Two more Mother’s Day drawings

Palimpsest 4

Otto's Janna portrait
Portrait of Janna

When Otto had finished his portrait of Andy
he put his pen to his lips and murmured
Hmm… what will I do now?
Half sitting on my lap
he looked at me and said
Want me to draw you?
I nodded, Yes.
He pointed to the chair
where Andy had been sitting
and said, 
Sit over there.
He set me in a pose
one hand on a hip
the other leaning on the table.
Like this, he said
showing me how.
Then drew me
in a standing pose and asked
is it  okay to put you in an Essendon jumper?
(That’s the team I barrack for
His team is St Kilda).
As he started to add more objects
he hesitated
and asked
Do you want  me to draw you 
here?
(at his house)
or at your house?
Before I could answer
he decided
to put me in my house.
In the big room. 

Dining table and chairs
a rug on the floor
a sideboard with
a bowl of round
wooden balls
and a jar of
pens and pencils
a lamp with
a plugged in cord
Fraser’s high chair
two shaggy dogs
one black
called Callan
one white
that’s Danny
a cat called Norah
a light overhead
a rocking chair
two couches with
people
a window
with  a 
puppet doll
hanging from the latch
a vine outside
an overhead light.

And a palimpsest
of an upside down
faded cat

showing through
from the back.

Palimpsest 5

Otto's bird
A bird

The dots
surrounding the bird are
from an earlier drawing
on another piece of paper.
They have bled through
onto this drawing.

palimpsest
ˈpalɪm(p)sɛst/
noun
– a manuscript or piece of writing material on which later writing has been superimposed on effaced earlier writing.

– something reused or altered but still bearing visible traces of its earlier form.

Lucas and Jack – Teacher notes

Teacher Notes
by Janet McLean 

screen-shot-2017-03-03-at-12-16-33-pm

Written by: Ellie Royce
Illustrated by: Andrew McLean

Every week Lucas’ mum visits Great Grandpop at the nursing home. And every week Lucas waits for her outside. Waiting, for Lucas, is boring. Then one day he meets Jack. Jack is tricky and Jack is fun, and he is a great storyteller. He understands how Lucas is feeling – ‘Not much to do in there with all the oldies, I suppose’. To help pass the time he tells Lucas stories about himself and other residents of the nursing home. Lucas & Jack is a great book for introducing young children to the idea that old people can be fun and that deep down we have more in common than we think. More importantly Lucas & Jack encourages children to ask questions, be curious, imaginative and empathetic.

WRITING & LANGUAGE

Ellie Royce has written a moving, understated story that invites us to see others differently and recognise the bonds we have in common.

Lucas, one of the main characters, is introduced on the first page of the book. Ellie reveals Lucas’ problem – he is bored. Then, throughout the rest of the story Ellie reveals how the other main character, Jack, helps Lucas to look at his world differently.

Ellie uses time-shift to move the story from the present to the past. The present: (Jack) points to someone in the distance, ‘And over there, what do you see?’ Jack asks. ‘An even older lady,’ I reply. – letting us know what Lucas sees. The past: ‘I see Evelyn. A girl who loved ballet so much, she once danced for the Queen of England.’  – revealing what Jack knows and recalls.

Ellie uses dialogue to develop the characters’ personalities and to move the story forward – for example, Jack’s dry sense of humour. When telling Lucas about Evelyn he says, ‘She still has her favourite red ballet shoes under her bed. Says she never knows when she might need them.’

Lucas is gradually drawn into Jack’s stories, and wants to know more about Jack. He asks Jack, ‘Do you hate being old?’ and he learns he and Jack have something in common – a border collie dog. The next time Lucas visits the nursing home he brings his dog, plays a game of cards, and wonders about Great Grandpop, ‘Pop, before you were old, what did you do?’ Great Grandpop tells him a story about when he was a boy ‘I was about eight when I drove a cart and delivered ice for pocket money.’ This simple sentence captures how vastly different life was between then and now. Lucas wants to know more about Great Grandpop and he is eager to come back next week to hear more stories.

screen-shot-2017-03-03-at-12-42-00-pm

At the end of the story Lucas has a new friend, and through Jack’s stories he has learned a way to find out – ask questions, listen, explore, and imagine.

ILLUSTRATIONS

Andrew McLean created the illustrations for this book by making rough drawings with charcoal and watercolour on paper then photographing them and scanning them onto an iPad.  Then on the iPad he coloured the drawings using an illustrating app: Sketch Club.

Andrew’s expansive and expressive illustrations complement and enrich Ellie Royce’s subtle text. There are only two single page drawings in the book – the first and last pages. These highlight how, with Jack’s help, Lucas changes from a bored, unhappy boy, into someone who is lively and friendly.

In between these pages the full bleed, double-page spreads reveal information that is not carried in the text. Andrew uses a mix of close up and distant views, with the illustrations always focusing on the characters.  

The growing connection between Lucas and Jack is depicted through their body language and facial expressions – the way they make eye contact with each other, Jack’s wide-spread arms and kindly face, the subtle changes in Lucas’ face from downcast and gloomy to open and interested.

Lucas and Jack see things from different perspectives. Lucas sees ‘an old man in a wheelchair’ and ‘an even older lady’.  Jack knows that these people have led rich lives, and the illustrations bring his stories to life.

Alternating pages contrast the current quieter lives of the elderly residents with the stories of the the full lives they have led in the past.  Andrew has used different colour palette to contrast the present (soft warm colours) and the past  (vivid, rich and sunny)

DISCUSSION POINTS AND ACTIVITIES

This book introduces young children to themes of aging, storytelling and oral history. Lucas and Jack can be used to generate discussion and exchange of stories and ideas about family, the past, and our links with our older members of society.

  • Before reading the story to a large group of children, spend time reading with small groups. This will provide an opportunity for children to share their own responses to the story, and for educators to draw attention to how the words and the pictures work together to tell the story.           
  • As you read through the story respond the children’s spontaneous reactions – which pictures do they respond to most eagerly. Is it the pictures of the detective and the ballet dancer?
  • Ask how we can tell from the pictures that Lucas is interested in what Jack is saying.
  • Ask the children if they know anyone who is old – grandparents or great grandparents?
  • Do they know what this person does now, or did when they were younger. If they don’t know they can find out by asking the person.
  • With the children make up a list of questions they could ask.
  • Ask the children’s families to share any interesting stories about past generations.
  • Make these stories into a book.
  • Invite families if they have any souvenirs or memorabilia from the past – photos, ballet shoes, detective tools, farm implements?
  • Invite families to an event where they can talk about their souvenirs and share their stories of the past.
  • Invite other older people into your classroom to talk with the children about their past lives. You can include people from the school and local communities.
  • If possible establish a relationship with a local nursing home. Invite the residents to visit the class. Find out if you can visit the nursing home with the children. Ask these visitors to share their stories. Find out what songs they used to sing. Learn some of these and sing them with the visitors.
  • Everyone has memories and stories to share about what they have done in the past. Tell the children a story about your past. Ask them to tell a story about what they have done in the past.
  • Look at the pictures of the people in the story. Talk about how Andrew McLean made people look old – wrinkles, white hair, baldness, wheelchairs, walking sticks
  • Ask the children to draw pictures of people they know who are old. They can draw a picture of what they are like now, and one of them when they were younger.
  • Talk to the children about how colour helps set the atmosphere of a drawing. For instance compare the ‘now’ and ‘then’ pictures of Evelyn.
  • Find out more about Ellie Royce and Andrew McLean.

Superheroes on the wall

Visual storytelling unlocks the images (children have) stored up from
cartoons, movies and video games and helps them make more sense of the 
media-transmitted stories that fill their environments.

Gerard Jones, Killing Monsters – why children need fantasy, superheroes, and make-believe violence. p.9

On this day in March 2015 when R and O came over, they raided the stack of recycle A4 paper, found the markers and began drawing. O began drawing his favourite superhero characters. He told me who they were and I wrote down the names. When we began to display them on the wall R decided he would draw some too.  O was 5yo and R was 7yo when they drew these pictures. R’s drawings were more detailed, and he wrote his own labels.When we ran out of space in this corner of the gallery R took all of his down and moved them to another wall. As well as doing his own drawings O asked for a copy of a black line master  to colour in – hence the lifelike Spiderman.

Gallery CornerR&O's superheroes1

Facing wallR&O's superheros5

L. to R: Top row: Wonder Woman, Hawk Guy, Green Gremlin
Bottom row:Poison Ivy (makes superheroes ticklish with her powers), Batman, Mr Beast

Side wallR&O' superheroes6

L – R: Top row: Captain America, Spiderman, Thor, Hulk, Spiderman
Bottom row: Gaston (He flies around the world), Asgard, Captain America, Superman,
Iron man

Palindromes and Drawings

One day O, aged 5 years, drew our house, wrote some palindromes, and had a drawing lesson.

The first drawing O did was a picture of our dog, Callan, sitting down. He showed it to Andy who did a little drawing in the corner of a sitting dog, then O had another go at grounding the feet.
os-drawing-lesson

callan-sitting-thinking

On the other side of the paper O drew a detailed picture of our house – with pitched roof, chimney, front door with transom window, decorated glass side panels, a number 2, and himself standing in the doorway. There are shrubs in the garden. The dotted line at the bottom of the page depicts the street, the solid line separates the footpath from the road, and there’s a path leading to the front door. Our car is parked in the driveway next to the house and, from the top of the gable a bird is pooping SPLAT! on the windscreen.

O signed his name and Andy told him it was a palindrome, then he wrote ‘pop’ and ‘poop’

otto-j-as-house

O carefully cut out a plain piece of paper from his drawing and, with Andy, wrote some more palindromes

os-palindromesjpg

Pirates – part 2

I do not ask the children to stop thinking about play. Our contract reads more like this: if you will keep trying to explain yourselves I will keep trying to help you think about the problems you need to solve.

Vivian Gussin Paley (1981) Wally’s Stories

 The pirates nudging each other

When Richard told me his next story Ned was sitting next to him.
‘I’m going to do a play,’ said Richard.
‘There’s only two people. Ned, do you want to be in my play?”
Ned didn’t answer.
‘Ned, do you want to be in my play?’
Silence
‘Ned, do you want to be in my play?’
Nothing.
‘Ned, do you want to be in my play?’
‘Maybe’. Continue reading

Pirates – Part 1

Nudging Ned

a-sams-drawing

For many weeks Ned and Richard were playing pirates together. The day Richard said, quite politely, ‘Walk the plank, Ned’, things changed. Ned stamped his foot, got red in the face, and stormed off to the cubby house, shouting. ‘I’m the captain, Richard!’.

Ned refused to be in Richard’s story – the one where Richard was the captain. I had been watching this drama unfolding, aware that Ned always assumed the role of captain, and that Richard was getting a bit sick of being the pirate who always ended up in the shark-infested water.

I couldn’t help them work it out that day. I tried to help them find other ways to tell their stories.
‘You could paint or draw a picture about your pirate story.’
‘I can’t paint a pirate.’
‘You could each tell me the story that you’re thinking about, and I could write it down, and we could act it out at mat time.’

Richard was the first one to tell me a story.

‘There’s only Ned and Richard. There’s only two people. It’s about Ned and Richard. Ned and Richard fight with the swords and I’m the goodie and Ned is the baddie. There was a sea and I pushed him into the sea and I made him walk the plank.’

At mat time, Richard asked Ned to be the pirate who walked the plank. Ned shook his head, ‘No’, so Richard chose someone else. Ned wasn’t ready to take on that role – not in dramatic storyplay, and not as a character in Richard’s story. He as watched another child acted his part – a baddie being pushed into the sea. Continue reading

Emily’s turtle

One day Emily brought her pet turtle, Kirk, to kindergarten (preschool).

I found him in Grandpa’s dam.
Was he swimming in the dam
No. There wasn’t any water in it.
Mum said I could bring him home.

When Emily came in a few days later I could tell something was wrong –
watery eyes, sad shoulders and mouth.
She came over to me where I was squatting on a child’s chair.
She leaned into me and said,

I lost Kirk.
Ohh. What happened?
Mum said to put him in the garden for a wander.
And now we can’t find him.
I wonder why Kirk went away?
I wish Kirk hadn’t gone away.

Later that day Emily painted a picture.
When she’d finished it she brought it to me and said,
Can I do a play?.

Image: © Janet McLean 2016

Can I  do a play?                                Image: © Janet McLean 2016

She dictated her story as a play script which we acted out at mat time.

THE STORY THE LEARNING
Emily had ‘written’ other stories and she knew that I couldn’t write as fast as she could talk. She told her story slowly so I could keep up, word-by-word, phrase-by-phrase.

Once there was a creek.
In the creek there was a turtle living.
Some people went to the creek.
They found a turtle.
The turtle was the same turtle
and something was the matter.
The turtle was funny because it was lying still. And it was still funny.
The people caught it.
They brought it to the vet.
It was having a baby.
The mum loved the baby.
The people that found it took it home.
They kept it forever.
The baby turtle…
The baby turtle growed and growed,
and until it was a adult.
It had it’s own baby.

At mat time we displayed Emily’s painting as a backdrop for the play. Before we acted out the play I asked Emily to tell us about her painting.

The turtle is lying on its back. And that above, that is what he’s thinking.

What is the turtle thinking?

It’s thinking about the family that it lost,

So this is like Kirk, You were his family, and he lost you?

 No, They died in the war.

Recalling and using symbols Emily drew on and used her own experiences and knowledge to paint her picture, and to tell and dramatise her story.

Expressing feelings: Emily expressesd her feelings directly in conversation, and figuratively in her story

Literacy: Emily used a classic narrative story structure: There’s a beginning: “Once there was…’. Early in the story she introduced the main character – the turtle, Kirk. There was a problem (something is wrong the Kirk).The problem was solved (Kirk was rescued and taken to the vet). The ending was satisfying but open-ended – the family took the turtle in. The turtle had a baby which grew up to have baby of it’s own. Her story about Kirk was complex and metaphorical.

Visual literacy: Emily’s painting depicted ideas drawn from personal experiences. She included universal symbols (hearts, for love), and she included the literary device of a speech balloon.

Literacy through social interaction – with adult. Emily chatted with me in a natural way. We exchanged ideas. She asked me to help her express her ideas in written form. I helped her find new, more complex ways of expressing her thoughts – verbally, written, and visually.

Social interaction – with children. Emily has two close friends, Ruby and Ari. The three of them play together, in all areas of the program. However, Emily often works independently, developing her own ideas. She wanted to share her ideas with the other children – the whole group.

Further thoughts:
Emily trusted me to listen to her, and to take seriously the ideas and feelings she was trying to express and share with me, and through me, with the other children

I searched for the hidden meaning in her story and picture. When I talked with her and her Mum I discovered  hidden meaning embedded in her story and the picture. Her Mum filled in some of the details. On the ANZAC Day long weekend Emily went to visit Nan and Pop in the country with her Mum, and her sister and brother. They found Kirk along with dozens of other turtles floundering in the near-empty dam. While they were at Nan and Pop’s caught up with lots of  Aunties, Uncles and cousins, and there was lots of talking around the kitchen table. One of Emily’s great-uncles was one of the oldest living ANZAC soldiers, and on ANZAC Day  his photo was in the local paper. They found out which Aunties were expecting babies. Then, on the way home they stopped for a picnic near a river, and found an injured swan. They called the ranger to come and look after it.

I thought ‘funny’ was a funny word to use. until II realised she was using it to mean odd, or strange – her use of funny is idiosyncratic, immediate and touching. At mat time I helped Emily to choose other children to be the characters in the play. Together we directed the action. First I read the whole story, then broke it up scene-by-scene:

  • The children on the mat became the creek, gently swishing their hands.
  • The ‘funny’ turtle lay on his back next to the creek.
  • The family came along, found Kirk, and took him to the vet.
  • The family took the turtle home.
  • The turtle had a baby.
  • The baby grew up.
  • The baby had a baby.

Today, Emily worked over a long period of time, in different areas, to work through and express her ideas.

She actively participated in shared learning through creative literacy and art experiences.

In the process she created a coherent metaphorical tale of rescue, love, and the circle of Life, drawing on a number of different real-life experiences

© Janet McLean