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polished or smooth surface (e.g. of polished metal or silvered glass) that forms images by reflection. I’m going to talk about my work. ’MIRROR’ and in particular focus on some of the ideas, images and experiences behind the Moroccan part of this story. As with every new project, I enjoyed playing with collage materials I’d never tried before these included using various earth pigments and spices collected in Morocco. And also clay paints, Tadelaxt (which is a lime based plaster) and traditional Moroccan mud plaster, these gave me the natural soft pink tones and textures found in the traditional mud buildings and landscapes of Morocco.

All of the rich, cultural details can be found within the pictures. The Americans travel to stores to buy food whereas the Arabians use their farming and bartering skills to survive. The Arabians are able to keep themselves busy through the struggle to survive yet they have the same technologies as Americans. I take off along a thin path in the direction of the souk. It’s a lovely walk, crossing streams by stepping stones, passing a village. Maybe I walked 5-6 km before reaching the souk, by which time I could see paths in every direction, with other people and mules heading there too. There were no cars, only donkey parking

Lessons:

Direct students to conduct an internet image search to locate pictures of Sydney and the Valley of the Roses in Morocco, creating a digital collage of these images to compare to the text. In terms of physical characteristics, Baker was able to capture the uniqueness of two cultures in one book. The clothes can easily be compared. The Americans are all in very different clothes while the Arabians dress in different head coverings of similar fabrics. It is clear in both stories that family is important.

Students might like to search for images of Casablanca, Morocco’s largest city, and compare this modern metropolis with Sydney. Conference: the whole class discussion of particular elementsallows for the teacher to understand how well the student’s knowledge still is The AusVELS standard which will beincorporated as part of the learning opportunity comes from level 4 as part ofthe ‘exploring and responding’ strand, and is ‘students use art language todescribe and discuss the communication of ideas, feelings and purpose in otherpeople’s arts works’ (VCAA, 2012). The focus for assessment should be the use of visual language codes and conventions to create ideas about culture and to promote intercultural understanding, as well as the processes of planning, drafting and editing. The written ‘pitch’ should be considered the students’ opportunity to explain the understanding which should be evident in their creative work.It was my American editor who suggested the Moroccan title, introduction and author’s note in the Moroccan part should be in Arabic. And once the idea had been thrown it made perfect sense. Two or three days a week, the Berber women must gather wood or grass for cooking fuel and heat. Few Berbers are wealthy enough to afford a mule for such work. I first work out my ideas in drawings, focusing on the work as a whole before developing the details.

Discussion of particular elements: Classwill come together as a whole, where the teacher writes three elements of artonto the board: colour, texture and shape. As the class have previously foundknowledge of the elements, teacher will ask students to explain what each element means in reference to art. This discussion should be colour includingthe primary and secondary colours, complementary colours as well as warm andcool colours (National Gallery of Art, 2013). Texture will be referred to as howa surface actually feels and looks (National Gallery of Art, 2013). The classwill discuss shape as a flat area that is enclosed by the use of edges orthrough a particular outline to achieve a two dimensional shape, with manydifferent shapes being used by artists (National Gallery of Art, 2013). Nevertheless, I do hope to encourage children to be enriched and curious, rather than fearful of cultural difference and to see the ‘stranger’ as most probably, in the ways that really matter, not a stranger at all.

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It is usual for parents and great grandparents to live together as a family here, so the whole extended family eat breakfast together. The final images of each narrative invite a number of interpretations. Students could write a monologue or dialogue to accompany these images to explain what each boy is thinking and feeling as they talk with their respective parents. For very low ability students: the groups could recount the story and highlight the similarities between the two boys’ lives, referring to some specific images as evidence (Understanding). The teacher could provide further support or scaffolding by asking questions of the panel to elicit their discussion. In a book without words particularly, colour can play an important role in conveying meaning. In this work, it is important to have each character wearing the same coloured garments throughout, so they can easily be identified: particularly as I often show just hands and arms and the character’s colour is the only thing that identifies them.

using twin narratives to show the similarities between the lives of both protagonists, highlighting values such as family and belonging Text to world connection- Since this book has two stories about different places/cultures that relate to real world events I think text to world connection would be accurate. In pairs, students could conduct a role play of a meeting between the two protagonists. The emphasis should be on creating a sense of character that is clearly based on textual evidence and their conversation should focus on exploring each other’s context. The final Sydney traffic scene shows an area close to my home (Tiger country) and is much influenced by the actual and wonderful craziness that went with our local team, Tigers, being a player (about four years ago) in the Grand Final Football match.

To identify the themes and messages of the story

We went to bed early (about 9pm) Fadma, Hammou and the children (relatives of Mohamed) slept in another room to lessen the chances of our being woken in the night. Fadma and Hammou put themselves out so much for us. Readers are invited to see the two cultures as different but equal. Does the obviously unfinished nature of the western home (as it is undergoing renovations) suggest that a Moroccan home is only comparable to an unfinished or incomplete western one? Furthermore, the fact that the western family is seen to make home improvements to their abode might be seen as evidence of agency, implying the Moroccan family’s inability to enact similar development. The next activity gives the children to opportunity to speculate about the use of the word ‘mirror’ as the title. During reading First impressions Have students construct a collage representation of themselves. In small groups, they could discuss their choices in the selection of materials and how they considered them in constructing a representation of themselves. By the time she produced Window in 1991, Baker had done away with words altogether. The three hallmarks of a Baker book had now become the 3D collage art, a serious engagement with a major theme of environmental concern, and wordlessness. Window tells the story of a young man’s growth from babyhood to becoming a parent himself, and the simultaneous changes in the environment around his home, as bushland changes to built-up cityscape. Baker had devised skilful ways to tell a story without words; her readers, too, had developed the ability to read pictures. Belonging, sequel to Window, published a surprising 13 years later, is a more optimistic book, showing the renewal of urban space both by greening and by community-building. The author’s note states: ‘People are discovering the need to nurture and be nurtured by the unique character of the place where they live’.

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