until they findsomething that works, or do they find something that does the trick straight away?
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If you don’t feel very self-confident is it OK to:
Experiment, and sometimes make mistakes?
Practice a lot?
Work at your own pace?
Work quickly so that you can finish your work before anyone else does?
Risk doing something in your own way even if it’s different to everyone else?
Feel jealous if you think other people are better than you?
Give up as soon as you start to find something difficult?
Criticise yourself all the time?
Ask a friend, or a teacher, to suggest how you can do something better?
Enjoy what you’re doing while you’re doing it?
Try to please everybody but yourself?
Laugh at your own work before anyone else can?
Keep going at what you’re doing without taking a break?
Stop worrying about how things will turn out, and have fun?
Read some books to help you learn a bit more?
Find someone else to blame if things go wrong?
Worksheet
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Different kinds of friendshipMags has a gardener called Peter, and by the end of the story, Jelly gets toknow Mags and Peter well. It’s an unusual friendship because Jelly is nineyears old, and Mags and Peter are adults, but Jelly feels comfortable andsafe with them.
Children might be surprised to realise that adults they know well can be goodfriends too – so long as they feel comfortable and safe with them. Ask the children in abig group to think about all the different adults they are friends with, or perhapssimply friendly with. Here are a few ideas to start them off:
The lady in a shop round the corner, a grandparent, a teacher, a school friend’s Mum, a carer…
There are lots of different kinds of friendship, from best friends to groups offriends. Ask the children to make a list in pairs of all the different kinds of friendshipthey can think of. Here are a few ideas to start them off:
New friends, old friends, family friends, holiday friends, fair weather friends, imaginary friends, pets…
Ask the children to talk about why friends are important. Perhaps they can eachchoose a sentence from the list on the next page and draw a picture to illustrate it, or,better still, make up their own sentences. All together, the class could make a“Friendship Book”.
A painting of Chug by Anna Sky Hulton
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Why are friends important?
I can trust my best friend to keep a secret.
I can tell my close friends things I can’t tell other people.
I have fun playing with my school friends.
My kindest friend helps me if I get stuck with something difficult.
My funniest friend laughs a lot.
My most sympathetic friend listens to me when I feel cross.
I trust my real friends not to say horrible things behind my back.
My best friend thinks I’m OK even when I’m in a grumpy mood.
My patient friend forgives me if I’m unkind and then say I’m sorry.
I feel as if I matter to my oldest friend.
I learn things from my adult friends.
My friend doesn’t mind if I’m better at doing some things.
I look forward to seeing all my friends!
Worksheet
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Enjoying growing thingsThere are lots of cabbages growing in Mags’s garden. Peter gave her a packet of seeds,and after she planted and watered them they seemed to shoot up. Mags says she findsit a relief to watch something grow instead of making it herself.
If there is space in the classroom,children will enjoy the process of plantingseeds in trays, watching them germinate,and looking at them grow into seedlings. A packet of seeds can be shared amongstthe whole class, and autumn sowncabbages, for example, will show by 7-14days. If there is space outside to transplantthem, the cabbages should mature by 24-30days. Budding photographers could recordtheir progress in a series of images.
Ask the children to share their experiences of different kinds of gardens, and growing things.Perhaps some of them have family members who enjoy growing things in their gardens or allotments.
Older children may be interested to discuss the differences and similarities between the work ofan artist and the work of a gardener. Many people think that the creators of gardens are artists aswell. Perhaps the children can select ideas from different images of gardens and enjoy painting apicture of their own fantastical garden. You could also look for more suggestions for art activities inthe Art Supplement at the end of this pack.Beautiful images of gardens may be found at:http://www.google.co.uk/search?q=gardens+around+the+world&hl=en&qscrl=1&nord=1&rlz=1TSVEE_en___GB438&prmd=imvns&tbm=isch&tbo=u&source=univ&sa=X&ei=h_ewT8HhJpSa1AXd88G2CQ&sqi=2&ved=0CI0BELAE&biw=1333&bih=570
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Popular acts on the Music Hall StagePeter was a painter before he worked in Mags’s garden. Hewent to the same art school that Mags went to, and whenthey were both students, he helped Mags to develop herself-confidence in rather an unusual way. His father was astage hypnotist who used to dress up in a costume fromAncient Egypt for his stage hypnotism act. So Peter copiedhim – and managed to hypnotise Mags!
Peter’s mumbo-jumbo hypnotic spell in the story is in thetradition of a comic Music Hall stage act. Magic and hypnotism weretwo popular acts on the music hall stage, and older children may beinterested in the caricature (top right) of a comedy duo called Waltonand Lester who performed at the Hippodrome, Stoke-on-Trent,during the week of 19 August 1907. They were billed as ‘The World’sWorst Wizards’ or ‘The World’s Worst Hypnotists’ and it gave theiract a new twist to be deliberately bad at both.
Ask the children what they notice about caricatures that makesthem different to realistic portraits. Perhaps the children can drawtheir own caricature of Peter doing his mumbo-jumbo spell inCabbage Heart.
Above right is another superb caricature also reproducedcourtesy of the V&A, and also drawn by the artist George Cooke.It’s of the actor and comedian Harry Conlin who performed at theGrand Theatre of Varieties, Hanley, during the week of 5 December1904. He is dressed in a pantomime Dame-style costume,complete with a muff featuring a loaf of Hovis breadand a hat sporting potatoes on forks.
Many children may have seen a pantomime atChristmas and older children may be interested tofind out more about this form of entertainment, andits historical roots in Victorian circus and Music Hall.
Here is a picture showing a man called Mr Sandswalking upside down, wearing his special suctionshoes. In this sensational image, Mr Sands has asafety net, but unfortunately, in 1861, the stunt endedin disaster when he was challenged to walk acrossthe ceiling without a safety net. A section of theplaster he was ‘standing’ on collapsed, and he waskilled by the fall.
http://collections.vam.ac.uk© Victoria & Albert Museum
http://collections.vam.ac.uk© Victoria & Albert Museum
http://www.vam.ac.uk© Victoria & Albert Museum
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Finding out more about Ancient EgyptIn Cabbage Heart, Peter’s father used to dress up in a costume from AncientEgypt for his stage act. Children will enjoy finding out more about AncientEgypt. Do they know, for example, that the Ancient Egyptians wrote in picturesrather than letters and words? Below is a copy of The Hieroglyphic Alphabet.Can the children write their names?
http://sataid.net/forum/showthread.php/22255-The-Hieroglyphic-Alphabet
Here is a good website to find out about Ancient Egyptian art:http://artsmarts4kids.blogspot.co.uk/2008/03/ancient-egyptian-art-part-1-painting.html
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Thinking about the meaning of paintingsPeter hasn’t painted anything apart from Mags’s garden gate for years - butlong ago he painted a picture of his father inside an Ancient Egyptian mummy.Peter tells Jelly that his Dad didn’t really go in a mummy. He just painted himin one. When Jelly asks him ‘Why did you paint your Dad in a mummy?’ Peterexplains the hidden meaning behind his painting: his father always shelteredhim when things got difficult, so in the painting he wanted to shelter his fathertoo – from all the rotten tomatoes the audience used to throw at him if hisstage act wasn’t going very well.
Older children may be interested to see a variety of images created by a contemporaryEgyptian artist Mohamed Abla and to think about the meanings behind them. There are anumber of striking images at www.ablamuseum.com
For example, on the right is one of Abla’spaintings called ‘Father’. Ask the children tolook at it and wonder about the hidden meaningbehind the painting. What kind of man does thefather in the painting look like? Does he look asif he needs protection like Peter’s father? Dothe children look safe, or afraid?
Abla’s body of work My Family, My Peoplewas created between 2006 and 2012 inacrylic on canvas, photography and oil onpaper. “When I started painting the series”he says, “I felt nostalgic towards the family;I would draw a father, mother, maybe twochildren”. “But the family changes andpeople separate to establish their ownfamilies. I look at relatives, neighbours.Eventually I see more people and my bigfamily: Egypt. I play with words andmeanings and look at all the changes thatare happening in the family, how it grewand how Egypt has been changing. After 25January 2011, I started observing familiesat Tahrir Square: people gathering incircles, talking, walking in differentdirections. I examine how those eventsaffect the meaning of the family. ‘Where are we going?’ I ask myself.”
Image reproduced with the kind permission of the artist http://oasismag.blogspot.co.uk/2012/05/my-family-mypeople-solo-exhibition-by.html#!/2012/05/my-family-my-people-solo-exhibition-by.html
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Ask older children to thinkabout the ‘meaning’ in Abla’spicture on the right. It shows threemen in Tahrir Square and strangelyechoes an image at the end ofCabbage Heart in which Jelly,Mags and Peter are holding hands.But what does the picture ‘mean’?Are the three men in the picturefriends? Who are the men lookingat? Why are they wearing helmets?Why aren’t their helmets closed inthe front to protect their faces?Who are all the shadowy people inthe background? Are the menprotecting them? Where does all thesmoke come from?
Encourage the children to accept that it’s fine if they all have different thoughts about the‘meaning’ of a piece of art. There’s an interesting section called ‘Hidden Meanings’ in the NationalGallery’s book Looking at Pictures. This book introduces children of ten and upwards to the basicchronology of European painting and a wide range of other topics.
Also, a splendid book entitled What is Art? makes the point about the subjective nature of artappreciation: ‘What you see depends on who you are’. It illustrates the point with a simple drawingof the outline of a goat. When the drawing was shown to some children in Kenya, none of them saidit was a goat. They all knew very well what a goat looked like, but all the goats in their village hadtails that turned upwards, and the goat in the drawing had its tail turning downwards – so they knewit couldn’t possibly be a goat.
Who you are, of course, is partly determined by what you know. Older children may be inspiredby Abla’s painting to find out something about Egypt today and its recent history. Below are a coupleof images from the Wikipedia site for Tahrir Square. What differences do the children noticebetween the two images?
Reproduced with the kind permission of the artisthttp://www.majalla.com/eng/2012/05/article55231675
Tahrir Square in 1958 Tahrir Square in 2011Photo: Jonathan Rashad
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Things we miss about peoplePeter is not very good at hypnotism and when he tries to demonstratehis technique, he accidentally hypnotises Jelly. Whilst she’s under ahypnotic spell Jelly draws a series of pictures that tell an autobiographicalstory of the day her Mum and Dad died.
Everybody knows that living things die, but when someone you’re closeto dies, it’s very sad and upsetting. Drawing the pictures helps Jelly toaccept the sad truth of what actually happened that day.
There are a number of sensible and sensitive books to help childrenunderstand their feelings when someone close to them dies. Some of these arelisted on the Resources pages.
Jelly’s Nan tells her that her parents are living in a cottage under thesea, but Jelly knows that they have died and wishes her Nan would tellher the truth.
Adults often find it difficult to talk about death and dying. They may believethey’re making it easier for young people by fibbing to them. But sometimes nottalking about difficult things can make them much harder to understand andaccept. Ask the children if they agree with Jelly that because she’s nine years old,her Nan should tell her the truth.
Jelly misses her Mum and Dad, especially the way they used toencourage her and tell her the things she did were amazing.
Ask the children to think about all sorts of different reasons why we mightmiss people. Perhaps a parent has travelled abroad to work for a while, or is awayon military service. Perhaps a good friend who used to live next door has moved toanother part of the country. Perhaps there has been a change in the family, and thechildren only see one of their parents at the weekend or in the holidays. Perhapssome children may have experienced the death of someone close to them. Can thechildren think of other reasons why we might miss people?
Ask the children in a big group to think about times when they’ve missedsomeone. What are the things about the person that they miss the most? Ifchildren are comfortable sharing their thoughts about the people they miss, andwhy they miss them, encourage the rest of the class to listen to them attentively.
Missing people we care about is perfectly normal. Ask the children to thinkabout things people can do to help themselves to feel better if they miss someone.
On the next page are a few ideas to start them off.
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When I miss someone...
I like looking at photos of the happy times we spent together.
I like to visit a special place where I can leave flowers.
I write letters.
I hug the people who are with me and tell them I love them.
I talk to a teacher and tell them about the person I miss.
I have a memory box in which I collect things.
I feel better if I share my feelings with people I trust.
If I kick a ball around, somehow it helps me get rid of my angry feelings.
I like spending more time with my friends rather than feeling lonely.
I write stories about the person I miss.
I like drawing pictures.
I have a scrap book to remind me of all the special things they did.
I planted a tree in memory of my friend.
Worksheet
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Telling stories through picturesIn Theatre Alibi’s story, Jelly tells an autobiographical story through pictures.
Ask the children if they can explain the difference between a fictional story, an autobiographicalstory and a biographical story. Can they give examples?
Children may be interested to look at a range of pictures that tell fictional stories. Perhaps eachof them can choose an illustration from a fictional story book that they know well, and write aboutthat moment in the story using their own words.
Children can be invited to draw a series of pictures that tell an autobiographical story. They couldchoose to tell quite a humdrum story about an ordinary day in their lives, or they could tell the story ofa special day, perhaps an exciting or happy one, or even a very sad day like Jelly’s. In pairs, the childrencould show each other their stories, and help each other to make up captions for each picture.
Children may also find it exciting to create a series of pictures that tell a biographical story. Theycould, for example, tell the story of a day in the life of one of their friends, or a younger brother or sisterand they could choose the medium to work in, either drawing or painting, or perhaps even photography.
Here is a link to a slideshow of remarkable photos that tell a biographical story: http://www.ft.com/cms/s/2/4d5525f8-94b8-11e1-bb0d-00144feab49a.html#axzz1uZaKZXf5
The photos in the slideshow form a small part of one of many photo essays Stanley Kubrick shotin 1947 for Look magazine, before he became a famous filmmaker. They tell the story of a day in thelife of a 12 year old ‘Shoe Shine Boy’ called Mickey. Ask the children to look at the photos and see ifthey can answer the following questions:
Can the children guess where the photos were taken? (Perhaps the best clue can befound in the 10 cent charge Mickey is asking his customers for. It’s visible in somephotos on the side of his shoe shine box).
Can the children guess roughly when the photos were taken? (Perhaps the best cluelies in the style of clothes. Older children might be able to associate these with otherimages they have seen of everyday life after the Second World War).
The photos are amongst a vast collection of 300,000 images of New York’s city streets, slumsand bridges that the Museum of the City of New York is in the process of digitising for onlinepublication. www.mcny.org
Ask the children to look at each image in the slideshow in turn and to imagine the answers to thequestions below. The whole class could discuss possible answers together, and then each of the childrencould rearrange the images into their own preferred order, and write their own version of the story.
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Can you imagine…In Photo 1, where mightMickey and his friend begoing? What might they belooking at?
In Photo 2, what might Mickeyand the other boys in thepicture be doing? Are theypretending to be something?Where are they?
In Photo 3, who might the ladybe? Does the lady lookpleased? What is she saying toMickey? Whose doorway is shestanding in front of?
In Photo 4, what might Mickeybe holding? Where is he? What might he be doing? Is heplaying some sort of a game?Is he practising something?
In Photo 5, what is Mickeydoing? What might he bewriting about? Who is withhim? What story might he bereading?
In Photo 6, what are Mickeyand the other boy doing? Arethey acting doing something, orreally doing it? How can youtell? Where are they? Is it thesame place as in photo 2?
In Photo 7, who might the boywith Mickey be? Is it one of hisbrothers, or a school friend, ora neighbour?
1 2
3 4
5
7
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Worksheet
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Creating the shape of a sculpture with wordsMags’s sculptures have unusual body shapes.Children may be interested in looking at thework of world famous sculptors like HenryMoore or Giacometti who made sculptureswith unusual body shapes.
Below is a series of steps to help young childrencreate the unusual body shape of a sculpture withwords.
1 Ask the children in pairs, to look carefully at the twosculptures and make a list of words that name allthe different body parts they can see in eachsculpture. Here are a few words to start them off:
Eyes, knees, legs
2 Can the children help each other to make a list ofwords to describe how each body part looks? Forexample:
Spooky, skinny, smooth
3 Can the children find more words to describe thesculpture they have chosen? How do they think itmight feel to touch? How heavy do they think itmight be? How do they think the figure might moveif it could come alive? For example:
Cold and hard, thin and sad, big and heavy
4 Ask the children to connect their words together, sothat each of them makes a list of words and phrasesto describe one of the sculptures. For example:
Sad spooky eyes, small heavy head, smooth legs
5 The children can then arrange all the words they’ve found on the page – using words instead ofdrawing to create the body shape of the sculpture they have chosen.
Henry Moore: Die Liegende, 1961Stuttgart, Neue Staatsgalerie, http://en.wikipedia.org/wiki/File:Stuttgart-henry-moore-liegende.jpg
Giacometti: Cat, 1954, Metropolitan Museum of Art.http://en.wikipedia.org/wiki/File:%27Cat%27by_Giacometti,_1954,_Metropolitan_Museum_of_Art.jpg
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Below is a picture of a ‘literacy dog’ which will give children the idea. The shape of thedog has been cut out and the words are arranged around the edges of the cut out shape.
Reproduced with the kind permission of the National Gallery Educationhttp://www.takeonepicture.org/ac/literacy/literacy_ex8.html
The ‘Literacy Dog’ may be found at the National Gallery’s Take One Picture website http://www.takeonepicture.org/
Take One Picture is the National Gallery's wonderful countrywide scheme for primary schools. Each year the Gallery focuses on one painting from the collection to inspire cross-curricular work in primary classrooms. During a one-day Continuing Professional Development course at theGallery, teachers are given a print of one of the Gallery’s paintings. The challenge is then forschools to use the image imaginatively in the classroom, both as a stimulus for artwork, and forwork in other curriculum areas such as literacy, PSHE and History. National Gallery Education thendisplays a selection of the work in the annual Take One Picture exhibition at the National Gallery,and on their website.
Contact Details: National Gallery Education, The National Gallery, Trafalgar Square, London, WC2N 5DN Telephone: 020 7747 2424, Fax: 020 7747 2431 Email: [email protected]
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Finding out about a famous sculpture
Mags is a world famous sculptor. On the following pages are three examples of publicsculptures made by world famous contemporary British sculptors. Ask the children tochoose one of the sculptures and to find out more about the sculptor, as well as otherart works the artist has made. The children could make a ‘Did you know list…’ For example:
Did you know...
The Angel of the North is the UK's most recognised landmark.
The Angel of the North is 20m (65 feet) high; the height of four double decker buses.
The Angel of the North will last for more than 100 years.
The fabricators worked for 22,000 hours - twenty men working full time for six months.
The Angel of the North is seen by one person every second.
The word 'angel' is derived from the Greek 'angelos' meaning 'messenger'.
The Angel of the North weighs 200 tons.
There were 3,153 pieces of steel used in the assembly of the Angel of the North and 10km of welding (6 miles) in fabrication.
It is believed that the Angel of the North is the largest sculpture in the world.
In 2008, the Angel of the North was voted one of Britain's top ten landmarks.
The Angel of the North's wingspan is as big as that of a jumbo jet.
The Angel of the North was designed by award-winning sculptor Antony Gormley.
The Angel of the North will withstand winds of more than 100 miles per hour.
The engineers, designers and draughtsmen worked for 2,500 hours on the Angel of the North.
The Angel of the North contains enough steel to make four Chieftain tanks.
The Angel's ankle cross section is the same width as an ordinary house door.
There’s an excellent teachers pack for The Angel of the North sculpture at:http://www.gateshead.gov.uk/Leisure%20and%20Culture/attractions/Angel/Angel%20Teachers%20Pack/My%20angel%20Teachers%20Pack.aspx
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‘Angel of the North’ by Anthony Gormley(Gateshead, Tyne and Wear, 1998)
The ‘Angel of the North’ by Anthony Gormley is a 20 metre steel sculpture ofan angel with a wing span of 54 metres. It overlooks the A1 motorway andthe East Coast mainline railway and is built to withstand winds of up to 100miles per hour.
Here is a picture of the Angel in the snow. It’s as high as four double deckerbuses, and has a wingspan the same size as a jumbo jet’s! If there is enoughspace outside the school, the children may be interested to measure out itsheight and width on the ground.
http://www.picturesofgateshead.co.uk/angel_of_the_north/photo25.jpg http://www.gateshead.gov.uk/Leisure%20and%20Culture/attractions/Angel/Home.aspx
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‘Orbit’ by Anish Kapoor(London 2012)
‘Orbit’ by Anish Kapoor is the UK’s highestpublic sculpture at 115 metres. Commissionedfor London’s Olympic Park, it was completed inin time for the Olympic Games, but much to thedisgust of Kapoor, visitors will be charged £15to see the view from the top.
Here is a picture of Anish Kapoor looking at a scalemodel of his sculpture. Its shape reminds some peopleof a helter skelter. Ask the children if it reminds them ofanything, and why they think it might be called ‘Orbit’. If there is enough space outside the school, the childrenmay be interested to measure out its height and width on the ground.
‘The White Horse’ by Mark Wallinger (Ebbsfleet, Kent, work in progress)
‘The White Horse’ by Mark Wallinger(Ebbsfleet, Kent) won the commission foran ‘Angel of the South’ landmark.Designed to be 50 metres high (33 timesthe size of a real horse) it was alsoscheduled for completion in time for theOlympics but construction has beendelayed because of a lack of funding.Again, if there’s enough space outside theschool, the children may be interested tomeasure out its height and width on theground.
Children may also be interested to find out moreabout other giant white horses such as the one inBerkshire which is 2000 years old. Cut out of thegreen turf of the hillside, the Berkshire horseexposes the chalky earth beneath, and is amassive 111 metres from ear to tail. The Celticpeople who created it long ago could never haveseen it all at one time – which is only possiblefrom the air. So why did they make it? Ask thechildren to think about all the possible reasons.
A model of Mark Wallinger’s White Horse
http://news.bbc.co.uk/1/hi/england/kent/7880889.stm
Anish Kapoor's Orbit Tower(All London Media)
The Uffington Horsehttp://www.ancient.eu.com/uploads/images/357.jpg
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Responding to the performance
In a large group, encourage the children to discuss how differentmoments in the story of Cabbage Heart made them feel. Were thereexciting moments? Or funny ones? Or sad ones? Were theremoments when they all felt the same thing? Discuss the similaritiesand differences between their responses. Reassure them that it’sfine to have a different point of view.
In pairs, or small groups, ask the children to choose their ownmost vivid memories of the performance. Were they linked to theacting, a prop, a costume, the music, a sound effect, or the setdesign? Or a mixture of them all? Between them they can makenotes or draw pictures and use these to help them share theirchoices with the rest of the class.
Together, make a list of ‘memorable moments’ from theperformance, and discuss whether, or not, in the story, the childrenthink this moment was a make believe moment or could happen inreal life. Did they enjoy the make believe moments in the story more,or the realistic ones? Or both of them just as much? Can they thinkmoments when the story seemed to be make believe, as well asrealistic, both at the same time?
In pairs, or small groups, ask the children to choose a momentfrom the performance that they think could have been done in adifferent way - not necessarily better. Encourage them to discussother ways of telling that part of the story, perhaps by changing theacting, a prop, a sound effect or an aspect of the set design, costumeor music. They can note down their own creative ideas and adddrawings to help explain them. Then each small group can sharethem with the rest of the class.
Ask the children to write a review of the performance and sendit to Theatre Alibi. They can include their own creative ideas as wellas tell the company what their favourite moments were, and why,and how each moment made them feel.
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Art SupplementWarm-upsHaving a blank sheet of paper in front of you can be a bit daunting…where do I start? What shall I draw?
You can make some comparisons to P.E. Sometimes you need a bit of a warm up to get you started…
Drawing with your left hand (or the hand you don’t use for writing)
Drawing without looking at the paper
Drawing without taking the pencil off the page
These are good ‘warm up’ loosening-up activities, particularly for older children who lack confidence in their ability to draw.
Mostly people find it awkward to draw with their left hand, or their right of course, if they are lefthanded. So everyone’s in the same boat and it takes the pressure off for children who daren’t ‘havea go’ for fear of ‘getting it wrong’, or think they have to produce a masterpiece. It’s also fun andcan produce quite hilarious results that everyone can laugh at together.Ask the children to work in pairs and, facing each other, make a pencil portrait of their partnerusing the opposite hand they usually work with. Keep the activity fairly short and try to get thechildren to work quickly to produce a sketch. At the end of the activity, they can swap over theirdrawings. Encourage the children to talk about whether they found it easy or difficult and to talkabout each other’s pictures…the `do I really look like that?’,`why is my eye square?’ kind ofquestions.
Drawing without lookingChildren can work in pairs, or you may prefer to arrange the class into smallgroups around an object or groups of objects. Ideally this should be somethingthat is familiar and interesting to the children - a classroom toy, for example, oran object from a display that ties in with a project theme.
Children may find it easier not to look at the paper if they use an aid to help them. They could createtheir own ‘blinders’ by making a small hole in a square of cardboard, approximately 8-9 inchessquare. The pencil goes through the hole and makes it harder to see what the pencil is making.
Start by getting the children to look at the object/s you’ve provided for them. Describe them, askthe class questions. Is it soft? Look at the outline. Has it got straight edges? Get them to look atdetails. You might tell them stories about the object/s to inspire them to look in a different way.
Again, keep the activity fairly short. Get them to use their ‘blinder’ cards and pencils on paperthat’s large enough so they don’t wander off the page and draw on the table. Get the children to
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look hard at their subjects and draw what they see in front of them. At the end of the activity, encouragediscussion. Are they surprised at the results? Did their drawing hand ‘magically’ take over from theireyes?
When you can’t see what you’re drawing, what you think you’re drawing is often very different to what you actually end up with!
Another warm-up activity is to draw without taking the pencil off the page. This is harder than you’dthink… but no cheating! You could use the same set of objects, or introduce new ones. What about usingthe same objects but rearranged, turned upside down even, or ask the children to move so that their ownviewpoint is different.
At the end of the warm-ups, you could put the drawings around the classroom to create a gallery of the work the children have produced so that they can enjoy looking at what everyone’s made.
I can draw BIG and I can draw SMALL
Ask the children all together, to think of things that are BIG…elephants, houses, double-decker buses andso on. Then, things that are SMALL… a flea, an ant, a pencil sharpener, for example.
When there’s a good list, ask each child to choose one big thing and one small one.Get them to close their eyes and imagine their choices. What do they look like? What kinds of shapes?You might like to have some images available for inspiration.
On large sheets of paper (as big as possible, working on the floor or on paper pinned to the wall if this ispractical) children can draw their BIG thing.Talk about what might be a good choice of media for drawingbig. Encourage them to use all the space on their paper and ask them to notice what parts of their bodythey’re using when they’re drawing on a big scale… they’ll be using their elbow joints and maybe eventheir shoulder joints if they’re drawing really big.
For drawing their SMALL things, provide a sheet of paper for each child, small enough so that children getthe sense of contrast. Get them to consider what kind of drawing media might best be suited to drawinga very small thing.
Making BIG things SMALL and SMALL things BIGNow get the children to do their drawings the other way around. See what happens when you draw agiant pencil sharpener or a huge ant (a bit scary!). Or if you draw a tiny whale or a house that you canpick up and put in your pocket.
Finally, it might be fun to make an exhibition around the classroom of the BIG and SMALL things. Somediscussion could take place about all the different styles and ideas that have been produced and howartists work in different ways in response to a theme.
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I SpyTalk to children about LOOKING andDRAWING. How when you draw something,you look at it really hard and carefully andget to know the thing you’re drawing verywell.
To help children look carefully and ZOOM in on whatthey’re drawing, cut out a card spyglass window ora keyhole shape. Templates are over the page… but any window shape will work as a device to helpthe children select an area of whatever they aregoing to draw.
In the play, Peter gives Jelly a cabbage to draw. You might provide your class with half cabbages or cabbage leaves or in fact anything you haveavailable that provides an interesting subject todraw - pine cones, pineapples, driftwood, tree barkand so on. Use the `spyglass’ or keyhole to choosea section. Then you look very hard and draw whatyou can see in your ‘window.’ What’s in the window?What shapes can they see? What colours? They candraw what they see as big as they like - it doesn’thave to be the size it actually is.
If the weather’s nice and it’s practical, childrencould take their spyglasses/keyholes outdoors anduse them to select interesting sections of theplaying field, walls or vegetation to draw.
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‘But I can’t draw….’ That’s what Jelly says to Mags in Cabbage Heart.Ask the class if anyone can remember what Magssaid to her. Mags told Jelly that drawing is liketalking or walking and that you don’t just pop intothe world and you can do it, it takes practice.Discuss as a group how, when you’re learningsomething, you make mistakes… and that’s O.Kbecause that’s how you learn. So maybe it’s agood idea to leave in the lines you get wrong…
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Peter said when Jelly asked him for a rubber...Instead of a rubber, the children could try the 4 colour chances. Each child should have 4different colours, yellow, green, blue and red.These could be pencils, chalk pastels, waxcrayons - whatever’s best for what they’redrawing.
It works like this…Start the drawing with the yellow. If they make a mistake,instead of rubbing it out, they just do the bit they’ve donewrong again over the top, only this time, using the nextcolour and so on until they’ve used up all their colourchances and the drawing has to be finished in red.The children should end up with a lively multi-colouredline drawing that shows how they arrived at their endresult.
...Rubbers are for wimps
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The HypnotisersIn Cabbage Heart, Peter’sfather was a stage hypnotist.He dressed up in an Egyptiancostume for his act andhypnotised people in theaudience. Peter made apainting of his father on thestage. The children in yourclass could make a painting oftheir own idea of what Peter’sfather looked like.They might be inspired bylooking at pictures of ancientEgyptians and mummies…King Ra and King Tut…
Needawah-Needawoo…Dearyme Dearyyou…
Peter used these magic words to‘hypnotise’ Mags so that she’d beable to make her sculptures whenshe thought she couldn’t do it.First he’d ‘ancient Egyptianisehimself’ just like his father did forhis stage act. He put a towel on hishead and a gold hair band.The children might enjoy‘Egyptianising’ themselves andmaking up their own ‘hypno-mumbo-jumbo’ words.
They could take it in turns to be ‘the hypnotisers’ and thedrawers/painters/sculptors. The ‘hypnotiser’ group could usedrums or available percussioninstruments to get a beat going…oom chigga oom chigga etcThen using their own magic wordsthey can hypnotise the ‘art’ groupwho may find that they are …drawing/painting/clay modellingaway!
http://www.ancientegypt.co.uk/menu.html http://www.kidskonnect.com/subject-index/16-history/253-an-cient-egypt.html
http://www.totley.sheffield.sch.uk/news/ancient-egypt-comes-alive-for-y5 29
ConsequencesThis drawing game mixes up different parts ofthe body to make a new and often quite strangepicture. Children can make their own strangeversions of the ‘Hypnotist’.
If it’s practical, large or even life-size versions of this canbe very dramatic.
It’s helpful to pre-fold the paper first or make dotted linesto show where to draw up to.
Children begin with the head, then fold it backwards andpass it on to the next person not forgetting to make somelittle marks on the next section so that the next artist willknow where the neck joins the body.
Do the same for the body, folding it again so the nextperson can’t see what’s been drawn and make marks toshow where the tops of the legs will match. Lastly pass iton again for someone to draw the knees down to the feet.
Pass it on again and this time the drawings can beunfolded.
When the children have stopped laughing, you may wantto point out how everyone had their own idea of whatPeter’s father, `The Hypnotist’, looked like and how they’reall mixed up together to make new versions. You mightask the children to decide between them which of theconsequence drawings makes the best ‘Hypnotist’.
Below are some examples made by children at anotherschool.
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Seeing things differentlyMaking sculpture from found objects
When Jelly stepped into Mags’s garden, she foundherself amongst strange objects… shopmannequins, plants fashioned from gloves andshoes and sculptures made from things thatpeople no longer wanted.
Mags was a sculptor who saw things in a different way andgave them a new life.
Ask children if they’ve ever seen a piece of driftwood on thebeach that somehow reminded them of a strange animal, or anold shoe that looked like a puppy with its tongue hanging out.
Show the class work by the Cornish sculptor, David Kemp who creates work from things he finds along the cliffs nearhis home. http://www.davidkemp.uk.com/
Here are some examples of work by other artists who have made sculptures using found objects
http://lib.haifa.ac.il/collections/art/modern_art/artists-p/images/picasso_bulls_head.gifhttp://artsconnected.org/resource/fullImage?id=2590&startat=0&position=undefined
Ask the children to guesswhat Picasso used tomake the baboon’s head
Left: Picasso Bull’s HeadRight: Picasso Baboon with Young
David Kemp Released Spirits
David Kemp Hounds of Geevor
Metal Birdhttp://upload.wikimedia.org/wikipedia/commons/d/d2/Metal_Bird.png
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Making the sculptures
Ask the children to bring in their own found objects, things that no one wantsany more. This might include old toys, plastic bottles and cartons, egg boxes,beachcombing finds, bicycle lamps and so on. You might invite contributions forthe sculptures from other classes and staff members.
Organise it so that each child can choose from the ‘store’ of objects. Encourage them to look andimagine. Think about seeing faces in the objects…eyes, noses and mouths. Also legs, tails orwings, for example.
What creatures can they see?
How are they going to make their creature sculptures?
Encourage children to think about:
how they will join the parts together
how their sculpture will stand up
Depending on the age group and making skills of the class, make available materials andequipment that they will need to put their sculpture together.
Naming the creaturesArrange the sculptures around the classroom and as a group activity, invite the children to comeup with names that suit their new creations.
Recycled Junk Bulldoghttp://www.google.co.uk/imgres?q=recycled+junk+art+by+children&start=196&um=1&hl=en&sa=N&rlz=1W1GPEA_enGB311&biw=1280&bih=617&tbm=isch&tbnid=B9oY7mXxWhMh1M:&imgrefurl=http://www.designswan.com/archives/recycled-art-toy-sculptures-via-dis-carded-plastic-item.html&docid=9pUooln-mVeLTMM&imgurl=http://img.designswan.com/2010/03/toySculpture/9.jpg&w=520&h=785&ei=Je7YT-r5DpPc8gO17-iYAw&zoom=1
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Seeing things in different ways & making art in different styles
Show the following images to the children. You might start by asking them what theythink the pictures have in common. Explain that they are all still life compositions by avariety of artists.
Cezanne Still Life Jar and Fruithttp://www.awesome-art.biz/awesome/images/t_Cezanne%20-%20Still%20Life,%20Jar%20and%20Fruit.jpg
They are all pictures of arrangements of fruit
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Jane O’ Malley White Spotted Jughttp://www.google.co.uk/imgres?um=1&hl=en&safe=off&biw=1280&bih=873&tbm=isch&tbnid=CxI7dWHxfmgu_M:&imgrefurl=http://www.yewtreegallery.com/past_07_sept_oct.htm&docid=32kFJyUbSCTUM&imgurl=http://www.yewtreegallery.com/2007_Sept_Irish_connection/
Chardin Still Lifehttp://www.flickr.com/photos/mbell1975/5316425541/lightbox/
http://www.google.co.uk/imgres?hl=en&biw=1280&bih=873&gbv=2&tbm=isch&tbnid=I7brVQwixmMDoM:&imgrefurl=http://bnr840.wordpress.com/2011/02/25/my-favorite-abstractartists/&docid=GD8SmNUtnVJD2M&imgurl=http://bnr840.files.wordpress.com/2011/02/picasso1.jpg&w=1024&h=692&ei=S_m7T6f
... or flowers and jugs or vases
Picasso Bowl of Fruit and Leaves
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http://www.google.co.uk/imgres?hl=en&safe=off&sa=G&biw=1280&bih=873&tbm=isch&tbnid=Bwf0KcbZibq9TM:&imgrefurl=http://en.wikipedia.org/wiki/File:Klopp_Still_Life_with_Fruit_1930.jpg&docid=WpmgQYBATx40hM&imgurl=http://upload.wikimedia.org/wikipedia/commons/8/8e/Klopp_Still_Life_with_Fruit_1930.jpg&
http://www.google.co.uk/imgres?hl=en&safe=off&sa=G&biw=1280&bih=873&tbm=isch&tbnid=NLXyMtLGesziM:&imgrefurl=http://rogallery.com/Wesselmann_Tom/w-421/wesselmann-yellow_curtain.html&docid=Jzc
... on tablecloths
... on plates
Tom Wesselmann Yellow Curtain
Nico Klopp Still Life with Fruit
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Patrick Caulfield Fruit and Bowlhttp://www.sleepisfortheweak.org.uk/wp-content/uploads/2011/09/Patrick-Caulfield-Fruit-and-Bowl.jpg
Matisse Red Interior Still Life on a Blue Tablehttp://4.bp.blogspot.com/_j9VUmBswTWg/TRuMkpgo6aI/AAAAAAAAASM/N_bWh_eRI58/s1600/Art-Painting-Henri-Matisse-Red-Interior-Still-Life-on-a-Blue-Table.JPG
... in very differentstyles by artists whosee things in verydifferent ways
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Arrange a still life composition in the centre of the classroom space sothat all the children have a view. You might involve the children in thechoice of objects, interesting ways to arrange them and backgrounds.
The children can create their own still life painting.
Encourage children to cover all the paper. They might like to sketch in a rough outlinewith a chalk pastel before they paint.
Get them to notice pattern, shadows, shapes, what colours are next to each other, whatis in the background.
Remind children that their painting will be unique and original…there’s no right orwrong way as they’ll all have their own way of seeing and their own style of art.
Bene Gez Still Life with Perspectiveshttp://www.terminartors.com/files/artworks/3/1/1/31135/Bene_Geza-Still_Life_with_perspectives.jpg
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Lines and Doodles‘Drawing is like taking a line for a walk’…that’s what the artist Paul Klee said.
Ask the children to think of all the different kinds of lines they can think of.
For example: straight lines, curly lines, dotted lines, spiky lines,zigzag lines and so on
What medium you use can change the kind of line you make.
The children could try out a selection of drawing media to see this for themselves... You might liketo get them to experiment by making lines with: different grades of pencil, biro, charcoal,different kinds of felt pens and markers, brush and ink or paint...whatever you have available.
When they’ve practised a bit, they might like to take their own lines for a walk.
If it’s practical, children could work on large sheets of paper pinned to the wall. This could workwell as a whole group activity as well as individual pieces of art work.
Using a selection of different line-making tools, get them to start at the top of the page and taketheir line for a walk to the bottom.
Remind them about all the different kinds of lines they could make…not just straight ones.When they’ve finished, you could get the class to use words to describe their lines and say whichones they enjoyed doing most.
You could end the activity here, or develop the artwork by suggesting ways that children could fillthe spaces between their lines with pattern or colour or with collage.
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Doodle to Music… A working together activityYou may enjoy watching the attached You Tube clips yourself for inspiration before adapting the ideafor your class...
http://www.youtube.com/watch?v=kla32PzTHC4 http://www.youtube.com/watch?v=7AH-GWTX8XI&feature=related http://www.youtube.com/watch?feature=player_embedded&v=jtzdxseO-gs
Create a doodle wall or ‘gallery’ space. Cover the walls with paper or children could work on alarge floor space.
The idea of the ‘doodle’ is not to think too much about it. Music can be a good distraction as wellas being relaxing. You could select a couple of different kinds of music - slow-paced, quiet andgentle and something livelier. Set the class to work on the doodle. Encourage them to listen to themusic and just draw what comes into their heads…it doesn’t need to be anything, they can doodleshapes and patterns.
At the end of the activity, it might be interesting to ask the class if they noticed any difference inwhat or how they were drawing depending on what the music was.
You may want to develop the doodle art work further. What about setting the children off withtheir ‘window frames’ - a square or rectangular one might work better for this than a keyhole orspyglass - to select a favourite bit of their doodle wall. They could copy what’s inside their `window’on to individual pieces of paper. The children can take away their ‘bits’ of the wall and add colour to itor extra doodles.
Their completed individual pieces can then be put back together to create a new piece of art thathas been made by the whole class working together.
Or what about a drawing ‘factory’...
Children might enjoy the idea of calling their classroom space a factory. There arevarious ways that this could happen. One idea might be to organise the class intogroups and arrange children around bases or stations, where different activities takeplace. These could include the following:
Monoprinting - where they can take prints from drawings on inked up surfaces( glass orPerspex or acetate), or by placing paper paper over an inked surface then drawing onto the back
Drawing - where a range of drawing media is set up
Collage - where a variety of materials are available for children to stick to the work
Colour - where paint and other colour media are arranged
Cutting, tearing and sticking
Either the art work can be passed along from one base to another or the art work can stay where it is andthe children move stations. This is another way to get the class working together and possibly giving up asense of ‘ownership’ of a particular piece of work so that at the end of the activity, the whole groupmakes a decision together about what happens to the end ‘products’ of the factory.
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Creating small worldsThere are a number of scenes in Cabbage Heart that may inspire children to createsmall 3D worlds using a combination of painting, collage and model-making.
Jelly enters a magical world of exotic plants and strange creatures when she finds herself inMags’s garden.
Children could make their own small garden, either as a 3D relief picture or as a diorama-likestage set inside a cardboard box, by painting an exotic, jungle-like background.
You may find it useful to show the children some of Henri Rousseau’s work
http://redtreetimes.files.wordpress.com/2009/01/rousseau-henri-jungle-sunset-2602332.jpg
Or pictures from the tropical biome at the Eden Project in Cornwall
http://www.flickr.com/photos/john_leverton/3589330944/http://www.flickr.com/photos/john_leverton/3589337630/in/photostream/http://commons.wikimedia.org/wiki/File:Bird_of_Paradise_Flower_(%5E),_Humid_Tropics_Biome,_Eden_Project_-_geograph.org.uk_-_230953.jpghttp://www.flickr.com/photos/larigan/1250384242/
They can then build up their picture or stage set with collaged leaves, strange sculptures, animalsor birds and so on.
If they’d like to add characters to a 3D picture, these could be created using pipe cleaners or cardand fabric.
Figures in a box stage setting could be made from plasticine or clay or older children might usewire and Mod Roc to make their characters.
You may prefer to ask the children to design little shop windows like Mags’s mother.
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ResourcesNote to teachers: Every effort has been made to ensure that the websites listed inthe pack and/or below are suitable for children. However, it’s impossible toguarantee that the content of the sites will not be altered. We thereforerecommend that internet access is supervised at all times.
Art and Creativity
The Big Draw: a national drawing event organised throughout October by the National Campaignfor Drawing http://www.campaignfordrawing.org/bigdraw/
A is for Artist. Ella Doran & Silence. Published by Tate ISBN 01854375563
Tell me a Picture. Quentin Blake. Published by Frances Lincoln Children’s Books ISBN 0 184 507 6877.
Drawing for the Artistically Undiscovered. Quentin Blake & John Cassidy. Published by Scholastic ISBN 1570 54 3208
The Art Book for Children. Gilda Williams Ruggi. Published by Phaidon ISBN 0714845116
The Art Book for Children Book 2. Amanda Renshaw. Phaidon ISBN 0714847054
The Boy Who Bit Picasso. Antony Penrose. Published by Thames & Hudson ISBN 0500238731
Arts and Entertainment. Adrian Gilbert. Published by Dorling Kindersley, 1993. ISBN 0 7513 5090 7
Looking at Creativity. Ian Fenton. Published by Coventure, 1977. ISBN 0 904576 40 X
Looking at Pictures. Joy Richardson. Published by A&C Black in association with National Gallery Publications Ltd, 1997. ISBN 0 7136 4685 3
Painting. Elizabeth Waters & Annie Harris. Published by Merlion, 1991. ISBN 0 7513 5077 X
Stories in Art. Helen Williams. Published by Dorling Kindersley, 1993. ISBN 1 85737 055 4
The Usborne First Book of Art. Rosemary Davidson. Published by Oxford University Press, 1993. ISBN 019910042X
What is Art. Rosie Dickens. Published by Usborne, 2007. ISBN 9780746088562
http://www.primaryresources.co.uk/art/art.htm There’s quite a good short presentation on ‘natural material sculptures’ via this link. It’s by Val Smith.
www.art4net.comThis website is an exciting resource for images and information about artists, movements and galleries.
History
Ancient Egypt. George Hart. Published by Dorling Kindersley, 1993. ISBN 0751600180
http://www.artyfactory.com/egyptian_art/egyptian_art_lessons.htmThere is a hieroglyphic alphabet at this website.
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PSHE
Daddy will you Miss Me? Wendy McCormick & Jennifer Eachus. Published by Orchard Books, 1999. ISBN 1 86039 017 X
Do I have a Daddy? Jeanne Warren Lindsay. Published by Morning Glory, 1991. ISBN 1885356633
Loneliness & Making Friends. Sarah Levete. Published by Franklin Watts, 1996. ISBN 0749636270
Making Friends. Sarah Levete. Published by Aladdin Books, 2007. ISBN 978-0-7496-7496-0
Relationships. Carol Ballard. Published by White-Thomson Ltd, 2004. ISBN O 7502 4340 6
Tough Topics: Divorce and Separation. Patricia J.Murphy. Published by Heinemann, 2008. ISBN 978 0 431 90784 0
Bereavement
Books marked with an * have a spiritual dimension which some people may not think is appropriate to all children.
Are You Sad, Little Bear? Rachel Rivett. Published by Lion, 2009. ISBN 978 0 7459 6137 8*
Saying Goodbye to A Parent. Nicola Edwards. Published by Chrysalis Children’s Books, 2003. ISBN 184 138 8355
Saying Goodbye to A Pet. Nicola Edwards. Published by Chrysalis Children’s Books, 2003.ISBN 184138 837 8
Tough Topics: Death. Patricia J. Murphy. Published by Heinemann, 2008. ISBN 978 0 431 90783 3
What do you know about death and dying. Pete Sanders and Steve Myers. Published by Gloucester Press, 1995. ISBN 0 7496 2172 9
When Goodbye is For Ever. Lois Rock. Published by Lion, 2004. ISBN 0 7459 4879 0
When People Die. Sally Hewitt. Published by Franklin Watt, 1993. ISBN 978 0 7496 7090 0*
Theatre Alibi · Emmanuel Hall · Emmanuel Road · Exeter EX4 1EJtel + fax 01392 217315 · [email protected]
www.theatrealibi.co.uk42
