- When reading this site, note specifically how the political events affected the style of the artist's work.
- Choose two works that depict the style of the artist they have discussed and that show the typical symbolism the artist uses.
- Make sure that they each have a copy of the information they have gathered and are able to clearly show, using the examples of the artworks, how the artist expressed his/her reaction to the socio-political situation.
This is the most general of the lesson plans suggested. It uses the Cooperative Learning structure known as Jigsaw.
Desired outcomes: (Lesson one) For the students to develop research skills using the Internet by gathering and synthesising information gained from a web site, exploring the Internet for additional information, and analytically comparing different forms of Resistance Art from around the world. (These latter two outcomes are achieved in Lesson Two.)
Time: 2-3 hours (several computer sessions)
Number of students: Dependent on the number of computers available with Internet access. There should be at least one such computer per four students.
Method:
Step 1:
The class should be divided into groups of four. Each person is allocated one of the four artists presented in depth on this site: Jane Alexander, Willie Bester, Jonathan Comerford or Helen Sebidi. This core group is called "the Base Support Group". Each student's task is to become an 'expert' on their artist so that they are able to teach the members of their home team what they learn.
Step 2:
After team members have selected their artist of choice, they split up and each team member pairs up with a person from another team allocated the same artist. Together these two students should explore this site, extracting points of importance. Their task is to be able to teach their base support group what they have learnt about their artist. (If there is a shortage of computers, several pairs working on the same artist can use the same computer, sharing the control of the keyboard and mouse.)
The pairs should do the following:
Step 3: (Optional)
At this point, this pair can split up and each can find another person who has also done research on the same artist. They should practice presenting the results of their research together and compare notes to get a few more ideas from each other before returning to their different base support teams.
Step 4:
When ready, the original core team of four (Base Support Team) should regroup, each with their own information on the artist. Within this group they should form pairs. Both students in each pair should discuss their chosen artist through a work, showing clearly the artist's reactions to the socio-political situation of the time, and the symbolism in the chosen work.
Step 5:
Once both people have shared, the group should reform, and the first partner should explain the work of the second person's artist to the group and vice versa, until all four artists have been discussed through a work of art.
This is the Cooperative Learning structure known as the "Three-Step-Interview", where partner A shares with the whole group what s/he learned from partner B and vice versa. By using this format, students not only learn more about their own artist, but also have to understand in order to teach a new artist. As they are explaining their partner's artist, they should check from time to time with the "expert" to make sure the information is accurate and should invite additional comment from the "expert."
Step 6:
As a team, based on the information gained from all four artists, the students must now develop a definition for Resistance Art. What makes a work an example of Resistance Art and not just a normal form of artistic expression? What specific aims do these artists have as opposed to other types of art? What might be the actual outcomes from their works of art, in contrast to the impact of a more traditional artistic expression?