Ways of Seeing

respectsupportcollaborate create

enjoy encourage

We are grateful to the British Council and to Léargas for funding the

Comenius Regio project “Ways of Seeing”.

We are grateful to the Principal and Art Department, at St Oliver’s Community

College, Drogheda in particular Fiona Thornton for her invaluable input.

Particular thanks to the students for their enthusiastic participation.

We are particularly grateful to Head of Education, Jenny Siung at the Chester

Beatty Library, Dublin. Also the facilitators Thomas O’Connor, Tríona Langan

and Karma El Shawa for their creative input.

We are grateful to the Principal and the Art Department at St Patrick’s

College, Ballymena for their participation and invaluable input. Particular

thanks to the students for their enthusiastic participation.

We are grateful to the Head of Education, Colleen Watters and facilitators at

the Ulster Museum.

Particular thanks are due to Eamonn Quinn, County Louth VEC, for his support

in co-managing the project.

We are indebted to Lesley Millar, Inclusion and Diversity Service (IDS) for her

operational management of the project. Thanks are also due to Vicky Park

(IDS) who gave invaluable support and feedback.

Many thanks to Susan McGouran from Dungannon Teacher’s Centre for the

design and layout of the materials.

Thanks to Graeme McNeill of the AmmA Centre who facilitated filming and

the production of the DVD.

Thanks are due to Kieran Shields (SELB) who proof read the materials and to

Diane McKee for her administrative support.

Acknowledgements

Contents

Introduction 1

Project Participants 3

Schools and Museums 4

Talismans 6

Portraits 12

Shoes 18

Mandalas 24

Appendices 30 Intercultural Skills Ice Breaker Activity Common European Framework of Reference (CEFR) Chester Beatty Library: original lesson plans Ulster Museum: original lesson plans Extended activities

1

IntroductionIn the last decade, the Republic of Ireland and Northern Ireland have experienced a rapid increase in immigration which has resulted in their education systems facing the challenge and opportunity of integrating increasing numbers of pupils whose mother tongue is neither English nor Irish.

This project will address the integration of newcomer students and ensure inclusive practice in schools, museums and other educational institutions.

It will develop best practice in:

• Intercultural awareness.

• Learning the language of the host country.

• Promotingfirstlanguages,bi-lingualismand bi-literacy.

2

This learning resource will:

• Build capacity at whole school and classroom level in intercultural education.

• Promotetherelationshipbetweenmuseumsandpost-primaryschools.

• Develop students’ competence in the language of the host country.

• Develop visual literacy in educational institutions and educational settings i.e. museums and schools.

• Createanin-servicetrainingresourceforteachers,educationadvisersandmuseumeducationofficers.

• Improve the intercultural skills of school, education and museum staff.

• Unlock the potential of students in alternative educational contexts i.e. museums.

• Promotebi-literacyandbi-lingualismamongnewcomerstudentsincludingthepromotionoffirstlanguages.

• Promote social integration, learner autonomy and, through innovative pedagogical approaches, enhance lifelong learning.

3

The Inclusion and Diversity Service (IDS) The Inclusion and Diversity Service (IDS) promotes an inclusive school culture which turns linguistic, cultural and ethnic diversity to the educational advantage of all. IDS provides advice and support for newcomer students’ pastoral, language and academic needs. It promotes intercultural awareness and develops innovative resources for intercultural education.

St Patrick’s College BallymenaSt Patrick’s College Ballymena, County Antrim, Northern Ireland.A secondary school with a diverse student profile including large numbers of newcomers from e.g. Poland, Lithuania and Latvia.

The Ulster MuseumThe Ulster Museum is based in Belfast and is part of National Museums, Northern Ireland. It holds collections of art, natural history and human history. Its mission is to connect its collections with the widest possible audience to inform and inspire their understanding of the past, present and future of people, culture and places.

The Chester Beatty Library is a unique library and museum housing the collection of American mining engineer, Sir Alfred Chester Beatty. The collections comprise European, East Asian and Islamic rare books, religious materials, prints and decorative objects. It is based in the city centre of Dublin serving local, national and international visitors.

St.Oliver’s Community CollegeSt. Oliver’s Community College, Drogheda, County Louth, Republic of Ireland. A secondary school with a diverse student population of 122 students from 41 countries.

County Louth VEC is a local Statutory, Education and Training Authority in Dundalk Co.Louth. County Louth VEC is involved in education provision for second level and mature students, further education, vocational training, adult education, outdoor education and special education for early school leavers.

Project Participants

 

4

Curriculum Areas• Literacy• Art• History• LocalandGlobalCitizenship

• Geography

Language Development• Literacy• Biliteracy• Keylanguage• Useofhomelanguage

Pastoral • Workco-operatively

with others• Respondpositivelyto

others• Beopentonew

experiences• Increaseself-confidence

Intercultural Competencies• Empathy• Communicative

awareness• Knowledgediscovery• Respectforotherness

SchoolsMuseums

5

TalismanOur attitudes and values for the day are to…

enjoycreaterespectsupportcollaborateencourage

Why?Introduce students to talismans and the different cultures that adopt them.

Develop intercultural competencies of communicative awareness, knowledge discovery and respect for others.

What?• Explore the various meanings

and powers that talismans hold in different cultures.

• Show students talismans from the Islamic world.

• Understand that talismans can be made from different elements and that the intention of the bearer of the talisman is most important.

• Create their own talisman with a partner from a different school.

What you need . . .Foam clay Long thread or cord Pencils Felt pens/markers Scissors

6

Herbs and/or spicesGlue sticks Fact sheets Images of talismans

How?Welcome the students to the Chester Beatty Library. Use an ice breaker to start the session.

Introduce talismans and ask the students if they have seen or own one. Discuss the various functions and elements used to create a talisman and their presence in various religions and cultures namely: Islam, Christianity, Judaism and Buddhism.

Show the students images of different talismans from a number of traditions. View the Islamic section, the amulets on display and show talismans that are inscribed with the name of God and verses from the Qur’an. Talk about their functions, such as protection from evil, a cure for ailments, or good luck. Discuss their aesthetic value.

Provide students with a fact sheet about talismans to help inspire them as they create their own talisman.

Ask students to work in pairs to create a talisman of their own. Demonstrate how to use the foam clay, how to add colour to their talisman, how to write and draw on the clay to create patterns and intricate details and how to add herbs and spices. Pierce the clay, so that it can be connected to a thread and used as a necklace or bracelet.

Encourage students to think about the purpose of creating their talisman and how they intend to use it.

PreparationBefore visiting the museum, you may introduce talismans and pre-teach key language in class (see sample key language).

AfterwardsAfter visiting the museum you may record student reflections and evaluations of their talismans (see language focus cards).

See Appendices for the Museum’s original lesson plans

7

Who?Ourgroupincludes:

40 students from St. Oliver’s College, Drogheda and St. Patrick’s College, Ballymena.

Think about . . .Newandspecificvocabularythatstudentswillencountersuchas:

• talismans• Islam• protect• carry • wear

Links: Withotherareasoflearning:• Art • History• Citizenship• Geography

Tali

sma

ns Benchmarks based on the Common European

Framework of Reference

A1Listen and understand isolated, familiar words and phrases relating to talismans. Express ideas using symbols, pictures and labelling.

A2Readshorttextsegmentsanddiagramstofindamainideaand2-3detailsandanswer simple questions.Followdiscussionsandcontribute2-3phrasesonafamiliartopic.Spell and write frequently used topics words more consistently.

Literacy focus:Students should develop their ability to use:

- the language of describing- the language of enquiry- the language of explaining.

Maintain home language skills through:- the use of bilingual dictionaries- note-taking and recording ideas in home language if desired.

Provide key language terms in

advance

Use language focus cards

to help model language

Encourage students to

use illustrations to aid

understanding

Record ideas using illustrations and less verbal

means

8

Place newcomer students in groups with

good language role models

9

spices

WordinEnglish

wood

metal

gold

paper

herbs

a talisman

silver

Picture Wordinmylanguage

CEFR A1 Sample Key Language

My language A sentence using this wordI understand this wordYes / No

a talisman

Islam

wood

metal

gold

silver

paper

stone

plants

herbs

spices

evil

ailments

luck

powers

Understand why people use talismans

Identify a talisman

Make my own talisman

I can ra

CEFR A2 Sample Key Language

10

Lan

gu

ag

e fo

cus

card

sPo

ssib

le u

ses

for

lang

uage

foc

us c

ards

:•

Cut

up p

hras

es in

to w

ord

card

s fo

r se

nten

ce b

uild

ing

acti

viti

es.

• In

clud

e so

me

card

s w

ith

full

stop

s on

the

m.

This

foc

uses

on

punc

tuat

ion.

• G

ive

pupi

ls t

he w

hole

car

d as

a s

peak

ing

fram

e to

hel

p st

ruct

ure

expl

anat

ions

.•

Enco

urag

e pu

pils

to

use

card

s to

hel

p w

ith

crea

ting

sen

tenc

es.

11

Talis

mans

can b

e

be m

ade o

f

wood

m

eta

l gold

silv

er

paper

sto

ne

pla

nts

herb

s

spic

es

They

can b

e

carr

ied

or

worn

.

They

can b

e

used

to p

rote

ct a p

ers

on

from

evil.

as a

cure

fo

r ailm

ents

.

as a

good luck

charm

.

to h

elp

achie

ve

goals

My

talis

man

is

fo

r …………………………

..

12

Portraits Our attitudes and values for the day are to…

enjoycreaterespectsupportencouragecollaborateWhy?Learn ways of looking at and understanding portraits and how this is communicated visually.

Develop intercultural competencies of communicative awareness, knowledge discovery and respect for others.

What?• Analyse choices.

• Analyse as characters.

• Analyse as art.

• Spend time looking at art.

• Develop vocabulary.

• Make collage portraits that represent student’s own identity.

What you need . . .Portraits from the Royal Ulster Academy exhibitionCollage materials such as old newpapers and magazinesPencils and paperGlueMirrors

How?Welcoming students to the Ulster Museum. Use an ice breaker to start the session.

Introduce portraits: What is a portrait? Why were they the most popular type of painting in the 17th, 18th and 19th centuries? What are they for?

Analyse a selection of portraits from the collection. What did they choose to wear? Where are they standing? What objects are they holding?

Use one of the portraits to analyse the character. Think about how we judge people’s character from their face and body language. Explain that a portrait should show what someone is like on the inside as well as the outside. The word ‘portrait’ is said to come from French ‘trait pour trait’. This has a double meaning - line for line (an accurate likeness) and trait for trait (personality traits).

Look at another portrait. Think about the visual elements and how they have been used.

Analyse the composition and talk about the medium.

PreparationBefore visiting the gallery, you may introduce portraits and pre-teach key language in class (see sample key language).

AfterwardsAfter visiting the gallery you may record student reflections and evaluations of their portraits (see language focus cards).

See Appendices for the Museum’s original lesson plans

Who?Ourgroupincludes:

40 students from St. Oliver’s College, Drogheda and St.Patrick’s College, Ballymena.

Think about . . .Newandspecificvocabularythatstudentswillencountersuchas:

• costume• background• prop• role

Links: Withotherareasoflearning:• Art • History• Citizenship• Geography

13

Po

rtra

its

Benchmarks based on the Common European Framework of Reference

A1Listen and understand isolated, familiar words and phrases relating to portraits. Use visual cues to help locate information.Express ideas using pictures.

A2Get the main idea of short conversations or explanations.Readshorttextsegmentstofindamainidea,provide2-3details,thenanswersimple questions. Use a writing frame to write a short evaluation.

Literacy focus:Students should develop their ability to use:

- the language of comparing- the language of evaluating- the language of identifying.

Maintain home language skills through:- the use of bilingual dictionaries- note-taking and recording ideas in home language if desired.

Use language focus cards

to help model language

Record ideas using illustrations and less verbal

means

Provision of key language

terms in advance

Encourage students to use

illustrations to aid understanding

Place newcomer students in groups with

good language role models

14

15

the medium

WordinEnglish

aself-portrait

a group portrait

the props

the people

a collage

a portrait

the background

Picture Wordinmylanguage

CEFR A1 Sample Key Language

the costume

pencil

crayon

paint

Analyse a portrait

Make a collage portrait

I can ra

CEFR A2 Sample Key Language

the costume

bust-length

full-length

the background

the props

the people

the role

the composition

the medium

a collage

Analysingart

Analysingchoices

Analysingcharacter

a portrait

aself-portrait

a group portrait

appearance

likeness

the personality

a face

the body language

judge character

feelings

Portraits

16

My language A sentence using this wordI understand this wordYes / No

Lan

gu

ag

e fo

cus

card

sPo

ssib

le u

ses

for

lang

uage

foc

us c

ards

:•

Cut

up p

hras

es in

to w

ord

card

s fo

r se

nten

ce b

uild

ing

acti

viti

es.

• In

clud

e so

me

card

s w

ith

full

stop

s on

the

m.

This

foc

uses

on

punc

tuat

ion.

• G

ive

pupi

ls t

he w

hole

car

d as

a s

peak

ing

fram

e to

hel

p st

ruct

ure

expl

anat

ions

.•

Enco

urag

e pu

pils

to

use

card

s to

hel

p w

ith

crea

ting

sen

tenc

es.

17 

A p

ort

rait

is

a p

ain

tin

g

of

a p

ers

on

.

A p

ort

rait

sho

ws

wh

at

a p

ers

on

is

like

o

n t

he

ou

tsid

e.

insi

de

.

The

 

pe

rso

n

ha

s c

ho

sen

to

we

ar

……

…

to s

it

on

……

…

to s

tan

d

ne

xt

to…

…

in f

ron

t o

f……

to h

old

a

……

…

to p

ort

ray

him

/he

rse

lf a

s …

….

My

co

llag

e

is

……

……

…

Shoes andPrintmaking

Our attitudes and values for the day are to…

enjoycreaterespectsupportencouragecollaborateWhy?Increase awareness of the links that footwear has to environment, culture and society.

Develop intercultural competencies of communicative awareness and respect for others.

What?• Look closely at shoes.

• Understand that shoes can be made of different materials.

• Explore why we wear shoes.

• Learn a simple block-printing technique.

• Learn how simple drawings can be transformed by using different media.

What you need . . .Shoes from the Ulster Museum collection (Turkish inlay bath shoes, Chinese shoes, Lotus shoes,Finnish Sami boots, Indian Paduka sandals, Japanese Geta shoes, Dutch clogs)Quickprint (polystyrene printing block)and pencilsViewfinders (pieces of paper with a square ‘window’ cut in them)Printing inkRollers

18

How?

PreparationBefore visiting the gallery, you may introduce shoes and pre-teach key language in class (see sample key language).

AfterwardsAfter visiting the gallery you may record student reflections and evaluations of their shoes (see language focus cards).

Who?Ourgroupincludes:

40 students from St. Oliver’s College, Drogheda and St.Patrick’s College, Ballymena.

Think about . . .Newandspecificvocabularythatstudentswillencountersuchas:

• Types of shoe: sandal, boot, clog, slipper.

• Materials: wood, wire, animal skin.• Climate: hot, cold, wet, sandy.• Construction: tie, weave, sow, carve.• Purpose: transport, protect, reflect

status.

Links: Withotherareasoflearning:

• Art • History• Citizenship• Geography

See Appendices for the Museum’s original lesson plans

19

Welcoming students to the Ulster Museum. Use an ice breaker to start the session.

Introduce the traditional shoes from the collection (Turkish inlay bath shoes, Chinese Shoes, Lotus Shoes, Finnish Sami boots, Indian Paduka sandals, Japanese Geta shoes,Dutch Clogs).

Ask students why do people wear shoes? What do shoes protect from? What materials are the shoes made from? Why are they made from these materials? What purpose are the shoes made for? What do these shoes say about a person’s wealth or occupation? Do the shoes have any religious significance?

After looking at the shoes and thinking about their stories, ask students to use viewfinders to select an interesting pattern or detail from the shoes. Draw the pattern using simple and direct lines straight into the quickprint. The idea is not to draw the whole shoe but just a detail. Then roll ink on the ‘block’ and make prints.

A1Listen and understand isolated, familiar words and phrases relating to shoes and materials. Express ideas using prints and labelling.

A2Followdiscussionsandcontribute2-3phrasesonathetopicofshoes.Recount information and sequence facts about shoes. Use a writing frame to write short evaluation.

Literacy focus:Students should develop their ability to use:

- The language of identifying- The language of enquiring- The language of explaining

Maintain home language skills through:- the use of bilingual dictionaries- note-taking and recording ideas in home language if desired.

20

Sh

oe

s Benchmarks based on the Common European Framework of Reference

Use language focus cards

to help model language

Record ideas using illustrations and less verbal

means

Provision of key language

terms in advance

Encourage students to use

illustrations to aid understanding

Place newcomer students in groups with

good language role models

CEFR A1 Sample Key Language

hot

Materialsusedtomakeshoes

Climate&Environment

Typesofshoes

WordinEnglish

a pair of sandals

a pair of clogs

a pair of slippers

animal skin

wool

snowy

icy

a pair of boots

wood

Picture Wordinmylanguage

21

22

a pair of boots

a pair of sandals

a pair of clogs

a pair of slippers

hot

cold

wet

dry

sandy

snowy

to transport

to protect

toreflectoccupation

to decorate

to symbolise wealth

for recreation (e.g. baths)

for religious reasons

Typesofshoes

Materialsusedtomakeshoes

Climateandenvironment

Purposeofshoes

wood

animal skin

silk

straw

wool

Identify shoe making materials

Explain why shoes are worn

I can ra

CEFR A2 Sample Key Language

My language A sentence using this wordI understand this wordYes / No

Lan

gu

ag

e fo

cus

card

s

Poss

ible

use

s fo

r la

ngua

ge f

ocus

car

ds:

• Cu

t up

phr

ases

into

wor

d ca

rds

for

sent

ence

bui

ldin

g ac

tivi

ties

. •

Incl

ude

som

e ca

rds

wit

h fu

ll st

ops

on t

hem

. Th

is f

ocus

es o

n pu

nctu

atio

n.•

Giv

e pu

pils

the

who

le c

ard

as a

spe

akin

g fr

ame

to h

elp

stru

ctur

e ex

plan

atio

ns.

• En

cour

age

pupi

ls t

o us

e ca

rds

to h

elp

wit

h cr

eati

ng s

ente

nces

.

23

These

are

boots

.

sandals

.

clo

gs.

slip

pers

.

Shoes

can b

e

made f

rom

w

ood.

anim

al sk

in.

silk

.

wir

e.

stra

w.

wool.

ivory

.

They

can b

e

worn

to

pro

tect

from

hot

sand.

hot

wate

r.

cold

and ice.

rough s

urf

aces.

mud.

Shoes

can b

e

worn

to

decora

te

feet.

My

patt

ern

is

fr

om

…

……

…..

 

24

MandalasOur attitudes and values for the day are to…

enjoycreaterespectsupportencouragecollaborateWhy?Introduce students to the Tibetan mandalas on display and explore their significance to the Buddhist religion.

Develop intercultural competencies of knowledge discovery and respect for others.

What?• Investigate what mandalas look

like.

• Learn who makes mandalas.

• Understand why mandalas are made.

What you need . . .Video of a mandala being createdPencilsColoured markersPlain A4 white paperSelection of black and white printouts of mandala designsWorksheet/ Questionnaire Sample jars of coloured sand Museum displays of mandalas

PreparationBefore visiting the museum, you may introduce mandalas and pre-teach language in class (see sample key language).

AfterwardsAfter visiting the museum you may record student reflections and evaluations (see language focus cards).

See Appendices for the Museum’s original lesson plans

Who?Ourgroupincludes:40 students from St Oliver’s College, Drogheda and St Patrick’s College, Ballymena

Withotherareasoflearning:

• Art • History• Citizenship• Geography

Links:

25

Newandspecificvocabularythatstudentswillencountersuchas:

• mandala• Buddhist

Use an ice breaker to start the session.

Students have a brief introductory talk on mandalas describing what they look like and why they are made. Explain to students that mandalas can be made of coloured sand, paint or paper. They are created by Tibetan Buddhist monks and Navajo Indians. Explain that ultimately the mandala is destroyed to emphasize the impermanence of life or the circle of life.

Have an opportunity to look at sample coloured sand used in mandala formation.

They watch a video of Tibetan monks making a mandala.

Students are divided into groups of 4-6. They are given a questionnaire and look at the museum collections of mandalas. They also make drawings from the mandalas to act as inspiration when they create their own mandala.

How?

Think about . . .

Ma

nd

ala

s Benchmarks based on the Common European Framework of Reference

A1Follow single step by step routine instructions by observing others.Use visual cues to help locate information.

A2Follow straightforward instructions.Readshorttextsegmentsanddiagramstofindamainideaand2-3detailsandanswer simple questions on mandalas.

Literacy focus:Students should develop their ability to use:

- The language of describing- The language of enquiring

Maintain home language skills through:- the use of bilingual dictionaries- note-taking and recording ideas in home language if desired.

26

Use language focus cards

to help model language

Record ideas using illustrations and less verbal

means

Encourage students to use

illustrations to aid understanding

Place newcomer students in groups with

good language role models

Provision of key language

terms in advance

27

WordinEnglish

Tibetan monks

paper

the cycle of life

a mandala

paint

Picture Wordinmylanguage

CEFR A1 Sample Key Language

 

Buddhist

coloured sand

metal

stone

My language A sentence using this word I understand this wordYes / No

Understand who makes mandalas and why

Understand what mandalas are made from

I can ra

a mandala

Tibetan monks

Buddhism

paint

sand

paper

metal

stone

the cycle of life

symbols

astrology

to symbolise

to destroy

life

death

reincarnation

CEFR A2 Sample Key Language

28

Lan

gu

ag

e fo

cus

card

sPo

ssib

le u

ses

for

lang

uage

foc

us c

ards

:•

Cut

up p

hras

es in

to w

ord

card

s fo

r se

nten

ce b

uild

ing

acti

viti

es.

• In

clud

e so

me

card

s w

ith

full

stop

s on

the

m.

This

foc

uses

on

punc

tuat

ion.

• G

ive

pupi

ls t

he w

hole

car

d as

a s

peak

ing

fram

e to

hel

p st

ruct

ure

expl

anat

ions

.•

Enco

urag

e pu

pils

to

use

card

s to

hel

p w

ith

crea

ting

sen

tenc

es.

29

Mandala

s

can b

e

be m

ade fro

m

pain

t.

colo

ure

d s

and.

paper.

m

eta

l.

sto

ne.

Mandala

s

are

m

ade b

y

Tib

eta

n m

onks.

They

are

used

to r

epre

sent

the c

ycle

of lif

e.

They

are

destr

oyed

to

sym

bolis

e

the im

perm

anence o

f lif

e.

Ap

pe

nd

ice

s

30

Whatareinterculturalskills?

Toleranceofambiguity

Behaviouralflexibility

Communicativeawareness

Knowledgediscovery

Respectforotherness

Empathy

is the ability to accept lack of clarity and to be able to deal constructively with situations where this is the case.

is the ability to adapt your own conduct to different requirements and situations.

is the ability to identify and use forms of expression of people from other cultural backgrounds and to modify your own forms of expression correspondingly.

is the ability to find out about a culture and cultural practices and to use that information in your own communication and interaction.

is about curiosity and openness, as well as a readiness to suspend disbelief about other cultures and belief about your own.

is the ability to understand intuitively what other people think and how they feel in given situations.

Understanding the Skills and Concepts

Source: Adapted from Autobiography of Intercultural encounters from the Council of Europehttp://www.coe.int/t/dg4/autobiography/AutobiographyTool.en.asp

31

Whatareinterculturalskills?

A1

Bre

ak

thro

ug

h

A

2

Wa

ys

tag

e

B1

Th

res

ho

ld

Sp

ea

kin

g &

lis

ten

ing

T

he

pu

pil

ca

n

Fo

llow

sin

gle

ste

p r

ou

tin

e in

str

uctio

ns b

y

ob

se

rvin

g o

the

rs

Lis

ten

fo

r &

un

de

rsta

nd

iso

late

d,

fam

ilia

r w

ord

s a

nd

ph

rase

s w

he

n lis

ten

ing

to

cle

ar,

slo

w r

ea

din

g a

lou

d

Use

pe

rso

na

l vo

ca

bu

lary

fo

r im

me

dia

te

en

vir

on

me

nt

Co

nve

y im

me

dia

te n

ee

ds &

ask f

or

assis

tan

ce

Ind

ica

te la

ck o

f co

mp

reh

en

sio

n

Fo

llow

str

aig

htf

orw

ard

fa

mili

ar

instr

uctio

ns

Lis

ten

to

oth

ers

’ co

ntr

ibu

tio

ns in

cla

ss a

nd

u

se

th

em

as a

mo

de

l

Ask o

the

r p

up

ils f

or

he

lp

Ask q

ue

stio

ns a

bo

ut

wo

rd m

ea

nin

gs in

a t

ext

Fo

llow

dis

cu

ssio

ns &

co

ntr

ibu

te 2

-3 p

hra

se

s

on

a f

am

ilia

r to

pic

Ge

t th

e m

ain

id

ea

of

sh

ort

co

nve

rsa

tio

ns o

r e

xp

lan

atio

ns

Un

de

rsta

nd

te

ach

er

exp

lan

atio

ns s

up

po

rte

d

with

illu

str

atio

ns

Un

de

rsta

nd

mo

st

instr

uctio

ns

Lis

ten

fo

r &

id

en

tify

mo

st

rele

va

nt c

on

cre

te

facts

Ask q

ue

stio

ns t

o c

lari

fy in

form

atio

n &

re

sp

on

d

to o

the

rs’ q

ue

stio

ns

Fo

llow

ma

in p

oin

ts &

co

ntr

ibu

te t

o c

lass

dis

cu

ssio

ns o

n f

am

ilia

r to

pic

s

Sp

ea

k c

lea

rly t

o b

e u

nd

ers

too

d b

y a

sym

pa

the

tic n

ative

sp

ea

ke

r

Se

qu

en

ce

id

ea

s &

in

form

atio

n w

ith

he

lp

Use

de

ve

lop

ing

vo

ca

bu

lary

to

exp

ress s

imp

le

tho

ug

hts

& o

pin

ion

s

Re

ad

ing

T

he

pu

pil

ca

n

Fo

llow

sim

ple

wri

tte

n in

str

uctio

ns w

ith

acco

mp

an

yin

g illu

str

atio

ns

Ma

tch

la

be

ls o

n d

iag

ram

s e

tc…

Lo

ca

te &

id

en

tify

se

ctio

ns o

n a

ma

p o

r

dia

gra

m u

sin

g a

ke

y

Use

illu

str

atio

ns t

o h

elp

un

de

rsta

nd

th

e t

op

ic

of

a t

ext

Use

vis

ua

l cu

es t

o h

elp

lo

ca

te in

form

atio

n

Use

a b

ilin

gu

al d

ictio

na

ry t

o lo

ok u

p k

ey

wo

rds p

rovid

ed

by t

he

te

ach

er

Fo

llow

sim

ple

wri

tte

n in

str

uctio

ns

Fo

llow

a t

ext

bo

ok w

hile

it

is r

ea

d a

lou

d

Re

ad

sh

ort

te

xt

se

gm

en

ts &

dia

gra

ms t

o f

ind

a

ma

in id

ea

& 2

-3 d

eta

ils &

an

sw

er

sim

ple

qu

estio

ns

Dis

tin

gu

ish

be

twe

en

fic

tio

n &

no

n f

ictio

n

Ca

teg

ori

se

wo

rds a

nd

co

nce

pts

in

dia

gra

ms

su

ch

as w

ord

ma

ps o

r V

en

n d

iag

ram

s

Re

co

un

t &

se

qu

en

ce

ma

in e

ve

nts

with

su

pp

ort

su

ch

as a

sto

ryb

oa

rd

Use

a b

ilin

gu

al d

ictio

na

ry t

o lo

ok u

p u

nfa

mili

ar

wo

rds

Un

de

rsta

nd

mo

st

wri

tte

n in

str

uctio

ns

Re

ad

a v

ari

ety

of

texts

& u

se

a w

ide

nin

g

ran

ge

of

rea

din

g s

tra

teg

ies

Re

ad

sh

ort

or

slig

htly lo

ng

er

text

se

gm

en

ts &

exp

lain

in

ow

n w

ord

s u

sin

g a

fra

me

wo

rk

Use

a t

extb

oo

k in

de

x,

co

nte

nts

ta

ble

etc…

. to

fin

d s

pe

cific

in

form

atio

n

Re

ad

to

fin

d t

he

gis

t, m

ain

id

ea

s a

nd

co

ncre

te

de

tails

in

a t

ext,

dia

gra

m o

r ch

art

Ask q

ue

stio

ns &

exp

ress s

imp

le o

pin

ion

s o

n

texts

re

ad

Re

co

un

t a

nd

se

qu

en

ce

id

ea

s

Use

a b

ilin

gu

al d

ictio

na

ry t

o c

lari

fy m

ea

nin

g

Wri

tin

g /

d

em

on

str

ati

ng

u

nd

ers

tan

din

g

Th

e p

up

il ca

n

Co

mp

lete

ga

pp

ed

se

nte

nce

s u

sin

g w

ord

b

an

ks,

lab

elle

d d

iag

ram

s,

ma

ps o

r ch

art

s a

s a

ke

y

Exp

ress id

ea

s u

sin

g s

ym

bo

ls,

pic

ture

s &

la

be

llin

g

Ma

tch

wo

rds o

r sh

ort

ph

rase

s t

o p

ictu

res

Wri

te p

ers

on

al ke

y w

ord

s

Fo

rm u

pp

er

an

d lo

we

r ca

se

le

tte

rs

Be

gin

to

use

sim

ple

pu

nctu

atio

n

Be

gin

to

pro

du

ce

le

gib

le h

an

dw

ritin

g

Use

co

rre

ct

pu

nctu

atio

n c

on

sis

ten

tly*

Sp

ell

& w

rite

fre

qu

en

tly u

se

d t

op

ics w

ord

s

mo

re c

on

sis

ten

tly

Sh

are

id

ea

s a

bo

ut

wh

at

the

y a

re g

oin

g t

o

wri

te t

o a

lim

ite

d e

xte

nt

De

vis

e a

tim

elin

e f

or

a t

op

ic s

uch

as t

he

ir o

wn

life

, a

his

tori

ca

l e

ve

nt,

th

e g

row

th o

f a

b

usin

ess e

tc…

.. u

sin

g w

ord

s &

pic

ture

s

Use

a w

ritin

g f

ram

e t

o w

rite

sh

ort

de

scri

ptive

or

exp

lan

ato

ry t

ext

on

a f

am

ilia

r to

pic

Giv

e s

imp

le p

ers

on

al re

actio

ns t

o t

ext

usin

g a

w

ritin

g f

ram

e

Be

gin

to

ch

eck w

ork

*C

ap

ita

l le

tte

rs,

full

sto

ps,

co

mm

as

Ou

tlin

e a

te

xt,

extr

actin

g m

ain

po

ints

& s

om

e

de

tails

, w

ith

su

pp

ort

Wri

te s

ho

rt n

arr

ative

or

de

scri

ptive

te

xts

usin

g

pla

nn

ing

, d

raft

ing

& r

evis

ing

, w

ith

su

pp

ort

Wri

te a

n a

cco

un

t fr

om

an

oth

er

po

int

of

vie

w

usin

g t

he

1st p

ers

on

na

rra

tive

, w

ith

su

pp

ort

Giv

e a

bri

ef

de

scri

ptio

n o

f a

pro

ce

ss o

r co

nce

pt

with

th

e a

id o

f n

ote

s,

he

ad

ing

s &

d

ictio

na

rie

s

Org

an

ise

ow

n w

ritin

g u

sin

g h

ea

din

gs,

su

bh

ea

din

gs &

pa

rag

rap

hs

Re

co

rd o

wn

re

actio

ns &

op

inio

ns,

with

su

pp

ort

Sta

rt s

en

ten

ce

s in

diffe

ren

t w

ays

Be

gin

to

use

sim

ple

pre

se

nt

& p

ast

ten

se

s

co

rre

ctly

Use

a r

an

ge

of

pu

nctu

atio

n

Cro

ss C

urr

icu

lar

Lan

gu

ag

e D

escri

pto

rs b

ased

on

th

e E

uro

pean

Lan

gu

ag

es F

ram

ew

ork

& C

om

mu

nic

ati

on

Skills

lev

els

1 –

3

Th

ese

de

scri

pto

rs d

escri

be

wh

at

a p

up

il w

ith

En

glis

h a

s a

se

co

nd

la

ng

ua

ge

sh

ou

ld b

e a

ble

to

do

at

va

rio

us s

tag

es in

th

eir

la

ng

ua

ge

de

ve

lop

me

nt.

Th

ey a

re r

ele

va

nt

to a

ll d

iscip

line

s.

Mo

st

stu

de

nts

will

be

at

A1

sta

ge

fo

r th

e f

irst

co

up

le o

f te

rms,

be

twe

en

A1

& A

2 d

uri

ng

te

rm 3

an

d in

to t

he

se

co

nd

ye

ar

an

d w

ork

ing

to

wa

rds B

1 le

ve

l o

ve

r th

e

ne

xt

co

up

le o

f ye

ars

. H

ow

eve

r, a

s w

ith

all

stu

de

nts

, p

rog

ress v

ari

es.

So

me

pu

pils

will

pro

gre

ss m

ore

qu

ickly

th

an

th

is.

Ac

tiv

itie

s f

or

Sta

ge

A1

Sp

ea

kin

g &

Lis

ten

ing

S

ign

po

st

lesso

ns w

ith

ill

ustr

atio

ns

A

cco

mp

an

y in

str

uctio

ns w

ith

vis

ua

ls o

r g

estu

res

V

isu

al le

sso

n in

tro

du

ctio

ns:

Slo

w r

eve

al

Ora

l sta

rte

r: p

ictu

re o

n b

oa

rd o

r p

roje

cto

r, b

rain

sto

rm f

or

ke

y

ide

as,

wri

te u

p &

illu

str

ate

A

ctive

lis

ten

ing

activitie

s

A

sk s

imp

le d

ire

cte

d q

ue

stio

ns

req

uir

ing

min

ima

l o

r n

on

-ve

rba

l re

sp

on

se

: ‘S

ho

w m

e t

he

……

’ ‘P

oin

t to

th

e ……

.’

R

ea

din

g

If

te

xt

is s

ma

ll, e

nla

rge

it

R

ea

d t

ext

alo

ud

with

cla

ss.

Try

so

me

active

lis

ten

ing

ba

se

d o

n

text.

M

atc

h s

ing

le w

ord

s o

r sh

ort

p

hra

se

s t

o d

iag

ram

s &

pic

ture

s

G

ive

a lis

t o

f 5

-6 k

ey w

ord

s f

rom

te

xt

to lo

ok u

p in

fir

st

lan

gu

ag

e

or

illu

str

ate

with

pa

rtn

er.

Th

en

fin

d &

hig

hlig

ht

wo

rds in

th

e

text.

G

ive

ve

ry s

imp

le g

rid

s t

o h

elp

e

xtr

act

4-5

ke

y p

oin

ts

S

eq

ue

nce

pic

ture

s t

o r

ete

ll sto

ry

or

reco

rd e

ve

nt

or

pro

ce

ss

Wri

tin

g /

de

mo

ns

tra

tin

g

un

de

rsta

nd

ing

L

ab

elli

ng

C

loze

pro

ce

du

re u

sin

g b

an

k o

f fa

mili

ar

no

un

s

D

raw

& la

be

l C

rea

te s

tory

bo

ard

C

op

y c

ap

tio

ns &

ma

tch

to

pic

ture

s

C

rea

te g

rap

h,

ch

art

, d

iag

ram

Ac

tiv

itie

s f

or

Sta

ge

A2

Lis

ten

ing

& S

pe

ak

ing

S

ign

po

st

the

le

sso

n w

ith

sh

ort

ph

rase

s

B

rea

k u

p in

str

uctio

ns in

to m

an

ag

ea

ble

ch

un

ks &

wri

te in

sim

ple

lan

gu

ag

e o

n b

oa

rd

V

isu

al le

sso

n in

tro

du

ctio

ns a

s a

t sta

ge

A1

+ q

uic

k-w

rite

s:

Giv

e g

rou

ps

of

4-5

pu

pils

an

A3

pa

ge

with

a t

op

ic p

ictu

re in

th

e m

idd

le.

Th

e g

rou

p

dis

cu

s t

he

pic

ture

& e

ach

pe

rso

n w

rite

s o

r d

raw

s s

om

eth

ing

re

late

d t

o

it.

On

e m

em

be

r re

po

rts b

ack.

A

ctive

lis

ten

ing

at

a h

igh

er

leve

l D

ire

cte

d q

ue

stio

ns r

eq

uir

ing

sh

ort

ve

rba

l re

sp

on

se

s

S

pe

akin

g f

ram

es t

o h

elp

se

qu

en

ce

th

ou

gh

ts,

rep

ort

ba

ck

Ac

tiv

itie

s f

or

Sta

ge

B1

Sp

ea

kin

g &

lis

ten

ing

S

ign

po

st

lesso

n w

ith

sh

ort

p

hra

se

s

B

rea

k u

p in

str

uctio

ns in

to

ma

na

ge

ab

le c

hu

nks

V

isu

al in

tro

du

ctio

ns,

ora

l sta

rte

rs

& q

uic

k w

rite

s s

till

ap

pro

pri

ate

A

ctive

lis

ten

ing

+ d

icta

glo

ss

L

ess s

tru

ctu

red

sp

ea

kin

g f

ram

es

for

ora

l p

rese

nta

tio

ns &

re

po

rt

ba

ck

Re

ad

ing

E

nco

ura

ge

to

re

ad

te

xt

at

ho

me

in

a

dva

nce

of

lesso

ns

R

ea

d t

exts

alo

ud

an

d a

sk p

up

ils t

o

pa

rtic

ipa

te

A

ctive

lis

ten

ing

still

ap

pro

pri

ate

U

se

ke

y q

ue

stio

ns /

pro

mp

ts t

o

gu

ide

re

ad

ing

& r

ese

arc

h

L

ess s

tru

ctu

red

fra

me

s t

o h

elp

w

ith

pe

rso

na

l re

sp

on

se

to

re

ad

ing

E

nco

ura

ge

no

te t

akin

g in

En

glis

h

or

firs

t la

ng

ua

ge

W

riti

ng

S

ha

red

& p

air

ed

wri

tin

g

L

ess s

tru

ctu

red

wri

tin

g f

ram

es t

o:

Wri

te a

de

scri

ptive

acco

un

t D

escri

be

a p

roce

ss o

r e

ve

nt

Giv

e a

pe

rso

na

l re

actio

n

Ou

tlin

e a

te

xt

Wri

te a

re

po

rt

Giv

e a

n a

cco

un

t fr

om

an

oth

er

po

int

of

vie

w

D

iscu

ss a

nd

use

go

od

wri

tin

g

mo

de

ls t

o h

elp

pu

pils

co

me

up

w

ith

ow

n s

tru

ctu

re f

or

wri

tin

g a

n

acco

un

t o

r a

pie

ce

of

co

urs

ew

ork

Ac

tiv

itie

s f

or

Sta

ge

A2

Re

ad

ing

P

rovid

e s

um

ma

ry o

f ch

ap

ter

in a

dva

nce

R

ea

d t

ext

alo

ud

with

cla

ss.

Active

lis

ten

ing

ba

se

d o

n t

ext

still

ap

pro

pri

ate

M

atc

h t

itle

to

pic

ture

, title

to

pa

rag

rap

h,

sh

ort

te

xt

to p

ictu

re

C

ut

up

te

xt

an

d a

sk p

up

ils t

o p

ut

in c

orr

ect

ord

er

T

rue

/ f

als

e &

mu

ltip

le c

ho

ice

qu

estio

ns

C

loze

pro

ce

du

re

U

se

gri

ds t

o h

elp

extr

act

sp

ecific

in

form

atio

n

Ac

tiv

itie

s f

or

Sta

ge

A2

W

riti

ng

S

ha

red

& p

air

ed

wri

tin

g

C

loze

pro

ce

du

re w

ith

no

un

s,

ve

rbs,

ad

jective

s

C

rea

te o

wn

sto

ryb

oa

rd o

r tim

elin

e

C

rossw

ord

s f

ollo

we

d b

y d

em

on

str

atin

g u

nd

ers

tan

din

g o

f 4

-5 k

ey w

ord

s:

illu

str

ate

or

use

in

a s

en

ten

ce

U

se

wri

tin

g f

ram

e t

o:

Wri

te a

sh

ort

de

scri

ptive

acco

un

t o

r re

po

rt

De

scri

be

a p

roce

ss o

r e

ve

nt

Exp

lain

wh

at

ha

pp

en

ed

G

ive

a p

ers

on

al re

actio

n

P

len

ary

/co

ns

oli

da

tio

n i

de

as

fo

r a

ll

lev

els

A

sk p

up

ils t

o w

rite

or

dra

w 3

th

ing

s t

he

y r

em

em

be

r fr

om

th

e

lesso

n

S

imp

le o

ral d

iscu

ssio

n &

ma

in

po

ints

su

mm

ari

se

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Ice Breaker Activity

SoftBallGame

Sit in a circle.

1. The leader introduces the game by saying - My first name is __________ and I like ____________.

The leader passes the ball to the person on the left. That person says his/her name and something he/she enjoys, then passes the ball to the left. Continue until everyone has introduced themselves.

2. The leader throws the ball at random to a person in the circle recalling his/her name and what he/she likes.

That person then does the same to someone else in the circle etc.

Talisman-MakingWorkshopLesson plan by Karma El Shawa, facilitator, Chester Beatty Library

Sacred Traditions Gallery, Islamic Collection, Chester Beatty Library

© The Trustees of the Chester Beatty Library

Examplesoftalismans © The Trustees of the Chester Beatty LibraryLowerleft orange-red oval, Amulet, Carnelian, Arabic text, AD 17th - 19th century Iran or India, CBL Is As 62

Upperright, Amulet, Quartz crystal, Arabic text, Iran or India, AD 1656 (dated AH 1067) CBL Is As 61

Upperrow, square, clear with truncated corner, Amulet, Quartz, Arabic text, AD 17th – 19th century, Iran or India, CBL Is As 66

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ChesterBeattyLibrarySupervisor: Jenny Siung, Head of Education, Chester Beatty LibraryParticipating schools: St. Oliver’s, Drogheda and St. Patrick’s, BallymenaFacilitators: Karma El Shawa (workshop leader), Tríona Langan, and Thomas O’Connor

WorkshopAimsandObjectivesAim: To introduce students to talismans and the different cultures that adopt them. Create their own talismans in collaboration with a partner student from a different school.

Objectives:- To explore the various meanings and powers that talismans hold in different cultures and show students the

talismans from the Islamic world on display at the 2nd floor gallery at the Chester Beatty Library (CBL).- To understand that talismans can be made from different elements including wood, metal, gold, silver, paper,

stone, plants, herbs and spices, and that the intention of the bearer of the talisman is most important. The talisman may be carried or worn to help protect a person from evil, as a cure for ailments, for good luck, or help a person achieve life goals.

- To assist the students in creating their own talisman (based on their own desired intentions to carry or wear them) through working with a partner student from a different school.

Programme

11:00Welcome the students to CBL and provide an introduction to the workshop and activities of the day.

What is a talisman and what are they used for?Talk about the notion of talismans while asking the students whether they have seen or own one - to trigger a personal link between the students and talismans.

Talismans are objects that are imbued with protective powers.Discuss the various functions and elements used to create a talisman and their presence in various religions and cultures namely: Islam, Christianity, Judaism and Buddhism. Show the students images of different talismans from a number of traditions (either as a projection on the screen or on A3 paper).

11:20Facilitators, teachers and students go to the 2nd floor gallery, the Islamic section. Facilitator provides a brief talk about the amulets on display while emphasising their functions as well as their aesthetic value. Show talismans that are inscribed with the name of God, and verses from the Qur’an as examples from the Islamic world.

11:40Go back to the Lecture theatre. Explain that each student will be working with their partner to create a talisman of their own. Materials will also be distributed. The facilitator will provide a simple demonstration of how the students can use the foam clay by rolling it into a ball first and use their hands as well as scissors to manipulate the clay to create the desired shape. Using a pencil and coloured felt markers, the facilitators will demonstrate how to add colour to their talisman as well as write and draw on the clay to create patterns and intricate details, and pierce the clay, which can then be connected to a thread and used as a necklace or bracelet. Facilitators will also show the student the available herbs and spices that can be added on to the clay using the glue sticks.

As the students begin to create their own talisman, they will be encouraged to discuss with their partner about the purpose for creating it and how they intend to use it. This will further personalise and help deepen the student’s understanding of talismans. A fact sheet about talismans and the different elements used to create them will also be handed out. This will serve as a reminder for students of what they have just learnt and will also help them seek inspiration as they create their own talisman.

12:15Finish and head to the Silk Road Café for lunch.

Materials Needed- Foam clay - Long thread or cord - Pencils - Felt pens/markers in gold, silver, yellow, blue, purple, red, orange, green, and black colours - Scissors - Herbs and/or spices- Glue sticks - Fact sheets (40 copies) – to be provided for print-out- Images of talismans – either used as a projection on the screen or printed on A3 paper – to be provided.

Attitudes,Values&GoalsArt and crafts workshops encourage artistic, educational and creative expression. Our goals for the day will be to create, learn, inspire, encourage, and enjoy.

Our attitudes & values for the day will be to:- Help and encourage students from St. Oliver’s, Drogheda and from St. Patrick’s, Ballymena to collaborate and

work together as they create their own talisman.- Provide students with individualised support where needed. - Approach activities with excitement and enthusiasm. - Create a friendly and fun environment.- Ensure that the Child Protection Policy is adhered to at all times where the workshop will be carried out in a

supervised and safe environment. - Respect the work area and ensure materials have been cleaned and put away efficiently.

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Whatisatalismanandwhataretheyusedfor?• A talisman is any object that is imbued with protective powers, and all cultures have different

manifestations of these objects. Talismans are made for a definite reason or intention to either bring good luck, fortune, health, protection, prosperity, fertility or spiritual growth to its owners.

• Amulets and talismans have been worn for thousands of years. They are powerful tools that can be used to clear negative energies in a person’s environment and empower them so that they can approach every situation from a balanced centre, as well as ward off evil. Using specific techniques, both Amulets and talismans can be custom-made to enhance a particular attribute or purpose. There are for example amulets that are used to help women with conception.

• Talismans can be made from different materials including wood, metal, gold, silver, clay, paper, stone, plants, herbs and spices. Because it is the intention of the bearer of the talisman that is most important - whether the talisman is carried or worn to help protect a person from evil, as a cure for ailments, for good luck, or help a person achieve life goals, etc., it is advised that a talisman is created by the person who plans to use it.

• Jews, Christians, Muslims and Buddhists all believe in the protective and healing power of amulets or blessed objects. Talismans can be worn on the body, carried in a pocket, or rolled and placed in an amulet case; some talismans are worn as clothing, or are hung above a person’s bed or in front of a house. Jews, Christians, and Muslims have also at times used their holy books in a talismanic manner.

Talismansindifferentreligioustraditions–Islam,Christianity,JudaismandBuddhism• In the Islamic world, talismans often bear Qur’anic inscriptions as well as images of prophets, astrological

signs, and religious narratives. The word God (Allah) which is believed to provide protection and power to ward off evil is also often used and inscribed on talismans. The surface of a talismanic object can be covered with prayers, signs, numbers, and decorative motifs.

• The Khamsa (the Hand of Fatima that is palm-shaped) which originated from Islam to protect against evil spirits is now also commonly used in Jewish and Christian traditions. Solomon’s seal (interlaced triangle) is also used in Jewish, Christian and Muslim traditions and possesses talismanic powers.

• The crucifix or cross is most commonly used in Christianity to protect from evil. Another Christian tradition is to place a holy book underneath a sick person’s bed or pillow to help the person heal.

• In Buddhism, talismans or amulets are often stamped medallions made of bronze or brass and can be worn directly on a chain, but the most popular material used is clay, mixed with other materials such as medicinal herbs or the ashes from burnt incense. These tend to be given by a particular monastery in honour of one of their most esteemed monks. The front of the medal will normally has a portrait of the holy man, with the reverse side showing a sacred text, a magic number square or a horoscope. These will more often be images of the Buddha or one of the many manifestations of Buddhahood.

Talisman Fact SheetPrepared by Karma El Shawa, facilitator, Chester Beatty Library

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PortraitsandIdentityOn the visit use portraits from the Royal Ulster Academy exhibition (the approaches are all transferrable).

LearningoutcomesTo learn ways of looking at and understanding portraits:• Analyse as a series of choices• Analyse in terms of character• Analyse as art - spend time in the gallery looking at art - introduce vocabulary – portrait, sitter, composition, - make collage portraits - think about your own identity and the identity of others and how it is communicated visually.

What is a portrait? Why were they the most popular type of painting in 17th 18th and 19th Centuries? What are they for? Are all pictures of people portraits?

A portrait has to be a representation of an individual – a unique person. Portraits were painted as a record of a person at a certain time, something by which to remember a person.

AnalysingaportraitintermsofchoicesWhat would you (or the artist) have to choose if you were having your portrait painted?Clothes; hair; jewellery; background; props; how to stand/sit; other people/animals in the portrait; how much of you is in the picture (close up/far away).

Think of an actor on a stage – it is not a natural situation, it is constructed. Actors take on a role and have costume, stage sets, props.

ExampleThe portrait of the family of Sir Thomas Bateson.The children are in their best clothes. (What would you wear – best, scruffiest, fancy dress, something to do with work/sport/hobbies?).

Analyse the background - paintings of their house (Orangefield) and their town (Belfast). Also there are prints of the King, Queen and Prime Minister, and this shows they are loyal to them. What pictures might you have included? Family? Footballers? Celebrities?Analyse the things they hold – music sheets, flowers, toys and compasses for the globe.

AnalysingintermsofcharacterA portrait should show what someone is like on the inside as well as the outside. A way to think about this is the word ‘portrait’ is said to come from French ‘trait pour trait’. This has a double meaning - line for line (an accurate likeness) and trait for trait (the same in French and English ‘traits’ – personality traits).

Think about how we judge people’s character from their face… ’by the time you are fifty your face is your own fault’

What words come to mind to describe the character? Do we all have the same feelings about the person? Does their life-story back it up?

AnalysingasartThink about the visual elements and how they have been used.Analyse the compositionTalk about the medium

Portraits and Identity - Teaching Unit

ShoesWorkshop-UlsterMuseumLessonplanbyFionaBaird

WorkshopAimsandObjectivesAim: To increase awareness of the links that footwear has to environment, culture and society. Introduce students to new and specific vocabulary.

Objectives:To understand that shoes can be made of different materials and the reasons for the choices made.To explore the why we wear shoes - protection against the environment ,heat, cold, water, rough surfaces etc, as symbols of wealth or occupation, looking good (think of all the shoes you or your friends have), religious belief – Indian Padukas, method of transport – skates, snow shoes, recreation - different sports – golf, football, ballet.

GenericLearningOutcomes:KnowledgeandunderstandingEnjoyment,Inspiration,CreativityAttitudesandValues

IntroductionPeople have developed footwear to suit the different areas of the world they live in. All the shoes discussed have been hand made in different parts of the world.

The simplest way to protect feet was to grab what was handy - bark, large leaves and grass - and tie them under the foot with vines. In hot countries this developed into the sandal made from woven palms, grass or plant fibres and attached to the foot with toe loops. Examples of early sandals have been found in Japan, Polynesia and America. In colder climates, animal skins and fur were used, for example Inuit seal skin boots.There also is religious and cultural significance of feet and footwear. In the traditions of the peoples of the Indian subcontinent this relationship is complex and unique. Feet are both the most revered and reviled part of the body. The feet of elders, religious teachers and deities are worshipped. The feet of women are beautifully cared for and adorned, and become symbols of affection and eroticism. Conversely, feet are the most humble, impure and polluting part of the body.

Footwear can also indicate social status and reflect occupation.

Turkishinlaybathshoes:earlytwentiethcentury

What materials have been used? These shoes are made from wood and inlaid with wire and bone. Inlay can also be of mother of pearl or ivory.

What part of them is missing? Woven vegetable fibre strap that would hold them to the foot. Were the shoes designed for a man or a woman?

What is the purpose of the shoe?They were worn to protect the bather’s feet from the hot tiles and water in the Turkish ‘Hammam’. A Hammam is a special bath house which has a series of very hot sauna rooms, an ice cold plunge pool, an area where you get all your skin cleaned and exfoliated (rub away all the old skin) and a gently heated pool to relax in. The end result is that you feel really clean and incredibly relaxed and full of energy. Turkish people still use these baths regularly today.

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Shoes,China:earlytwentiethcentury

What materials have been used?Woven straw, most likely from rice stalks, Note the simple beauty of the shoe – the three different designs of weaving on the sole, insole and upper.

Purpose? These shoes would have been hand woven in the Southern provinces of China. They provide a cheap, easily sourced and replaced form of foot protection for the farming communities that work on the land. In the colder northern areas where it is colder and more animals are reared, skins are used instead.

‘Babouches’slippers,Morocco:earlytwentiethcentury

What materials have been used? Camel hide and inlaid with a spiral pattern in metal wire.

Easy and comfortable to wear in hot sandy areas. Notice the beautiful ‘hidden’ decoration on the inner sole of the shoe. Often the heels are squashed down over time by the wearer. In the Islamic faith shoes are removed before entering a mosque, so this type of shoe can easily be slipped off and on.

FinnishSamiboot:twentiethcentury

What materials have been used?The leg skin of reindeer is chosen to make this kind of footwear. The brightly coloured decorative fabric is made from wool felt. The curled toe construction of the boot is designed for ease of use with ski bindings. The sole of the boot is sown with the fur lying in two directions. Why? Acts as a device to stop the wearer from slipping on icy surfaces. The boots could also be stuffed with dried sedge grass or moss to help insulate the foot.

Lotusshoes:latenineteenthcentury

What materials have been used?Silk with hand embroidered decoration. These embroidered green silk shoes only measure 138mm in length. They are designed to be worn by an adult woman

One legend has it that ‘lotus’ slippers first appeared in China in the 11th century when an Empress was born with deformed feet. To save her future embarrassment, her father decreed that only women with very small feet could be truly feminine and desirable. As a result women began to bind their feet. Tiny feet became a sign of high status, beauty and attractiveness.

The foot binding process began when the girl was between 5 – 7 years old. Bandages were tightly wrapped around the foot, gradually bending the four smaller toes inward under the foot. This painful process was regularly repeated over a 2 – 3 year period until the foot size was reduced. The most prized size was 3 inches (80mm).

Clogs,Holland:twentiethcentury

What materials have been used?Each clog is cut from a single piece of wood, sanded smooth then decorated with carvings or paint. Why would certain types of wood be more suitable than others? Availability, ease of carving, fineness of ‘grain’, more or less waterproof.

Not everyone in Holland wears wooden clogs. They tend to be worn by farmers, market gardeners and factory workers as the shoes provide protection, are easy to take on and off and because the wood allows the feet to ‘breathe’.

Mandala-MakingWorkshopintheClassroomLesson Plan by Triona Langan, facilitator, Chester Beatty Library

Mandala of Mahamaya, the Great IllusionThangka Painting on cotton, 18th -19th century, central of eastern Tibet. CBL Tb 1847.

© The Trustees of the Chester Beatty Library

ParticipantsSupervisor: Jenny Siung, Head of Education, Chester Beatty LibraryParticipating schools: St. Oliver’s, Drogheda and St. Patrick’s, Ballymena (40 students total)Facilitators: Karma El Shawa (workshop leader), Tríona Langan, and Thomas O’Connor

BackgroundInformationTibetan monks create sand mandalas to demonstrate the impermanence of life. The Chester Beatty has two Tibetan mandalas on display in their East Asian collection (2nd floor). The Mandala of Vajrabhairava and the Mandala of Mahamaya both painted on cotton.

Mandalas can be created using paint, sand or even take the form of a metal sculpture or a monastic building complex. In 2000 the CBL had a visit from Tibetan monks who stayed for a week to create a sand mandala in the Library. On completion, a final ceremony was held and the monks went to the River Liffey and poured the sand into the river. This ritual symbolises the impermanence of life and holds significant meaning for Buddhists.

WorkshopAim: To introduce students to the Tibetan mandalas on display in CBL collection and to further explore the East Asian section of the museum.

Objectives: By looking at the two Tibetan mandalas in the collection and discussing their significance to the Buddhist religion. By group interaction using a worksheet/questionnaire with task orientated outcomes. By allowing for different learning styles with written, visual aids, video and discussion.

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Programme-ActivitiesandTimingMandalas

1pm Lecture theatre introduction. Facilitators: Tríona (workshop leader), with Karma and Thomas assisting. A short introductory talk about mandalas and the CBL collection by Tríona. Some sample jars of coloured sand to pass around to the students (if available). Screening of the following video if possible.

* Video of monks creating sand mandala’s link http://www.youtube.com/watch?v=ga5s_qYgJS8

1.20pm Break the larger group (40) into smaller groups with at least three students from each school working together in (numbers may vary on day). Give each group a number flag.Each group picks (1x questionnaire/ worksheet per team). Students must take down written and visual information to bring back to lecture theatre for discussion. Pencils and plain paper given to each student before they go to gallery.

1.30pm Facilitators/Teachers/ Groups, go to 2nd floor Gallery to East Asian Collection. Tríona gives short talk (2min) on the two Tibetan mandalas on display. Each group works on questionnaire/worksheet drawing and writing information down. (Some flexibility/crowd control regarding student numbers will be needed in this East Asian section).

2.00pm Back to Lecture theatre, group discussion on the information the students have gathered.

2.20pm Drawings by students and written questionnaires/ worksheets divided between schools so that each school can create their own larger mandalas.

2.30pm Wrap up and finish Materialswillinclude:

- Regular pencils x (students could bring own also).- Coloured markers x (about 6 packs to cover 40).- Plain A4 white cartridge for drawing x 1 sheet per student (40).- Selection of black and white printouts of mandala designs (50).- Worksheet/ Questionnaire x1 per group of six to eight students. - Sample jars of coloured sand to show students (if available). Any other learning aids or materials which CBL Education may have in storage, which could be Placed on display tables.- 4 x tables in lecture theatre for visual information displays. - Number flags for groups 1 to 8.

Attitudes,Values&GoalsArt based workshops to encourage educational and creative expression.

Ourgoalsforthedaywillbeto:learn, inspire, encourage, imagine, educate, grow and enjoy.

Ourattitudes&valuesforthedaywillbeto:- Help the group to work together and give young people individualised support where needed. - Be aware of our surroundings and maintain appropriate levels of noise and behaviour. - Approach activities with excitement and enthusiasm. - Create a friendly and fun environment. - Ensure Child Protection is adhered to at all times. - Ensure the workshop will be carried out in a supervised and safe environment. - Respect the work area and ensure materials have been cleaned and put away efficiently.

Mandala-MakingWorksheetVisittotheChesterBeattyLibrary

Worksheet by Triona Langan, facilitator, Chester Beatty Library

Supervisor: Jenny Siung, Head of Education, Chester Beatty Library. Participating schools: St. Oliver’s, Drogheda and St. Patrick’s, Ballymena (40 students total).

Facilitators: Tríona Langan, Thomas O’Connor and Karma El Shawa.

SacredTraditionsGallery:EastAsiaA number of Eastern spiritual traditions are represented in the East Asian collections. The Tibetan and Mongolian collections reflect the Buddhist influence on art and book production in the region. The Tibetan collection includes sixty-seven very fine examples of the brightly painted Buddhist handing scrolls know as thangkas (literally ‘rolled up object’) which are used as a focus for meditation. It also includes sacred texts in manuscript and printed form and a group of ritual objects.

SacredTibetanMandala

One of the richest visual objects in Tibetan Buddhism is the mandala. A mandala is a symbolic picture of the universe. It can be a painting on a wall or scroll, created in coloured sands or even take the form of a metal sculpture or monastic building complex. The mandala represents an imaginary palace (universe) that is contemplated during meditation. Each object in the palace has significance, representing an aspect of wisdom or reminding the meditator of a guiding principle. The mandala’s purpose is to help transform ordinary minds into enlightened ones and to assist with healing .

Group Work 2nd Floor. Team Number:

ExplorewithyourteamtheEastAsiansectionandanswerthefollowingquestions.Q1. According to Buddhist scripture, mandalas constructed from sand transmit positive energies to the environment and to the people who view them. Can you find and describe the materials that were used for creating the Tibetan mandalas on display? Team Answer

Q 2. Sanskrit is the classical language of India and the liturgical language of Hinduism, Buddhism, and Jainism. All these religions are represented in the East Asian section of the gallery. Find out what mandala translates as in the Sanskrit language and write down other examples of Sanskrit on display in the East Asian collection? Team Answer

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Q 3. To Buddhists, existence is a cycle of life, death, rebirth and suffering that they seek to escape altogether. So do Buddhists believe in reincarnation? Team Answer

Q 4. In the Tibetan Buddhism section can you find the object pictured. Name it and describe its use? Team Answer

Q 5. As well as the two Tibetan mandalas, are there other objects similar to mandalas on display in the East Asian section? What countries are these from and what makes them different ?Team Answer

Q. 6 The image below shows a Buddhist prayer bell. In 1991 the Chester Beatty Library was presented with a gift of one such bell. Can you name the person who presented it, and why this person is so important to the Buddhist religion?Team Answer

Q 7. Who is Siddhartha Gautama? Team Answer

When your team has answered the above questions, use the blank paper provided to draw some of the detail and designs on the mandalas.

ChesterBeattyLibrarySupervisor: Jenny Siung, Head of Education, Chester Beatty LibraryParticipating schools: St. Oliver’s, Drogheda and St. Patrick’s, BallymenaFacilitators: Thomas O’Connor (workshop leader), Tríona Langan and Karma El Shawa.

This workshop has been designed to facilitate two groups of students from different schools to collaborate in the production of a large Buddhist mandala that will be ceremonially destroyed at a later date when completed. Each school will complete one half of the mandala.

AimThe aim of the workshop is to create the opportunity for participants to design and make their own mandala as a group in a similar way to how Tibetan monks do when making a sand mandala. Firstly using familiar materials; paper, paint and glue, then secondly using skills such as paper folding, drawing and painting.

Objectives:- Learn about the layout of a mandala, the type of background designs used and colour schemes. Use this knowledge to inform their design. - Learn about the types of symbols used in mandalas and how symbols are used and their meanings in general,

then research symbols to be used in their mandala.- Learn about the use of pagodas, gates and Mt Meru in Buddhist art and make paper versions for the mandala.- Work together with artists and classmates as a team.- Discuss different Buddhist ideas, for example the notion of impermanence and the practice of non attachment

and how these may relate to their lives. 10.00amIntroduction to session, assemble prepared pieces of blank mandala based on (Tibetan Buddhist model). The mandala is divided into smaller pieces (like a jigsaw) so individuals, pairs or small groups can work together on parts of it more easily without getting in each other’s way.

10.25amDiscuss the layout of the mandala, the astrological symbols used and how the group can fill out the blank spaces for symbols, background colours and images. Look at background examples prepared earlier.

Mandala-MakingWorkshopLesson Plan by Thomas O’Connor, facilitator, Chester Beatty Library

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10.40am Look at examples of mandalas from Tibetan art.

10.50am Break into three different groups.

Group 1 with facilitator to make the paper elements of the mandala, the pagodas, gates and Mt. Meru. Group 2 with facilitator to research and fill in the blank areas symbols and background using paint markers. Group 3 with facilitator to work on drawing and painting the background.

11.00-11.20am Break

11.20amGroup 1 Introduction to paper folding and cutting, how to turn a two dimensional piece of paper into a three dimensional box. Step by step instruction into how to make the pagoda and gates.

Group 2 Introduction to the book of symbols, exploring symbols their meaning, which ones to use. (photocopies of symbols and jpegs of some of them are available if the students would prefer to print them out and paint/colour them before sticking them to mandala). Plus practical instruction in drawing and using paint-makers.

Group 3 Introduction to Tibetan drawing using examples of traditional motifs and the use of colour. Colouring small scale versions of the mandala to decide on a colour scheme. Plus practical instruction in drawing and painting.

1.00pm Lunch Break

1.45-2.00pm Finishing elements of the mandala and assembling them on the table. Photographing work. Feedback.

EquipmentandMaterialsPaperfolding(Group1)MaterialsA3 cartridge paper 80-100gsmEvo-stick or Bostik impact glue.

Tools/EquipmentCutting boards2 12” metal rulersPencils2 cutting knives1 scissors

Symbols(Group2)MaterialsA4 photocopy paper10 pencilsWater resistant PVA glueOil and water based paint makers (primary and secondary colours, plus shades, black and white)

Tools/Equipment3 scissors3 sharpenersErasersPhotocopierComputer and printerBook: 1000 Symbols, What shapes mean in art and myth.

Background(Group3)Materials10 pencilsAcrylic paint (primary and secondary colours, plus shades, black and white)

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Tools/EquipmentBrushes, various sizes, flat and round3 sharpenersErasers

Attitudes,Values&Goals:Art and Craft workshop to encourage artistic, educational, creative expression and teamwork.Collaboration between students, teacher and facilitators.

Our goals for the day will be to:Create, learn, inspire, encourage, imagine, educate.

Our attitudes & values for the day will be to:- Help the group to work together and give students individualised support where needed.- Encourage collaboration and teamwork.- Encourage thought and discussion about the design and making of the mandala.- Be aware of our surroundings and maintain appropriate levels of noise and behaviour.- Approach activities with excitement and enthusiasm.- Create a friendly and fun environment.- Ensure Child Protection policy is adhered to at all times.- Respect the work area and ensure materials have been cleaned and put away.

Support MaterialTypesofmandala

A mandala is generally understood to be:• a circular figure representing the universe in Hindu and Buddhist symbolism.1

Mandalas come in three and two dimensional forms, they can be made from grain supported on metal plates by an individual,

• offered to one’s lama when a request has been made for teachings or an initiation-where the entire offering of the universe symbolises the most appropriate payment for the preciousness of the teachings.2

Sometimes they are made as a sculpture from wood or as a monument in stone like Borobudur in Java.

They can also be made by a group of monks from coloured sand using a special tool called the chak pur, over a number of days after which it is ritually destroyed very carefully. The sand is collected in a container and then poured into a river. This represents the impermanence of life and the world.

Footnotes1 Concise Oxford English Dictionary, Eleventh ed, Revised, Edited by Catherine Soanes and Angus Stevenson, Oxford, Oxford University Press, 2009.

2 Robert Beer, The Encyclopedia of Tibetan Symbols and Motifs, Chicago and London, Serinda Publications, 2004, Page 111.

ReferencesandResourcesRowena & Rupert Shepherd, 1000 Symbols: What shapes mean in art and myth, London, Thames & Hudson, 2002.

Sue Hamilton, Indian Philosophy: A Very Short Introduction, Oxford New York, Oxford University Press, 2001.

David & Janice Jackson, Tibetan Thangka Painting: Method and Materials, Chicago, Serinda Publications, 2006.

Paul Jackson, Folding Techniques for Designers: From Sheet to Form, London, Laurence King Pub Ltd, 2011.

Jon Allen, Making Geometry: Exploring Three-Dimensional Forms, Edinburgh, Floris Books, 2012.

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Shoes

Objectives: To use the Ulster Museum collection to create own ‘shoe’To learn how to use Modroc (clay)To learn how to use the internet to research an art projectTo create a Modroc shoe based on the shoes from the Ulster Museum collection OR of their own design

Resources: Shoes in the Ulster Museum collectionGeneral Art room materials – paper, pencils, glue, newspapers, magazinesModrocChicken wirePliersTissue paper & PVA (glue)Decoration – fur, feathers, sequins, Computers (for further research)

Method: Visit the museumView the shoe collection and discussReturn to school and begin researching old and current fashion shoesCreate a collage of shoes as a mood board / support studios page. (Try to find the psychology into any current footwear, eg. killer heels)Choose a shoe to makeShape the shoe in chicken wireWrap it in tissue paper and PVA to create a smooth base for the ModrocCover the shoe in Modroc, smoothing as much as possible and creating detail if so desiredPaint the shoe, including detailVarnish the shoe when the paint is dry

Extended Activities Example 1

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Mandala

Objectives:To use the Chester Beatty Library to learn about talismans and mandalasTo learn how to use clay to make a small tile mandala and a talismanTo learn how to use the internet to research an art project

Resources:Mandalas and talismans in the Chester Beatty Library collectionGeneral art room materials – paper, pencils, paint, varnish, glue, ceramic tools etc.Air-drying claySelection of seeds, spices, etc.School-buff clay (clay that can be fired)Computers (for further research,)

Method: Do internet research on mandalas – find information and imagesFind a design they like/use research to design own mandalaVisit the Chester Beatty LibraryLook at the Library’s collection of talismans.Move to Library activity room & watch slide-show / presentation on mandalas & talismans. Discuss the variety of seeds, herbs, spices, etc that were used making talismans and mandalasMake talismans using air-drying clay incorporating the seeds, herbs and spices available. Decorate with eg. symbols, messagesUse clay to make a 6” square tile. Decorate it with own/re-searched designs. Fire it in school kiln and paint & varnish/glaze

Extended Activities Example 2

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Ballymena

Belfast

DuBlin

Dundalk

Drogheda

NORTHERN IRElaNd

IRElaNd

antrim

St. Oliver’s Community College

St. Patrick’s College

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