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Efc - Geography and Art

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Submitted By tbotrev
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Part Two
This assignment will provide a justification of the scheme of work created. The scheme of work has closely linked two foundation subjects together, these are geography and art and design. Together, these compliment and enrich the children’s learning through a Take One approach.
Take One Methodology begins with an initial stimuli chosen, in the scheme of work created this is a Dutch landscape painting which can be found in the Walker Art Gallery, (See Appendix One.) Using a stimuli is something which Bloomfield, (2000:138) supports, as they ‘are used to enhance children’s understanding.’ From this a plan of potential lines of enquiry should be created around the artefact chosen, (see Appendix Two.) This helps the practitioner to select one key line of enquiry, and from this, clear connections between subjects can be identified. This promotes cross-curricular learning, however Barnes, (2007:245) states that ‘cross curricular teaching is risky.’ This is something which Webb, (1996:93) identifies; however there are ‘no magical formula[s] for incorporating a crucial cross-curricular theme.’ Previous experience has shown that cross curricular practice will come when a wealth of experience and confidence is gained.
The two subjects linked within the scheme of work are geography and art and design. Linking these together is something which Bloomfield, (2000:123) identifies as beneficial as ‘geographical understanding can be expressed artistically.’ It is believed by Althouse, et al. (2003) that art is an essential part of all education. In addition to this, these subjects also provide clear links across the curriculum to other subjects, Catling and Tessa, (2009:151) are in agreement with this, stating that ‘geography is linked inherently to other subjects.’ The scheme of work demonstrates this within other National Curriculum links. However as Catling and Tessa, (2009:151) state, cross-curricular ‘links need to be specific and significant, not tenuous for the sake of a cross-curricular element.’ The scheme of work created includes relevant and appropriate cross-curricular links, which aim to enhance the children’s learning.
In addition to cross-curricular links, the scheme of work also includes an out-of-school visit. This is to the local woods in order for the children to collect resources and enhance their inspiration, ultimately meaning that they can create their own sensory board. Catling and Tessa, (2009:1) believe that ‘a vital motivating factor for primary children is gathering material at first hand, through learning outside the classroom.’ This is supported by Cooper, (1998:2) who also believes that ‘it is important for young people to experience wild landscapes and dramatic scenery.’ The learning will be much more effective if the children are able to benefit from firsthand experience. Learning outside the classroom has many advantages for children, this is something which Barnes, (2000:14) is in agreement with, stating that ‘outdoor education promotes the acquisition of transferable skills such as problem solving and team working and that it does so in a way that people enjoy.’ However many practitioners are anxious about learning outside of the classroom, it is identified by Cooper, (1998:31) that ‘overprotection is insulating young people from the wider world around them. Basic activities like building dens on waste land or playing in the local park are being denied or supervised by parents. The repercussions of this are enormous.’ This has also been recognised by Catling and Tessa, (2009:3) and additionally they identify that there is an ‘over-reliance on prepared resources, like worksheets, unsupported by a wide range of books, materials and software. This seems to link to an unwillingness to draw more fully and effectively on children’s personal geographies and the everyday geographies that affect them.’
The theme chosen is environments and the out of school visit supports this. This is because rather than simply being told about different environments, the children can go and experience it for themselves, as learning is much more effective when the learning is practical. This is something which Grimwade, et al. (2000:8) believe, as ‘learning is more meaningful and exciting for children when it involves real-life, real-world issues which have an impact on their own lives.’ All children will have experienced different environments, yet their understanding of this can be developed further. Martin, (1995:1) argues that ‘children are geographers from the moment they begin exploring their environment.’ Whilst the children are on the out of school visit not only will they be developing their skills in geography but they will also be developing their skills within art and design. This is because they will be selecting resources to create their sensory board. This is supported by Tinker, (2005:4) who states that ‘each theme begins with a visual geographical starting point and is then developed through several linked art ideas.’ Ultimately as Catling and Tessa, (2009) support, the outdoor environment provides vital learning opportunities for the children.
Starbuck (2006:3) believes that creative learning is about, ‘how you go about making learning more fun or engaging. It’s about spotting opportunities to liven things up.’ This is evident on the scheme of work through the out of school visit. Creativity has been developed within the scheme of work in a variety of ways. Freedom and autonomy is given to the children so that they can interpret and develop the information given, alongside opportunities for the children to find additional information. This is supported by Best and Thomas, (2007:35) who believe that ‘creativity is the process of finding and implementing new and appropriate ways of thinking and doing.’ Ultimately Wright, (2010:3) states that ‘creativity is the process of generating ideas that are novel.’ The children will have the opportunity to do this when they create their own sensory board. Despite this Barnes and Shirley, (2007:172) recognise that, ‘creative thinking is often difficult.’ Because of this the children’s creativity will be supported by the practitioners with a structure task of re-creating the artifact shown, Clement, et al. (1998:53) believe that ‘in teaching art we can use other artists’ work to give children a better understanding of the possibilities of image making.’ Following this the children will then have the independence to create their own artifact; however ultimately as Downing, (1997:4) argues ‘there is no such thing as a totally uncreative person.’
The scheme of work includes a variety of teaching approaches as all children are unique, and therefore learn differently and in a variety of ways. The scheme of work involves discussion, as Salandanan, (2008:160) states this is beneficial as it is a ‘verbal exchange of ideas.’ Alongside this the practitioner challenges the children by using questioning to both assess and develop their understanding. According to Salandanan, (2008:117) for questioning to be effective the practitioner should ‘ask a variety of questions that would require reasoning, analyzing and evaluating.’ This is something which the scheme of work includes, because ultimately as Salandanan, (2008) states skillful questioning guides the children. This is something which Catling and Tessa, (2009:159) are in agreement with stating that ‘while questioning can inform us about children’s knowledge, it can also be used to probe the thinking underpinning that understanding.’ The children will also be able to model, as the scheme of work regularly plans for the practitioner to demonstrate how to hot seat or use materials, this is beneficial towards the children’s learning as Salandanan, (2008:144) believes that ‘much of the learning will come from observing others.’ In addition to this the children also have visual representations which as Salandanan, (2008) argues adds vividness and clarity. Catling and Tessa, (2009:79) believe that ‘visualisation is a key for children to develop their understanding, [as] it allows them to use their imagination in order to build up their own picture of something or somewhere that they are not able to experience.’ For example the Dutch landscape painting includes a river; however some children may have never seen a river before.
Overall the scheme of work created has successfully linked two foundation subjects together, and incorporated an out of school experience which supports the children’s learning. It has also used a variety of teaching methods in order to accommodate for the needs of all children. Cross curricular links have been clearly identified, however at times the planning may involve too many links, so that all cannot be achieved and therefore will need revisiting. With gentle guidance the children have been given the autonomy to foster their own learning.

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