[Please find above my initial completed response to the emotive description that was asked of us on the first session of the module].

 

During this session, we were required to bring an evocative object for discussion.

The discussion that ensued was inspiring, as we had all brought very distinctive and unique objects with strong, personally emotive histories.

This allowed me to realise that an evocative object could be anything, from anywhere, as anything that we have encountered is bound to evoke a memory – be it positive, negative or neutral; all memories are bound to emotional links.

This above quotation (Duarte, 2012) demonstrates the usual path that learning governs in Primary Schools. Children are too often reminded of what is incorrect, and not praised for what they have done well. Through Evocative Art, there are no incorrect answers. This is the kind of teacher that I want to be; I want to be a teacher who allows children to reach their full potential, through expression.

We then discussed the possibilities of artistic projects created from evocative objects. I had never realised how easily accessible, and how cheaply resourced materials could be. There will always be some form of material or resource in a classroom for children to create an evocative art piece from. And, if there is not availability of materials within the school, teachers must learn to be resourceful; one can always find materials in local surroundings – this can be large cardboard boxes that shops throw away or partially damaged goods that shops plan to throw away because they’re in an unsaleable condition. Sourcing from the local environment can also lead to using natural resources such as leaves, twigs, grass etc, which are an inexhaustible material.

I had also never considered that the evocative piece would not be limited to Art and Design, but could also be interpreted through animation (making links to digital technology use, to make the topic cross-curricular), a piece of music could be created, and an interpretative dance or drama skit could be created – all from one object.

These multi-modal platforms lend themselves to evocative art, and allows the child to access the curriculum to its fullest, and creates a contextually more stimulating and relevant lesson (or series of lessons) as children begin to see the links between their subjects – evocative art creation helps children make sense of their feelings and the world around them. The cross-curricular nature of this task also helps teachers plan more efficiently, creating more exciting and unique lessons.

 

I also found the following table, in p. 80 of:

The Arts in Education: An Introduction to Aesthetics, Theory and Pedagogy

This has given me insight into which terminology to select, and how the Arts (integrated across the curriculum) allows for a progressive regime, and allows the pupil to progress; there are less/no limits of rules and ‘conformity’ – the pupil is allowed to express themselves in a secure environment, leading to a more self-confident and self-aware individual.

 

References:

Fleming, M. (2012) The Arts in Education: An Introduction to Aesthetics, Theory and Pedagogy. [Online] Available:  https://www.dawsonera.com/readonline/9780203126240 [Accessed: 04 March 2017].

 

Duarte, E. (2012) Being and Learning: a Poetic Phenomenology of Education. [Online] Available: https://link.springer.com/book/10.1007%2F978-94-6091-948-0 [Accessed: 05 March 2017].