practising photography in a garden

This post is written by Lexi Earl. 

Most of our school visits take a fairly general form. We observe lessons of various kinds, interview teachers, and talk to students. These are always interesting and exciting days – one never knows what one will encounter in an art class or a drama class – but I have gotten used to their form and substance. Occasionally however, I have a totally unusual experience during a school research visit. This happened on my trip to Digitech Studio School last year.

My visit happened to coincide with a planned Year 10 photography trip to the Bristol Botanic Garden and I was able to accompany the class on their trip. This 23-acre garden is part of the University of Bristol, and is a scientific and teaching garden. The Year 10 students had just begun a macro photography project and their teacher, Kelly Bogan, thought it would make for an interesting class if they went to photograph different plants. The focus of the trip was on taking close-ups of various plants and natural forms. The students could use the 6 school SLR cameras, a digital point-and-shoot camera, or take photographs with their smartphones. They were encouraged to practice with the SLRs so took turns sharing them around while we were in the garden.

When we arrived at the garden we were split into three groups and were each assigned a guide to give us a tour around the garden. My group started in the evolutionary dell, ‘jurrasic park’ the guide commented as we walked through. The guide explained that we would experience the history of plants, walking a path showing plant evolution. He pointed out the different mosses, the ferns and explained how plants evolved. The guide told us about the ‘fancy’ scientific names – that it is an international language that botanists all over the world can use and understand. The guide, knowing that this was a photography trip, pointed out the monkey puzzle tree and told the students it is very interesting architecturally so would be good to photograph.

We walked past birch trees – one pure silver, another gold and orange and copper. We were shown into the Chinese garden and the guide drew our attention to the gingko tree and it’s foul-smelling fruit. The guide let everyone (brave enough) sniff it, explaining that it smells like rotting flesh. He said that the tree is dying out in the wild because no animals will eat the fruit. Scientists think that dinosaurs ate the fruits but since then, the tree has been slowly moving towards extinction. The gingko is found in fossils it is so ancient.

From there we walked into the Mediterranean garden – this space was filled with lavender and rosemary as well as vines and lemons. Signs around the garden explained the plants, and their history. There is a South African garden, and also a herb garden organized according to the medicinal uses that I personally found totally fascinating. From these gardens we walked into the American garden where the three sisters are grown. The guide explained to the students how ‘the three sisters’ – beans, sweetcorn and pumpkins – are grown by people in North America because they grow best together. This garden also featured nasturtiums, quinoa, and physalis as well as varieties of tomatoes. At every plant, students stopped to take photographs, turning their cameras this way and that, capturing the middle of a flower, or the veins of a nasturtium leaf. There were plenty of beautiful seedpods to capture too.

The botanic garden has a wonderful ballast border garden, where plants found in the ballast in Bristol harbor grow. These are the plants that arrived accidently on ships. The boys loved the squirting cucumber, laughing hysterically while the guide showed students how it reacts when you squeeze it.

We were then taken into the greenhouses. There are three, all with varying temperatures moving from cooler plants to sub-tropical to tropical. There was a citron plant in the first greenhouse with amazing sized fruits, various cacti and lots of carnivorous plants. In the second greenhouse are orchids, and in the third we found a pond with water lilies. There was a lot of oohing and aahing over the beautiful orchids, and many photographs of their flowers.

Later I asked Kelly about the purpose of such a trip. She explained:

Initially it was about where could we go to take some good photographs and I thought that natural form was a great thing for photography and there are loads of photographs to look at and lots of photographers who have done that. I didn’t really think about the sort of cultural element of the gardens and the historical element as well which I think is really useful and if we go there again we will develop that a bit more. The idea of wellbeing as well with the medicinal garden and the herbs and I feel that can uplift the students in a way. When we started they were a little bit despondent because they thought it would be boring but when we got there they did engage with it quite well. And looking at their photos and the outcomes that they got from that trip, they were really impressive. They got some nice work that they can print out and use and manipulate further. So that is all going towards their final piece. I think it was quite a successful trip actually and probably a place that many of them hadn’t been to before so it was a new experience and I think that it is important that we do that.

A trip to a botanic garden thus provided a multitude of possibilities for the students at Digitech. It is yet another example of the extraordinary experiences that teachers organise for their students.

understanding relationships through movement

This post is written by Lexi Earl.

During my visit to St Mary’s College in Hull, I had the opportunity to observe a Year 13 Performing Arts class. This group of Year 13s are studying BTec Performing Arts and their course is made up of drama, dance and singing classes. Many want to go on to pursue careers in the performing arts, including doing musical theater. In this particular class, the teacher was using movement to help students understand The Crucible, the new text they were studying.

The class begins with a warm-up, “to get rid of the giggles”, and then the students watch a video of a group of people moving without ever breaking contact. In the video, people come in and out of the sequence but always take hold of someone’s hand before joining. The transitions are really smooth. It looks like a dance. The actors are always in contact as they move. There are hugs, forehead touches, holding each other in a head lock. When the video finished, the teacher asks the students to guess the types of relationships that might have been in the scene. “We learnt a lot by looking at contact. Lots of elements can come from movement or choreography,” the teacher explains when they are finished discussing the various relationships they saw.

 

The class then divided into groups and started to come up with their own sequences. The only instruction the teacher gave is that the contact should be between friends or family – so closer contact than greeting a stranger say – and that each person in the group should be involved in two movements.

In one group, two girls start with a hug and then others come and transition the hug into a different form. Now there is a new hug formed. There is a building of sequences. “At the moment, this doesn’t have a story, it is just movements, choreography,” the teacher tells them. The students move around in their groups, creating transitions from one pose to another. The teacher watches and gives advice, suggests things – Are you going to… Just watch that… Maybe you could… Then she tells them to think about transitioning out as well as into the pose. What happens when you leave? The students do the sequences multiple times until they are fluid, including their entrances and exits.

“We have to bring this back and think about how we can use this in The Crucible”, the teacher prompts. She explains that one of the play’s main themes is power and manipulation. In this time period, women were subordinate to men. ‘Goody’ meant good wife. Abigail is unmarried but had an affair with a married man. She wants the students to assign a character to each person but to do this randomly. “Don’t change the choreography”, she instructs. She explains to the students that embraces can change depending on strength and posture. The characters they need to assign are: Abigail, Proctor, Elizabeth, Mary W, Parris/Danforth. “Embraces might become something else”, the teacher advises. The groups reconvene and choose characters. They now practice the transitions and movements as their characters. The teacher talks to them as they move through the transitions, asking about how their characters now affect these movements.

“How does Elizabeth feel about Parris?” the teacher asks one group. “Be a bit more on-looking so we get a sense of who you are observing and why,” she tells another. “Don’t be frightened to push these characters a bit more, slow things down”, the teacher advises the class.

After they have had an opportunity to rehearse in their new characters, we watch the two groups in turn. The teacher asks them to go through the sequence twice. Afterwards, the students guess who was which character. “How did you decide?” the teacher asks. “Facial expressions”, “movements”, “who took control at the end”, the students answer. “You did a forceful embrace and it was really quick. He was impartial. It was like you needed support,” one student observes.

The teacher explained to me that the purpose of this class was to allow students to understand complex relationships and the complexity of the play, without being overwhelmed by the text. It was very interesting to see how the movements morphed to reflect different relationships, even though they had been randomly designed in the beginning. With each performance it was easy to spot characters through their movements or facial expressions. The lesson made me think about how we use such knowledge in real life, reading people – their expressions, their movements, their body language – in order to understand them. Drama is a way to learn this knowledge.

 

visiting artists, sharing life lessons

This post is written by Lexi Earl.

Many of the schools we visit invite artists, performers, touring companies, and other creative people in to talk to students, demonstrate techniques, run workshops, or perform plays. These types of experiences offer wonderful opportunities for the young people to see what it is like to ‘do’ a particular job in the world, and to get first hand stories of how people end up where they do.

During my visit to Uxbridge High School in Uxbridge, near London, I spoke to some Year 10 Drama students who articulated what these types of opportunities meant for them personally. Uxbridge High works in partnership with Intermission Theatre and the RSC. These companies often visit the school to run workshops or put on performances. Uxbridge also takes students out to see West End theatre shows, local theatre productions, or to visit London galleries and museums.

The students talked about how they benefitted from trips to museums, galleries or theatres.

I think Drama and Performing Arts at this school really opens a lot of doors for us and let’s us go on trips. And with Art as well, they went to the Natural History Museum and they studied that in their curriculum. They do do a lot of trips for us so we can see how this could be us one day.

And you work on it as well. It’s not like you just go to a trip and forget about it a week later. You could still go on about it in a year’s time and do work that would help you in the future.

Lion King was the first official play that most of us saw. Because it was so grand it was really amazing and it showed everyone that Drama is a big thing. And it is valued in society. You see so many people who were coming and watching. It is valued and it is not something that is thrown to the corner. It was something that really inspired us because we could see how [through] doing Drama at school what you can become and the possibilities that can happen.

Then the students explained how something different occurs when an adult other than a teacher tells them about their own life experiences, and explains how they ended up in the creative industries.

When it is from someone who has actually been through it and does it now you get the push where you’re like ‘oh, so I could actually genuinely do that myself’, without having a teacher say it to you.

For me, [it is] their stories. They usually tell us about how they might’ve had a difficult life before, something like that so it gives us hope rather than from your teacher because it is your teacher’s job to give you hope. When you hear it from people who don’t really mean anything to you and they tell you about where they were before and where they are now and how Drama has helped them get through so many things, it does inspire us and it gives us hope and it encourages us to carry on.

The students at Uxbridge highlighted how vital it is for young people to be exposed to others working in the arts and creative industries, and just how much influence these encounters can have on young people in schools.