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Mirror

Mirror

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Visit the carpet Gallery in Kalaat M’Gouna (the small town at the entrance of the Valley of Roses) and speak with the Berber family who own it and live here. They are lovely and very patient with me, struggling to understand and answer my questions., though neither of us can speak the other’s language.

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). These people (as did others I stayed with) invariably took a bit of an interest, contributing to show how things should be portrayed to be reasonably authentic: and some role playing and acting out evolved from their involvement. Presentation of analysis: Students willgather together, where one by one, each pair will go up to the front of thegroup, display their particular illustrations that they had to focus on,including from Mirror and the dream view collage. They will then giveexamples of how both Jeannie Baker and the student incorporated the particularelements of shape, colour and/or texture into the artworks. It is usual for parents and great grandparents to live together as a family here, so the whole extended family eat breakfast together. So I began to plan a second trip, to linger for a longer while in the valleys and Berber villages of the foothills of the lower Atlas Mtns and learn more of the way of life here … and to evolve the story for the project that became ‘Mirror’.

Teaching about the latest events?

In both narratives the reader is frequently positioned as an observer of the daily lives of the two boys. Have students locate examples of where this point of view is made apparent. Lassan (the only one in Boutaghrar who can speak a touch of English) agrees to be my guide for the day. Mirror was also a national travelling exhibition The exhibition was set out in a different way. When a visitor enters the exhibition room space, they can choose to walk to the left or the right to view the works. If they walk to the left, they can view the Sydney journey and read the images from left to right and if they walk to the right, they can view the Moroccan journey and read the images from right to left. 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.

Lee-Tai, Amy. (2006). A place where sunflowers grow. Ill. by Felicia Hoshino. San Francisco: Children’s Book Press.

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The AusVELS standard that will be used as part of this learningopportunity is from the ‘exploring and responding’ strand in level 4, and is asfollows; ‘students comment on the exploration, development and presentation oftheir arts works, including the use of specific arts elements and techniques.They identify and describe key features of arts works from their own and othercultures’ (VCAA, 2012). Consider the significance of the final images in developing the character of each boy. In particular, consider the role each boy plays within the family in regards to educating them about others in the world. The child is foregrounded in both images, highlighting their importance. However, the child in the Moroccan image is larger than his western counterpart. What might this suggest? Although the bulk of Australia’s population lives in urban centres, a significant number of Australians live in rural areas. Is the life of the Australian boy in the text representative of Australians as a whole? To whose experience might a rural Australian child most closely relate? Conduct a small group or class debate to evaluate how accurately the text represents ‘typical’ Australian experience. Students can design and create the cover of their own picture book aiming to promote intercultural understanding. They will present this as a pitch to a publishing company, allowing students the opportunity to explain the function and purpose of their picture book.

Students could use the Classtools Timeline template to create a timeline of the events for each of the twin narratives. 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). Conduct a class discussion on the issue of multiculturalism and the value of texts such as this to help promote intercultural understandings. Have students identify other well-received texts that also contribute effectively to the project of multiculturalism in Australia. Students could take one of the themes from Mirror and compose a brief recounting of an incident in their own lives that also reflects this theme. Alternatively, students may wish to compose a poem or short story.

Ask students to compare the life of the Moroccan boy to their own. This might form the basis of a small group discussion. Additionally, they might compare their own family life and daily experiences with that of the Australian boy in the text. They might record their responses in the form of a Venn diagram.

Some of the village women mentioned they would be away the following day collecting wood. I mentioned I’d be interested to join them. And soon we had arranged to meet at 3am the next morning, though I would need to find a mule to ride on.

To introduce the text and author

The required resources are: Windowby Jeannie Baker, ‘The Artistic Work of Jeannie Baker’ worksheet, pencils; greylead and coloured, crayons, textas, etc. I’d expected to be going alone with the women, but Mohamed Bouras (who was acting as my interpreter) had assumed he’d be joining me. Hammou helped us arrange to rent a mule from another villager Yazzie, Evangeline Parsons. (2005). Dzani Yazhi Naazbaa’ /Little woman warrior who came home: A story of the Navajo long walk. Ill. by Irving Toddy. Flagstaff, AZ: Salina Bookshelf. Students might like to search for images of Casablanca, Morocco’s largest city, and compare this modern metropolis with Sydney.



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