ENGLISH

NUACHTLITIR


In 2022 the International Teacher-Artist Partnership (I-TAP-PD) PD Project, ‘Finding the Common Thread’ was one of the recipient’s of the Portal Documentation Award. View the project documentation video here.

Tell us the story of your project – What was the impetus? What was it about? Who was involved? How did you begin?

Breeda Kenny, Teacher

I can still hear the crackling of the lace pattern in my mother’s hands. Lacemaking was an everyday activity in my home. My mother, Eileen Mc Mahon made Carrickmacross lace for most of her life, so when Vera (artist) suggested introducing the lace making skills to my class for this particular project, I thought this would be a wonderful way to pay tribute to my mother’s creativity. I had all my mother’s lace tools, patterns and materials after she had died in 2011. I had learned to make lace as a teenager and now I wished to teach the technique to my artist partner, Vera. As it had been some time since I had made lace, I began by contacting Mary Shields, a lacemaker friend of my mother’s from the past. She kindly revised techniques with me and advised on how best to introduce Carrickmacross Lace to primary school pupils. Mary is a retired primary school teacher herself so her insights were invaluable.

Vera McEvoy, Artist

Much of my initial preparation (as artist) for the project was learning about the techniques and style of Carrickmacross Lace and practicing the lace stitches myself. There are different stages to the lace making process and a variety of stitches specific to Carrickmacross Lace which I wished to be knowledgeable on.

How were ideas developed and how did the young people, artist and teacher work together?

Breeda Kenny, Teacher

Firstly, Vera and I sat down together at my kitchen table and we planned how we would approach the lace making project. I spent the day with Vera introducing her to the basic techniques used in Carrickmacross lace. When Vera was clear on the process, we then decided together how we would modify the process to make it accessible for the pupils in Sixth Class. It was also at this point that we agreed to use coloured materials (net and organza) and not the traditional white materials. We felt this would be more appealing to the pupils.

In the classroom we had been studying “Bogs and Peatlands”. This was part of the SESE Curriculum. The children had learned about the flora and fauna of the bog. They began the project by drawing their favourite flowers and animals from the local bog. These drawings became the motifs used in the lace patterns that the pupils used to make their lace pieces. The pupils chose the pattern that they wanted to stitch and also they selected the coloured materials to match. When the sessions began in the class, all parties worked well together. The artist was very well organised and had all the materials ready for each session. There was never any delay in getting stuck into the work. Some pupils had struggled with threading the needles at first but Vera provided threaders at later sessions and this helped enormously. We modified the process for some of the pupils to make it easier for them. We did this by using different sized needles and thicker threads. We brought some of my mother’s lace pieces into the class for one of the sessions and Vera provided the pupils with white cotton gloves so they could handle and examine it carefully. The pupils loved this aspect of the project. This had been a great opportunity for conversations and the sharing of stories between artist, teacher and pupils.

The pupils were very comfortable working with the artist and teacher throughout. They looked forward to the days when Vera was coming. They were eager to start a second piece when their first piece was completed. There were marked improvements in the stitching in all of the second pieces that the pupils made. Vera’s final visit was spent with the pupils photographing the work in the actual bog landscape. The children gave a delightful spontaneous rendition of “The Bog Down in the Valley O” to Vera on that day. On returning to the school on this particular day also, the pupils enjoyed a cake that Vera had made for them. She had decorated it with icing in the style of Carrickmacross Lace, which even included a needle and thread.

What was your personal experience of the project in terms of successes and challenges?

Breeda Kenny, Teacher

This particular project was very close to my heart as the traditional craft of Carrickmacross lace was something that I had grown up with from childhood until my mother passed away in 2011. I was very happy when Vera suggested that we should try to teach the pupils the lace making skills as I felt this was a traditional craft that needed to be kept alive while at the same time we were paying tribute to my mother’s craftsmanship and her skills as a lacemaker. The engagement of the children throughout the process and their attention to my personal stories was very worthwhile and satisfying for me as a teacher. Over the years, I have found personal stories a great way to capture the attention of the pupils in my class. Story is an effective way to help pupils learn and make sense of their world. The final lace pieces stitched by the pupils are an immense source of pride for me. They are beautiful. Some pupils have the potential to make lace to a very high standard in the future if they decide to do so. All pupils have an appreciation of the quality of true craftsmanship. I know my mother would have loved to have been part of this project.

Our joint decision to exhibit the children’s work in the local Heritage Centre will be an opportunity to disseminate the good work in the local community and I know that the pupils are very excited by this forthcoming event.

Like all activities in schools nowadays, time management presents as one of the greatest challenges. It would have been great to develop the project to include more stitches and techniques if not for time constraints. Due to the intricacies of the lace making techniques, it was challenging and tiring to get around to all the pupils to help them with difficulties they were experiencing. It is probably fair to say we were both exhausted at the end of each session.

Vera McEvoy, Artist

Working in TAP (Teacher-Artist Partnership) with Breeda is of enormous benefit to the project, the pupils and me as the artist on the project. There is a sense that everything about the project is shared. We were introducing specific skills in a primary class context which neither of us had done before. The trust and honesty which has developed in our relationship over the years has helped hugely during the project. If things were not working out as we had planned and we needed to change direction, this was never a problem. This support allows me as an artist to be more confident in spending time on the process, without focusing on a final outcome. The partnership which we have built over time has continued to grow and develop greatly. The partnership models examples of trust, confidence, collaboration and teamwork to the pupils also.

My personal experience of the project in terms of successes and challenges; I have learned a lot about Carrickmacross lace techniques and it’s heritage. I had no knowledge of it prior to this project. While I have good skills with a needle and thread, Breeda was very generous with her time during our initial meeting in showing me the relevant stitches necessary. I really enjoyed making the test pieces with Breeda in her home, chatting and laughing as we sewed.

As the project progressed, I specifically remember trying to take a shortcut on the basic tacking stitches, with a small group of pupils, which wasn’t really working out successfully. It was clearly evident that we needed to take a step back and do the task as originally planned. Breeda and I chatted about it together, with the students. We all agreed that we needed to go back and do it as it should have been done. This was a great learning experience for the students, both to see and hear us discussing the challenge and the different options, to see that in some cases shortcuts just don’t work.

What was significant for you about the project that is worth sharing?

Breeda Kenny, Teacher

For me, surprisingly the stories that evolved during the sessions became a  significant part of the project. While working on the lace-making skills, I felt I was giving the children an insight into my own life and the relationship that I had shared with my mother because of her creativity. I wanted the children to see the value of family and the people closest to us as our primary educators. Learning doesn’t just happen in school. The lived experience of home and family is a very important part of lifelong learning.

The pupils’ examination of the intricate lace pieces was a particular time that I will remember about the project. One of the pieces that we showed them was the christening robe that my mother had made for my sons. They were fascinated by this and spent time trying to find my son’s initials which had been secretly sewn into the robe by my mother. Here, the pupils were connecting with my personal story in a very real way.

During the project, I became aware of the need for the pupils to be exposed to rich artistic experiences like lace making. Many of the pupils in my class would have had limited access to various art forms. Few would have experienced sewing or knitting in their lives. We need to bring these types of crafts and skills back into the class as they are an integral part of our heritage. We need to develop the pupils’ appreciation of the wide spectrum of arts available.

The focus displayed by pupils while stitching their pieces will be something that will stay with me. The silence in the classroom at times was incredible. Stitching had brought mindfulness and the art of being mindful into the classroom setting in a very natural and uncontrived way. The pupils had become lost in their work.

Visits to the outdoors and being in the open space are really worthwhile for the pupils. The bog in particular is a space of immense natural beauty. But it is more than this. It is a place of calmness, a sensual place, a place with no distractions, a timeless place, a place of complete focus, a restorative place, a place for reflection, a spiritual place.

Vera McEvoy, Artist

There are many significant things about this project that stand out for me: the children’s broad understanding of creativity, their expression of joy as their sewing skills improved, their problem solving skills as they gained confidence in their new skills.

At the start of the project Breeda and I discussed the 5 Creative Habits of Mind* with the pupils. Their broad understanding of what creativity is, was so inspiring. They highlighted areas in school, at home, in sports and many more areas where people and their peers are being creative.

Each week, we discussed the 5 habits; skill/discipline, imagination, persistence, inquisitiveness and collaboration. We encouraged the pupils to think about the 5 competencies in relation to their specific sewing skills and their creative confidence generally. One boy was so delighted with his progress, he said with a wide smile on his face  “My sewing was a disaster at the start”.

As sewing skills developed, the pupils’ preference for specific threads or specific style of needles was evidence of their understanding of how best to achieve their desired stitch result. This understanding of the ‘tools’ for sewing only comes with practice and experience.

Has anything changed in your work as a result of the project?

Breeda Kenny, Teacher

Pupils in general have little exposure to the skills of sewing . The pupils in my class this year had had little or no experience of stitching or sewing. I have seen the value of needlework with the children. Throughout the year, I had introduced them to some basic skills so by the time the lace project started, they had some idea how to thread the needle, knot the thread and do some basic stitches. Stitching is excellent for the development of fine motor skills  in particular. It refines the use of the small muscles which control the hand, fingers and thumb which are essential for performing life long skills.

Working on the lace pieces, the pupils became very focused. They seemed to get lost in the activity and were undistracted. This was a great way to experience mindfulness at work in the classroom. Needlework will become an important part of my practice in the future.

I hope to develop this project further with my classes in the future.

Vera McEvoy, Artist

I have increased my teaching skills further while watching and working with Breeda and her engagement with the students. My awareness of the knowledge and skills required by teachers, alongside their day to day challenges is heightened. These insights help me to understand how I as an artist can work more effectively in partnership with teachers. It also increases my understanding of the Primary School Curriculum.

Breeda’s speedy organisation of the room into small groups and task areas is amazing as it can change the efficiency and the dynamic of the lesson instantly. It is really helpful for me to be part of this creative versatility and to experience its benefits first hand. Being flexible, changing direction, taking breaks, moving students, intervening for the benefit of successful teaching and interaction, keeping the children interested, asking higher order and thought provoking questions, are wonderful for me as an artist to experience and witness.

The Portal Team are delighted to announce the second of the two recipients of the 2022 Arts in Education Portal Documentation Award. We are very excited to be working with each recipient in the coming months to document their projects. These projects will be showcased on the portal as the documentation progresses.

About the recipients….
Project title: ‘Finding the Common Thread’ International Teacher Artist Partnership Project

This project “Finding the Common Thread”  is an International Teacher Artist Partnership (I-TAP) residency project between teacher Breeda Kenny and visual artist Vera McEvoy in collaboration with the 6th class pupils of St Kilian’s National School, Mullagh, Co Cavan.

This project will integrate aspects of the SESE Curriculum with the Arts Curriculum. This will be done by developing an innovative way of combining the pupils learning about the local bog environment with learning traditional lace making.  This project will reinforce the work covered in the Primary Curriculum in the areas of  English, Science, History and Geography. The processes that will be  employed will include looking at the heritage of lace-making in the area and learning the particular stitches and techniques synonymous with Carrickmacross Lace. The pupils will be afforded opportunities to design patterns for their lace pieces based on their visit to the bog  and their exploration of flora and fauna in this unique environment. Kinaesthetic and enquiry-based approaches will be used throughout the project to encourage critical thinking and innovation but more importantly to develop the pupils’ own individual creativity. The voice of the child will be paramount throughout the project.

The Portal Documentation Award will be an exciting opportunity for the pupils to create a record of their learning journey within the Arts curriculum through the creation of “Bog Books” incorporating sample lace pieces and the pupils own reflections on the process.

Artist: Vera McEvoy

Vera McEvoy is a Kildare based visual artist, educator and graduate of the National College of Art and Design, Dublin. Vera is a multidisciplinary artist working in collaborative and participatory art projects. She aspires to encourage more creativity in all ages, providing opportunities to explore, experiment and create using various art processes, techniques and materials. She is a lecturer in Visual Art Education, Froebel Dept. of Primary and Early Childhood Education, Maynooth University. Since 2019 she has been a member of the Helium Artist panel and a Creative Associate with the Creative Schools programme.

‘My partnership with Breeda has been of great benefit to my professional practice and development and to me personally. I am excited as I look forward to expanding our partnership as part of the Arts in Education Portal Documentation Award,’ Vera. See more of Vera’s work at www.veramcevoy.com

Teacher: Breeda Kenny

Breeda Kenny is Deputy Principal  in St Kilian’s N.S., Mullagh, Co.Cavan. She currently teaches 6th Class. She is a  graduate from Mary Immaculate College of Education. Breeda has always been interested in the arts, in particular Music. She has been responsible for the delivery of summer courses in this area in Monaghan Education Centre in the past. She has worked with Vera McEvoy since 2016 on the Teacher – Artist Partnership (TAP) course.

Breeda completed a M.Sc in Education and Training in DCU  in 2013. The title of her dissertation was “How can I demonstrate the importance of the Creative Arts in my practice as a primary school teacher through the medium of video?” As part of her role as Deputy Principal, she is currently responsible for the development of the creative arts in St Kilian’s.

 

Music Generation

Deadlines: 8th & 10th May 2019

Music Generation Cavan/Monaghan:
CMETB invites applications from suitably qualified and experienced persons to be placed on a panel for part-time musicians/music tutors for the following Music Generation Cavan/Monaghan programmes –

Further post details and applicant information are available to download from: http://www.vecjobs.ie/index.cfm/section/job_one/vacancy_key/5062

Closing date for receipt of applications: 12 noon, Wednesday 8 May 2019.

Music Generation Kilkenny:
KCETB on behalf of Music Generation Kilkenny wishes to recruit suitably qualified and experienced part-time musicians/music tutors to deliver the following programmes –

Further post details and applicant information are available to download from: kilkennycarlow.etb.ie/vacancies-2/musicians-tutors-music-generation-kilkenny/

Closing date for receipt of postal applications: 12 noon, Friday 10 May 2019.

Music Generation

Music Generation is delighted to share news of the appointment of three new Music Development Officers in Cavan/Monaghan, Galway City and Mayo.

Mairéad Duffy has taken up the position at Music Generation Cavan/Monaghan, one of the most recent Local Music Education Partnerships (LMEPs) to commence participation in Ireland’s national music education programme, led by Cavan and Monaghan Education and Training Board with support from Cavan and Monaghan County Councils.

Karen Dervan has commenced the role at Music Generation Galway City, another new LMEP under the leadership of Galway and Roscommon Education and Training Board together with Galway City Council.

One of the first LMEPs established as part of Music Generation, Mayo now welcomes Laurie Barrett as new Music Development Officer. Mayo, Sligo and Leitrim Education and Training Board is the lead partner on this programme.

In their new posts, Mairéad, Karen and Laurie will have responsibility for developing and managing affordable and accessible local performance music education programmes for children and young people ages 0 to 18.

This will include the coordination of music tuition services within the counties, working in partnership with schools, community music groups and centres in the formation of choirs, ensembles, multi-genre performance initiatives, and more.

Initiated by Music Network, Music Generation is co-funded by U2, The Ireland Funds, the Department of Education and Skills and Local Music Education Partnerships.

For further information go to https://www.musicgeneration.ie

 

 

 

Music Generation 

Deadline: 12 noon, Friday 28 September, 2018

Cavan & Monaghan ETB; Galway & Roscommon ETB; Kilkenny & Carlow ETB; and Mayo, Sligo & Leitrim ETB each invite applications for the position(s) of Music Generation Development Officer.

A Music Generation Development Officer(s) will be appointed by each Statutory Agency and will be responsible for managing an extensive performance music education programme on behalf of the Music Education Partnership in each area.

All areas have been selected for participation in Music Generation – Ireland’s National Music Education Programme, which is co-funded by U2, The Ireland Funds, the Department of Education and Skills and Local Music Education Partnerships.

Three-year, fixed-term contract.

Application forms, job descriptions and person specifications available online at the links below –

Please note that each post requires a separate application.

Closing date for receipt of completed application forms: 12 noon, Friday 28 September, 2018

Cavan & Monaghan ETB; Galway & Roscommon ETB; Kilkenny & Carlow ETB; and Mayo, Sligo & Leitrim ETB are equal opportunities employers.

For further information go to www.musicgeneration.ie/news/article/opportunities-music-generation-development-officer-6-posts/

Tell us the story of your project – What was the impetus? What was it about? Who was involved? How did you begin?

Sleeper Creeper was a collaborative creation between Robbie Perry (musician), Annie Callaghan (artist) and Philip Doherty (playwright) and was performed in Townhall Cavan at the end of 2016 as part of their seasonal programming for children. The success of the show duly inspired Joanne Brennan (Arts in Education CMETB) to approach Robbie and Annie and adapt Sleeper Creeper for a pilot project to run in two selected primary schools, one in Cavan and one in Monaghan. The original show was quite complex in its clever use of artistic disciplines. From live and improvised music being layered throughout, the use of loop machines to projected shadow puppetry involving unique, as well as, everyday objects. All of this was performed with no dialogue and told the story of an old and lonely inventor who miraculously creates a living being from parts that he finds amongst junk. Their friendship grows from their collaborative performances and zany situations they find themselves in.

Rather than try to create the same performance for young students, Robbie and Annie chose an entirely new story titled, Paddy Red Downey and the Voice in the Dream in which Paddy Red Downey fishes for junk and finds himself transported to a world beyond his wildest dreams eventually hearing an old women’s voice calling him to return home and share his new found wonders with everyone.

Andrea Malone, Teacher

The Paddy Red Downey and the Voice in the Dream project was easily one of the most effective projects I have been involved in. Initial conversations with Joanne Brennan (Arts in Education CMETB) and meetings with Robbie and Annie entailed planning, organising and ensuring all requirements were met e.g. garda vetting, school space, curriculum linkage etc. Robbie and Annie also met with the children to introduce themselves and explain the project.

How were the ideas developed and how did the young people, artist and teacher work together?

Annie Callaghan & Robbie Perry, Artists

The ideas were developed as a direct result of the principles of Sleeper Creeper. A multidisciplinary approach to art form and the themes based around recycling and repurposing of everyday materials and junk. The story itself was created as a catalyst for inspiring young minds. Using the story as an opening for the project workshops, we were able to demonstrate to the young audience aspects of theatre, drama, storytelling, music and shadow puppetry that they would in turn learn to use over a two day period for their own collective performance.

The teacher allowed Robbie and Annie to bring the children around the school grounds to examine and collect, in pairs, any objects they found of interest. These objects were then projected through the use of an analog overhead projector and discussed openly and collectively on how their appearances changed with our changing perceptions. This example facilitates a validation process for the individual in what they later view as art and how it can then be manipulated and viewed to help create a story.

Then began a separation of the group into two halves. One half facilitated by Annie and the shadow puppetry and the other half by Robbie and music creation as a means to underscore the students very own production.

The teacher’s role within this workshop was almost only to observe and maintain any control if needed. It cannot be overstated how important this approach was to the project overall. Conversations and shared opinions with the teacher, revealed aspects and qualities of each student’s character as they worked closely and intensely with the artists that were keenly observed and somewhat enlightening to the teacher.

What was your personal experience of the project in terms of successes and challenges?

Annie Callaghan & Robbie Perry, Artists

The project itself was quite experimental. We hadn’t taken something as complex as our performance, and adapted it with a workshop in mind ever before. Also, there were many challenges such as time needed for the students to learn multiple skills with a final performance, questions regarding the suitability of their classrooms, rather than a hall for the workshops etc. We were very pleased to find that we coped quite favorably with all these challenges which were also challenges for the schools. The fact that we could work within the classroom meant no upset to the rest of the school in organizing or rearranging scheduled use of alternative rooms. Also, the fact that the hours we put in were arranged for an intense two days consecutively meant a greater opportunity for all involved to focus and achieve a fully immersive creative experience.

Catherine Mc Guirk, Teacher

One of the activities that I felt really supported the children’s confidence with regards to the music aspect was the time in which they were allowed to explore the different instruments. I found that at the age the children were at doing the projects, they were conscious of whether or not they were “good at” something. It can often be hard to try and get them to engage fully in something if they feel it is on an area that they aren’t talented in. However, the vast arrange of musical instruments that were available to them allowed them to try out their musical abilities on them. I found that my class would often associate musical talent as to whether or not you could play the piano etc. However, with the way in which they were able to explore the vast array of instruments and create backing music for a story, it was a whole new side to music for them. It was also something that after we had engaged with in the workshop, they wanted to do it more in class. The more exposure they get to experience this, the more confident they will grow in it.

What was significant for you about the project that is worth sharing?

Annie Callaghan & Robbie Perry, Artists

Probably the most significant thing for us was the true potential of each and every student to achieve in an extremely short but significant amount of time, an entire production. From inception until final performance in front of an audience, the entire class worked as a team with individuals quickly finding their strengths and how best they could contribute to the group as a whole. It was wonderful to observe, for example, two students that were much happier to be a part of the technical projection work rather than perform music or drama. This revealed for us the complex range of interests within any given group and reinforces the idea that we need projects that provide more opportunities which exercise the potential for total inclusivity.

Catherine Mc Guirk, Teacher

Telling of a story is something most children love to do. Some I have found can find it difficult telling a story when they have to write it- for many different reasons. E.g. some might find spelling difficult and get so caught up on whether a word is spelt correctly or not hinders their story telling ability as they don’t get their story finished. The way in which the children were allowed to tell a story through art and music really developed confidence in not only the children who love writing stories but also in the children who find that hard. While doing this they were also developing their Drama skills- even though they may not have realised that. They were able to use their imagination and tell a story not only with their drawings but just by using environmental objects- again, allowing those who didn’t feel confident in their artistic abilities to still their artistic confidence by using environmental objects in an artistic way. It was something that they really enjoyed. They developed so many different skills by doing the project, learnt lots of new things without realising it.

Andrea Malone, Teacher

This process of choice supported confidence in its own right. The children learned through many different methodologies that suited all learners. Robbie and Annie facilitated so appropriately but still allowed the children to have responsibility for their own learning.

Has anything changed in your work as a result of the project?

Annie Callaghan & Robbie Perry, Artists

It has only further increased my belief in the creative potential of children and the potential of group orientated creative projects

Catherine Mc Guirk, Teacher

It has changed the way in which I teach arts education as it reminded me how important it is to not only teach the subjects but to allow them to co-exist with each other, to use them together as a way to allow for further exploration as to what they can achieve when combined.

It has given me more confidence in doing projects like this, integrating the Arts subjects- along with others, in the classroom

Andrea Malone, Teacher

This project has given me the confidence as an educator to give the children much more responsibility for their learning. My Arts lessons are less structured which has resulted in a smoother flow to lessons. The power of integration throughout the Arts subjects was evident throughout the ‘Paddy Red Downey and the Voice in the Dream’   project hence I have increased integration throughout Drama, Art, Music and Physical Education.

‘Paddy Red Downey and the Voice in the Dream’ was a wonderful project where I witnessed children growing in self-confidence, learning and having so much fun!


!!!! Finding the Common Thread

In 2022 the International Teacher-Artist Partnership (I-TAP-PD) PD Project, ‘Finding the Common Thread’ was one of the recipient’s of the Portal Documentation Award. View the project documentation video here.

Tell us the story of your project – What was the impetus? What was it about? Who was involved? How did you begin?

Breeda Kenny, Teacher

I can still hear the crackling of the lace pattern in my mother’s hands. Lacemaking was an everyday activity in my home. My mother, Eileen Mc Mahon made Carrickmacross lace for most of her life, so when Vera (artist) suggested introducing the lace making skills to my class for this particular project, I thought this would be a wonderful way to pay tribute to my mother’s creativity. I had all my mother’s lace tools, patterns and materials after she had died in 2011. I had learned to make lace as a teenager and now I wished to teach the technique to my artist partner, Vera. As it had been some time since I had made lace, I began by contacting Mary Shields, a lacemaker friend of my mother’s from the past. She kindly revised techniques with me and advised on how best to introduce Carrickmacross Lace to primary school pupils. Mary is a retired primary school teacher herself so her insights were invaluable.

Vera McEvoy, Artist

Much of my initial preparation (as artist) for the project was learning about the techniques and style of Carrickmacross Lace and practicing the lace stitches myself. There are different stages to the lace making process and a variety of stitches specific to Carrickmacross Lace which I wished to be knowledgeable on.

How were ideas developed and how did the young people, artist and teacher work together?

Breeda Kenny, Teacher

Firstly, Vera and I sat down together at my kitchen table and we planned how we would approach the lace making project. I spent the day with Vera introducing her to the basic techniques used in Carrickmacross lace. When Vera was clear on the process, we then decided together how we would modify the process to make it accessible for the pupils in Sixth Class. It was also at this point that we agreed to use coloured materials (net and organza) and not the traditional white materials. We felt this would be more appealing to the pupils.

In the classroom we had been studying “Bogs and Peatlands”. This was part of the SESE Curriculum. The children had learned about the flora and fauna of the bog. They began the project by drawing their favourite flowers and animals from the local bog. These drawings became the motifs used in the lace patterns that the pupils used to make their lace pieces. The pupils chose the pattern that they wanted to stitch and also they selected the coloured materials to match. When the sessions began in the class, all parties worked well together. The artist was very well organised and had all the materials ready for each session. There was never any delay in getting stuck into the work. Some pupils had struggled with threading the needles at first but Vera provided threaders at later sessions and this helped enormously. We modified the process for some of the pupils to make it easier for them. We did this by using different sized needles and thicker threads. We brought some of my mother’s lace pieces into the class for one of the sessions and Vera provided the pupils with white cotton gloves so they could handle and examine it carefully. The pupils loved this aspect of the project. This had been a great opportunity for conversations and the sharing of stories between artist, teacher and pupils.

The pupils were very comfortable working with the artist and teacher throughout. They looked forward to the days when Vera was coming. They were eager to start a second piece when their first piece was completed. There were marked improvements in the stitching in all of the second pieces that the pupils made. Vera’s final visit was spent with the pupils photographing the work in the actual bog landscape. The children gave a delightful spontaneous rendition of “The Bog Down in the Valley O” to Vera on that day. On returning to the school on this particular day also, the pupils enjoyed a cake that Vera had made for them. She had decorated it with icing in the style of Carrickmacross Lace, which even included a needle and thread.

What was your personal experience of the project in terms of successes and challenges?

Breeda Kenny, Teacher

This particular project was very close to my heart as the traditional craft of Carrickmacross lace was something that I had grown up with from childhood until my mother passed away in 2011. I was very happy when Vera suggested that we should try to teach the pupils the lace making skills as I felt this was a traditional craft that needed to be kept alive while at the same time we were paying tribute to my mother’s craftsmanship and her skills as a lacemaker. The engagement of the children throughout the process and their attention to my personal stories was very worthwhile and satisfying for me as a teacher. Over the years, I have found personal stories a great way to capture the attention of the pupils in my class. Story is an effective way to help pupils learn and make sense of their world. The final lace pieces stitched by the pupils are an immense source of pride for me. They are beautiful. Some pupils have the potential to make lace to a very high standard in the future if they decide to do so. All pupils have an appreciation of the quality of true craftsmanship. I know my mother would have loved to have been part of this project.

Our joint decision to exhibit the children’s work in the local Heritage Centre will be an opportunity to disseminate the good work in the local community and I know that the pupils are very excited by this forthcoming event.

Like all activities in schools nowadays, time management presents as one of the greatest challenges. It would have been great to develop the project to include more stitches and techniques if not for time constraints. Due to the intricacies of the lace making techniques, it was challenging and tiring to get around to all the pupils to help them with difficulties they were experiencing. It is probably fair to say we were both exhausted at the end of each session.

Vera McEvoy, Artist

Working in TAP (Teacher-Artist Partnership) with Breeda is of enormous benefit to the project, the pupils and me as the artist on the project. There is a sense that everything about the project is shared. We were introducing specific skills in a primary class context which neither of us had done before. The trust and honesty which has developed in our relationship over the years has helped hugely during the project. If things were not working out as we had planned and we needed to change direction, this was never a problem. This support allows me as an artist to be more confident in spending time on the process, without focusing on a final outcome. The partnership which we have built over time has continued to grow and develop greatly. The partnership models examples of trust, confidence, collaboration and teamwork to the pupils also.

My personal experience of the project in terms of successes and challenges; I have learned a lot about Carrickmacross lace techniques and it’s heritage. I had no knowledge of it prior to this project. While I have good skills with a needle and thread, Breeda was very generous with her time during our initial meeting in showing me the relevant stitches necessary. I really enjoyed making the test pieces with Breeda in her home, chatting and laughing as we sewed.

As the project progressed, I specifically remember trying to take a shortcut on the basic tacking stitches, with a small group of pupils, which wasn’t really working out successfully. It was clearly evident that we needed to take a step back and do the task as originally planned. Breeda and I chatted about it together, with the students. We all agreed that we needed to go back and do it as it should have been done. This was a great learning experience for the students, both to see and hear us discussing the challenge and the different options, to see that in some cases shortcuts just don’t work.

What was significant for you about the project that is worth sharing?

Breeda Kenny, Teacher

For me, surprisingly the stories that evolved during the sessions became a  significant part of the project. While working on the lace-making skills, I felt I was giving the children an insight into my own life and the relationship that I had shared with my mother because of her creativity. I wanted the children to see the value of family and the people closest to us as our primary educators. Learning doesn’t just happen in school. The lived experience of home and family is a very important part of lifelong learning.

The pupils’ examination of the intricate lace pieces was a particular time that I will remember about the project. One of the pieces that we showed them was the christening robe that my mother had made for my sons. They were fascinated by this and spent time trying to find my son’s initials which had been secretly sewn into the robe by my mother. Here, the pupils were connecting with my personal story in a very real way.

During the project, I became aware of the need for the pupils to be exposed to rich artistic experiences like lace making. Many of the pupils in my class would have had limited access to various art forms. Few would have experienced sewing or knitting in their lives. We need to bring these types of crafts and skills back into the class as they are an integral part of our heritage. We need to develop the pupils’ appreciation of the wide spectrum of arts available.

The focus displayed by pupils while stitching their pieces will be something that will stay with me. The silence in the classroom at times was incredible. Stitching had brought mindfulness and the art of being mindful into the classroom setting in a very natural and uncontrived way. The pupils had become lost in their work.

Visits to the outdoors and being in the open space are really worthwhile for the pupils. The bog in particular is a space of immense natural beauty. But it is more than this. It is a place of calmness, a sensual place, a place with no distractions, a timeless place, a place of complete focus, a restorative place, a place for reflection, a spiritual place.

Vera McEvoy, Artist

There are many significant things about this project that stand out for me: the children’s broad understanding of creativity, their expression of joy as their sewing skills improved, their problem solving skills as they gained confidence in their new skills.

At the start of the project Breeda and I discussed the 5 Creative Habits of Mind* with the pupils. Their broad understanding of what creativity is, was so inspiring. They highlighted areas in school, at home, in sports and many more areas where people and their peers are being creative.

Each week, we discussed the 5 habits; skill/discipline, imagination, persistence, inquisitiveness and collaboration. We encouraged the pupils to think about the 5 competencies in relation to their specific sewing skills and their creative confidence generally. One boy was so delighted with his progress, he said with a wide smile on his face  “My sewing was a disaster at the start”.

As sewing skills developed, the pupils’ preference for specific threads or specific style of needles was evidence of their understanding of how best to achieve their desired stitch result. This understanding of the ‘tools’ for sewing only comes with practice and experience.

Has anything changed in your work as a result of the project?

Breeda Kenny, Teacher

Pupils in general have little exposure to the skills of sewing . The pupils in my class this year had had little or no experience of stitching or sewing. I have seen the value of needlework with the children. Throughout the year, I had introduced them to some basic skills so by the time the lace project started, they had some idea how to thread the needle, knot the thread and do some basic stitches. Stitching is excellent for the development of fine motor skills  in particular. It refines the use of the small muscles which control the hand, fingers and thumb which are essential for performing life long skills.

Working on the lace pieces, the pupils became very focused. They seemed to get lost in the activity and were undistracted. This was a great way to experience mindfulness at work in the classroom. Needlework will become an important part of my practice in the future.

I hope to develop this project further with my classes in the future.

Vera McEvoy, Artist

I have increased my teaching skills further while watching and working with Breeda and her engagement with the students. My awareness of the knowledge and skills required by teachers, alongside their day to day challenges is heightened. These insights help me to understand how I as an artist can work more effectively in partnership with teachers. It also increases my understanding of the Primary School Curriculum.

Breeda’s speedy organisation of the room into small groups and task areas is amazing as it can change the efficiency and the dynamic of the lesson instantly. It is really helpful for me to be part of this creative versatility and to experience its benefits first hand. Being flexible, changing direction, taking breaks, moving students, intervening for the benefit of successful teaching and interaction, keeping the children interested, asking higher order and thought provoking questions, are wonderful for me as an artist to experience and witness.

!!!! Part 2 – Announcing the 2022 Arts in Education Portal Documentation Award Recipients

The Portal Team are delighted to announce the second of the two recipients of the 2022 Arts in Education Portal Documentation Award. We are very excited to be working with each recipient in the coming months to document their projects. These projects will be showcased on the portal as the documentation progresses.

About the recipients….
Project title: ‘Finding the Common Thread’ International Teacher Artist Partnership Project

This project “Finding the Common Thread”  is an International Teacher Artist Partnership (I-TAP) residency project between teacher Breeda Kenny and visual artist Vera McEvoy in collaboration with the 6th class pupils of St Kilian’s National School, Mullagh, Co Cavan.

This project will integrate aspects of the SESE Curriculum with the Arts Curriculum. This will be done by developing an innovative way of combining the pupils learning about the local bog environment with learning traditional lace making.  This project will reinforce the work covered in the Primary Curriculum in the areas of  English, Science, History and Geography. The processes that will be  employed will include looking at the heritage of lace-making in the area and learning the particular stitches and techniques synonymous with Carrickmacross Lace. The pupils will be afforded opportunities to design patterns for their lace pieces based on their visit to the bog  and their exploration of flora and fauna in this unique environment. Kinaesthetic and enquiry-based approaches will be used throughout the project to encourage critical thinking and innovation but more importantly to develop the pupils’ own individual creativity. The voice of the child will be paramount throughout the project.

The Portal Documentation Award will be an exciting opportunity for the pupils to create a record of their learning journey within the Arts curriculum through the creation of “Bog Books” incorporating sample lace pieces and the pupils own reflections on the process.

Artist: Vera McEvoy

Vera McEvoy is a Kildare based visual artist, educator and graduate of the National College of Art and Design, Dublin. Vera is a multidisciplinary artist working in collaborative and participatory art projects. She aspires to encourage more creativity in all ages, providing opportunities to explore, experiment and create using various art processes, techniques and materials. She is a lecturer in Visual Art Education, Froebel Dept. of Primary and Early Childhood Education, Maynooth University. Since 2019 she has been a member of the Helium Artist panel and a Creative Associate with the Creative Schools programme.

‘My partnership with Breeda has been of great benefit to my professional practice and development and to me personally. I am excited as I look forward to expanding our partnership as part of the Arts in Education Portal Documentation Award,’ Vera. See more of Vera’s work at www.veramcevoy.com

Teacher: Breeda Kenny

Breeda Kenny is Deputy Principal  in St Kilian’s N.S., Mullagh, Co.Cavan. She currently teaches 6th Class. She is a  graduate from Mary Immaculate College of Education. Breeda has always been interested in the arts, in particular Music. She has been responsible for the delivery of summer courses in this area in Monaghan Education Centre in the past. She has worked with Vera McEvoy since 2016 on the Teacher – Artist Partnership (TAP) course.

Breeda completed a M.Sc in Education and Training in DCU  in 2013. The title of her dissertation was “How can I demonstrate the importance of the Creative Arts in my practice as a primary school teacher through the medium of video?” As part of her role as Deputy Principal, she is currently responsible for the development of the creative arts in St Kilian’s.

 

!!!! Opportunity: Call for Musicians / Music Tutors for Music Generation Cavan/Monaghan & Kilkenny

Music Generation

Deadlines: 8th & 10th May 2019

Music Generation Cavan/Monaghan:
CMETB invites applications from suitably qualified and experienced persons to be placed on a panel for part-time musicians/music tutors for the following Music Generation Cavan/Monaghan programmes –

Further post details and applicant information are available to download from: http://www.vecjobs.ie/index.cfm/section/job_one/vacancy_key/5062

Closing date for receipt of applications: 12 noon, Wednesday 8 May 2019.

Music Generation Kilkenny:
KCETB on behalf of Music Generation Kilkenny wishes to recruit suitably qualified and experienced part-time musicians/music tutors to deliver the following programmes –

Further post details and applicant information are available to download from: kilkennycarlow.etb.ie/vacancies-2/musicians-tutors-music-generation-kilkenny/

Closing date for receipt of postal applications: 12 noon, Friday 10 May 2019.

!!!! New Music Generation Development Officers appointed in Cavan/Monaghan, Galway City and Mayo

Music Generation

Music Generation is delighted to share news of the appointment of three new Music Development Officers in Cavan/Monaghan, Galway City and Mayo.

Mairéad Duffy has taken up the position at Music Generation Cavan/Monaghan, one of the most recent Local Music Education Partnerships (LMEPs) to commence participation in Ireland’s national music education programme, led by Cavan and Monaghan Education and Training Board with support from Cavan and Monaghan County Councils.

Karen Dervan has commenced the role at Music Generation Galway City, another new LMEP under the leadership of Galway and Roscommon Education and Training Board together with Galway City Council.

One of the first LMEPs established as part of Music Generation, Mayo now welcomes Laurie Barrett as new Music Development Officer. Mayo, Sligo and Leitrim Education and Training Board is the lead partner on this programme.

In their new posts, Mairéad, Karen and Laurie will have responsibility for developing and managing affordable and accessible local performance music education programmes for children and young people ages 0 to 18.

This will include the coordination of music tuition services within the counties, working in partnership with schools, community music groups and centres in the formation of choirs, ensembles, multi-genre performance initiatives, and more.

Initiated by Music Network, Music Generation is co-funded by U2, The Ireland Funds, the Department of Education and Skills and Local Music Education Partnerships.

For further information go to https://www.musicgeneration.ie

 

 

 

!!!! Opportunity: Music Generation Development Officers (6 Posts)

Music Generation 

Deadline: 12 noon, Friday 28 September, 2018

Cavan & Monaghan ETB; Galway & Roscommon ETB; Kilkenny & Carlow ETB; and Mayo, Sligo & Leitrim ETB each invite applications for the position(s) of Music Generation Development Officer.

A Music Generation Development Officer(s) will be appointed by each Statutory Agency and will be responsible for managing an extensive performance music education programme on behalf of the Music Education Partnership in each area.

All areas have been selected for participation in Music Generation – Ireland’s National Music Education Programme, which is co-funded by U2, The Ireland Funds, the Department of Education and Skills and Local Music Education Partnerships.

Three-year, fixed-term contract.

Application forms, job descriptions and person specifications available online at the links below –

Please note that each post requires a separate application.

Closing date for receipt of completed application forms: 12 noon, Friday 28 September, 2018

Cavan & Monaghan ETB; Galway & Roscommon ETB; Kilkenny & Carlow ETB; and Mayo, Sligo & Leitrim ETB are equal opportunities employers.

For further information go to www.musicgeneration.ie/news/article/opportunities-music-generation-development-officer-6-posts/

!!!! Paddy Red Downey and the Voice in the Dream

Tell us the story of your project – What was the impetus? What was it about? Who was involved? How did you begin?

Sleeper Creeper was a collaborative creation between Robbie Perry (musician), Annie Callaghan (artist) and Philip Doherty (playwright) and was performed in Townhall Cavan at the end of 2016 as part of their seasonal programming for children. The success of the show duly inspired Joanne Brennan (Arts in Education CMETB) to approach Robbie and Annie and adapt Sleeper Creeper for a pilot project to run in two selected primary schools, one in Cavan and one in Monaghan. The original show was quite complex in its clever use of artistic disciplines. From live and improvised music being layered throughout, the use of loop machines to projected shadow puppetry involving unique, as well as, everyday objects. All of this was performed with no dialogue and told the story of an old and lonely inventor who miraculously creates a living being from parts that he finds amongst junk. Their friendship grows from their collaborative performances and zany situations they find themselves in.

Rather than try to create the same performance for young students, Robbie and Annie chose an entirely new story titled, Paddy Red Downey and the Voice in the Dream in which Paddy Red Downey fishes for junk and finds himself transported to a world beyond his wildest dreams eventually hearing an old women’s voice calling him to return home and share his new found wonders with everyone.

Andrea Malone, Teacher

The Paddy Red Downey and the Voice in the Dream project was easily one of the most effective projects I have been involved in. Initial conversations with Joanne Brennan (Arts in Education CMETB) and meetings with Robbie and Annie entailed planning, organising and ensuring all requirements were met e.g. garda vetting, school space, curriculum linkage etc. Robbie and Annie also met with the children to introduce themselves and explain the project.

How were the ideas developed and how did the young people, artist and teacher work together?

Annie Callaghan & Robbie Perry, Artists

The ideas were developed as a direct result of the principles of Sleeper Creeper. A multidisciplinary approach to art form and the themes based around recycling and repurposing of everyday materials and junk. The story itself was created as a catalyst for inspiring young minds. Using the story as an opening for the project workshops, we were able to demonstrate to the young audience aspects of theatre, drama, storytelling, music and shadow puppetry that they would in turn learn to use over a two day period for their own collective performance.

The teacher allowed Robbie and Annie to bring the children around the school grounds to examine and collect, in pairs, any objects they found of interest. These objects were then projected through the use of an analog overhead projector and discussed openly and collectively on how their appearances changed with our changing perceptions. This example facilitates a validation process for the individual in what they later view as art and how it can then be manipulated and viewed to help create a story.

Then began a separation of the group into two halves. One half facilitated by Annie and the shadow puppetry and the other half by Robbie and music creation as a means to underscore the students very own production.

The teacher’s role within this workshop was almost only to observe and maintain any control if needed. It cannot be overstated how important this approach was to the project overall. Conversations and shared opinions with the teacher, revealed aspects and qualities of each student’s character as they worked closely and intensely with the artists that were keenly observed and somewhat enlightening to the teacher.

What was your personal experience of the project in terms of successes and challenges?

Annie Callaghan & Robbie Perry, Artists

The project itself was quite experimental. We hadn’t taken something as complex as our performance, and adapted it with a workshop in mind ever before. Also, there were many challenges such as time needed for the students to learn multiple skills with a final performance, questions regarding the suitability of their classrooms, rather than a hall for the workshops etc. We were very pleased to find that we coped quite favorably with all these challenges which were also challenges for the schools. The fact that we could work within the classroom meant no upset to the rest of the school in organizing or rearranging scheduled use of alternative rooms. Also, the fact that the hours we put in were arranged for an intense two days consecutively meant a greater opportunity for all involved to focus and achieve a fully immersive creative experience.

Catherine Mc Guirk, Teacher

One of the activities that I felt really supported the children’s confidence with regards to the music aspect was the time in which they were allowed to explore the different instruments. I found that at the age the children were at doing the projects, they were conscious of whether or not they were “good at” something. It can often be hard to try and get them to engage fully in something if they feel it is on an area that they aren’t talented in. However, the vast arrange of musical instruments that were available to them allowed them to try out their musical abilities on them. I found that my class would often associate musical talent as to whether or not you could play the piano etc. However, with the way in which they were able to explore the vast array of instruments and create backing music for a story, it was a whole new side to music for them. It was also something that after we had engaged with in the workshop, they wanted to do it more in class. The more exposure they get to experience this, the more confident they will grow in it.

What was significant for you about the project that is worth sharing?

Annie Callaghan & Robbie Perry, Artists

Probably the most significant thing for us was the true potential of each and every student to achieve in an extremely short but significant amount of time, an entire production. From inception until final performance in front of an audience, the entire class worked as a team with individuals quickly finding their strengths and how best they could contribute to the group as a whole. It was wonderful to observe, for example, two students that were much happier to be a part of the technical projection work rather than perform music or drama. This revealed for us the complex range of interests within any given group and reinforces the idea that we need projects that provide more opportunities which exercise the potential for total inclusivity.

Catherine Mc Guirk, Teacher

Telling of a story is something most children love to do. Some I have found can find it difficult telling a story when they have to write it- for many different reasons. E.g. some might find spelling difficult and get so caught up on whether a word is spelt correctly or not hinders their story telling ability as they don’t get their story finished. The way in which the children were allowed to tell a story through art and music really developed confidence in not only the children who love writing stories but also in the children who find that hard. While doing this they were also developing their Drama skills- even though they may not have realised that. They were able to use their imagination and tell a story not only with their drawings but just by using environmental objects- again, allowing those who didn’t feel confident in their artistic abilities to still their artistic confidence by using environmental objects in an artistic way. It was something that they really enjoyed. They developed so many different skills by doing the project, learnt lots of new things without realising it.

Andrea Malone, Teacher

This process of choice supported confidence in its own right. The children learned through many different methodologies that suited all learners. Robbie and Annie facilitated so appropriately but still allowed the children to have responsibility for their own learning.

Has anything changed in your work as a result of the project?

Annie Callaghan & Robbie Perry, Artists

It has only further increased my belief in the creative potential of children and the potential of group orientated creative projects

Catherine Mc Guirk, Teacher

It has changed the way in which I teach arts education as it reminded me how important it is to not only teach the subjects but to allow them to co-exist with each other, to use them together as a way to allow for further exploration as to what they can achieve when combined.

It has given me more confidence in doing projects like this, integrating the Arts subjects- along with others, in the classroom

Andrea Malone, Teacher

This project has given me the confidence as an educator to give the children much more responsibility for their learning. My Arts lessons are less structured which has resulted in a smoother flow to lessons. The power of integration throughout the Arts subjects was evident throughout the ‘Paddy Red Downey and the Voice in the Dream’   project hence I have increased integration throughout Drama, Art, Music and Physical Education.

‘Paddy Red Downey and the Voice in the Dream’ was a wonderful project where I witnessed children growing in self-confidence, learning and having so much fun!