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The 5Rs Reflective Writing Scale for Arts Learning

(Based on Bain, J.D., Ballantyne, R., Mills, C. & Lester, N.C. (2002). Reflecting on practice: Student teachers perspectives. Flaxton, Queensland, ustralia! "ost "ressed.)

Component 1: Reporting The artwork completed during this task is a two dimensional watercolour resist artwork. The artwork has been created on paper using crayons and black food colouring. The creature known as the Longneck Bagerpi badge!er!pie" was placed in the centre of the paper to allow space for the viewer to see its long neck and tentacles. #urthermore the artwork has been presented in a landscape format with inspiration drawn not only from the brainstorming session on animal parts but from work by artist $enri Rousseau. $enri Rousseau was a post! impressionist painter in %a&ve'(rimitive style author unknown) *+,-".

Component 2: Responding $ad this task not re.uired a brainstorming session that included drawing various body parts and then coming up with several different critters'creatures / would have found it difficult to undertake. / think the processes of 0preparation and incubation 1inham) *+,," definitely allowed the imagination to work without restriction. / en2oyed the process of this artwork) even though / did have to re!read the instructions a few times to ensure / had followed the correct process. The creation of this artwork allowed me to escape from everyday challenges the hospital" and immediately made me think of the movie The 3roods which / had seen with children earlier in the year. / allowed my younger children to try the process of using oil pastels and crayons with the black dye and they thoroughly en2oyed it. for 4indergarten to 5ear *. This activity also brought to my attention artist $enri Rousseau whom / had never heard of prior to completing this task. / en2oyed looking at artwork that was inspired by different elements of our environment worldwide" but still had a fun playful undertone /m not sure if that was his intention) but they made me smile". / think this particular activity was intended for middle to upper primary however with some adaptation it could be used

Component 3: Relating The process of creating this artwork really gave me a sense of connection about what an open!ended authentic art e6perience really is. The process allowed me to make connections to and see the process of using divergent thinking skills. The first two steps of this activity really helped to develop skills of fluency) which is the ability to produce many ideas) if these two steps had not been undertaken / would have struggled with the rest of the process 7uilford) ,89:; cited in 1inham) *+,,". <hile it may not be obvious from the photo the creation of this artwork allowed me to e6plore techni.ues and concepts such as blending of colours) spatial awareness) colour awareness and how the chalk and oil pastels'crayons react with the dye. Looking back / feel that my artwork is safe and .uite simple. / feel that if / were to do it again / would e6plore further how to create more depth to the picture to give it a more three dimensional feel.

Component 4: Reasoning Through this artwork / was trying to e6press the 2oy and happiness / feel when / think of my children. / used simple forms that were brightly coloured that / thought my children would en2oy looking at. / wanted to create something that we could hang up on the wall and would make us feel happy and alive when we look at it. This piece was more of a personal piece than / might otherwise have done. / did read the instructions .uite a few times" and was aware that the final outcome was to produce a watercolour resist piece. $owever at the time / really wasnt thinking too much about the cognitive processes of getting to final pro2ect. =y baby boy well hes ,-" was in hospital. $aving come so close to losing him / was sitting by his bedside watching and waiting during his recovery) so this artwork became a very emotional piece. The artwork was really about dealing with emotions and the opposite of what was happening in reality. Simple shapes and proportion were important to this work. The shapes needed to be simple so they did not feel cluttered and the plants needed to be oversi>ed so that they made the children think..wow) what if flowers were really that big) could you imagine

if..? and so on. The most important thing for me at the time was to have that guidance from the instructions'lecture notes to scaffold me through a learning e6perience that enabled me to produce something that could make us smile. /m aware that the above response is not .uite the response that would not be looked for) / know there are specific areas from the te6t that should be addressed. $owever at the time that was the thinking process.

Component 5: Reconstructing (ortfolio five has helped me to understand the process and importance of developing open!ended activities. There are sections such as the research of $enri Rousseau that could be done in small groups so that children have the opportunity to collaborate. The opportunity to collaborate could help students to gain a better understanding of the type of art produced as they will be able to listen to other students opinions and thoughts. /t also provides them with the opportunity to use vocabulary specific to the task which can help them gain a better understanding what they are learning 1inham) *+,,". /n addition to developing vocabulary relating to art / would also e6plain the importance of diversity and appreciation. /t is important for children to understand that everyone is different and that someones background or even the mood they are in that day will affect what kind of image they produce. Students could be taught how to e6press their emotions and feelings in an environment that is encouraging and safe. /t is important for others to understand the feelings and meaning behind an artwork 1inham) *+,," so they can respond not only to the formal .ualities of an artwork but also to the symbols that impact on the emotional .ualities. #inally for future teaching / would add a lesson on elements and design principles prior to undertaking this activity. @ndertaking this step would enable students to produce an artwork that has considered elements such as line) colour) shape) te6ture and value 1inham) *+,,". Re#eren$es

ut%or &n'no(n, (20)*, +$to,er 20). The 3omplete <orks. -enri Rousseau.or.. Retrie/ed +$to,er 20, 20)* #ro0 %tt1!22(((.%enrirousseau.or.2 Bain, J.D., Ballantyne, R., Mills, C. & Lester, N.C. (2002). Reflecting on practice: Student teachers perspectives. Flaxton, Queensland, ustralia! "ost "ressed Din%a0, J., (20))). 1elivering Authentic Arts Bducation. 3out% Mel,ourne, 4i$toria! Cen.a.e Learnin. ustralia "ty Li0ited

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Moss. L, (20)*). B1(*:+: Art Bducation) Lecture <orksheet 1r %ew>oos 3ritters <orksheet. 56ord Do$u0ent)7. Retrie/ed #ro0 %tt1s!22l0s.$urtin.edu.au2(e,a11s21ortal2#ra0eset.8s19 ta,:ta,:.rou1:id;:<:)&url;=2F(e,a11s=2F,la$',oard=2Fexe$ute =2Flaun$%er=*Fty1e=*DCourse=2>id=*D:>?<@?:)=2>url=*D Moss. L, (20)*). B1(*:+: Art Bducation) Lecture <orksheet: $enri Rousseau <orksheet. Retrie/ed #ro0 %tt1s!22l0s.$urtin.edu.au2(e,a11s21ortal2#ra0eset.8s19 ta,:ta,:.rou1:id;:<:)&url;=2F(e,a11s=2F,la$',oard=2Fexe$ute =2Flaun$%er=*Fty1e=*DCourse=2>id=*D:>?<@?:)=2>url=*D Moss. L, (20)*). B1(*:+: Art Bducation) B1(*:+ 3ritters from Alien Barth Activity ," Cpd#7. Retrie/ed #ro0 %tt1s!22l0s.$urtin.edu.au2(e,a11s21ortal2#ra0eset.8s19 ta,:ta,:.rou1:id;:<:)&url;=2F(e,a11s=2F,la$',oard=2Fexe$ute =2Flaun$%er=*Fty1e=*DCourse=2>id=*D:>?<@?:)=2>url=*D

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