CLIL AND MODERN LANGUAGES TEACHING

Ruth BaileyUniversity of Bristol, April 24th 2014

John Baldessari ‘What is painting’

EXAMPLES OF CLIL SUBJECTS:- Food technology- Geography- Citizenship- Physical Education- Art and Design- HistoryBUT in our experience CLIL varies from Primary to Secondary - due to the degree of flexibility with the curriculum and with staffingExamples of CLIL in Secondary tend to be managed by the Languages department and lessons do not necessarily replace the main teaching of the subject.

OTHER VARIATIONS IN LANGUAGES CURRICULUM

• Evidence of new curriculum developments – away from the usual family, pastimes, school, food, holidays etc. to more cognitively challenging content.• For example ‘iLanguages’ curriculum features fairtrade, the

history of chocolate, spooky tales, describing pictures, funky fashion etc. for pupils in KS3 (11-14 years old)

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THE CLIL CONTINUUM

IU content including

work around stories,

songs, poems taught

through TL

CROSS-CURRICULAR (planned and taught with specialist subject teacher)

CROSS-CURRICULAR(planned and taught by Languages teacher)

Subject delivered through

medium of another

language

LANGUAGEFOCUS

CONTENT FOCUS

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Cultu

re Cultur

eCulture Co

nte

xt

Context

Context

Context

Cont

ent

Communicatio

n

CognitionThe 4Cs Framework(Coyle, Hood, Marsh, 2010: 41)

With thanks to Dr Anderson - Goldsmiths

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The 4Cs Framework(Coyle, Hood, Marsh, 2010: 41)

Content - subject matterCommunication - language learning and usingCognition - learning and thinking processesCulture - developing intercultural understanding

and global citizenship

With thanks to Dr Anderson - Goldsmiths

ART AND LANGUAGES

• Work carried out as part of Goldsmiths Secondary Languages PGCE over several years, with the support of mentor Paloma Villegas.• Focussed on a gallery visit with pupils but could also be work

carried out in lessons.• Focus on Art and Design learning objectives and language

learning objectives.

ART & DESIGN NATIONAL CURRICULUM (2007)

• In art, craft and design, pupils explore visual, tactile and other sensory experiences to communicate ideas and meanings. They work with traditional and new media, developing confidence, competence, imagination and creativity. They learn to appreciate and value images and artefacts across times and cultures, and to understand the contexts in which they were made. In art, craft and design, pupils reflect critically on their own and other people’s work, judging quality, value and meaning. They learn to think and act as artists, craftspeople and designers, working creatively and intelligently. They develop an appreciation of art, craft and design, and its role in the creative and cultural industries that enrich their lives. 9

ART AND DESIGN NATIONAL CURRICULUM (2013)

Purpose of study Art, craft and design embody some of the highest forms of human creativity. A high-quality art and design education should engage, inspire and challenge pupils, equipping them with the knowledge and skills to experiment, invent and create their own works of art, craft and design. As pupils progress, they should be able to think critically and develop a more rigorous understanding of art and design. They should also know how art and design both reflect and shape our history, and contribute to the culture, creativity and wealth of our nation. Aims The national curriculum for art and design aims to ensure that all pupils: • produce creative work, exploring their ideas and recording their experiences• become proficient in drawing, painting, sculpture and other art, craft and design techniques• evaluate and analyse creative works using the language of art, craft and design • know about great artists, craft makers and designers, and understand the historical and cultural

development of their art forms.

Andy Warhol ‘Before and after’

Activity:Before and after!

Picasso ‘Les Demoiselles d’Avignon

‘One of the most important works in the genesis of modern art.’

‘The painting depicts five naked prostitutes in a brothel; two of them push aside curtains around the space where the other women strike seductive and erotic poses’

MOMA appDo you agree?

Picasso ‘Les Demoiselles d’Avignon

Actually I’m an actress and my name is Jeanne.

I’m an African mask.

I’m coming into the painting to see

what’s happening.

Picasso ‘Girl before a mirror’‘Girl before a mirror’ shows Picasso’s young mistress Marie-Thérèse Walter…. Her white haloed profile, in pink, appears serene. But it merges with a more roughly painted frontal view of her face intensely yellow and made up with rouge, lipstick and green eye shadow. Perhaps the painting suggests both Walter’s day-self and night-self, both her tranquillity and her vitality but also the transition from an innocent girl to a worldly woman.On the right the mirror reflection suggests a supernatural X-ray of the girl’s soul, her future, her fate. She seems older and more anxious.’

Do you agree? Can you think of other interpretations? Do we need to know that it is Marie-Thérèse Walter?

Picasso ‘Girl before a mirror’My name is ……………………………..My hair is ……………………. and my skin is ………………My face has two colours because ……………When I look in the mirror I see ………………My reflection is different, it is more …………..My reflection is different from me because it shows …..

Marc Chagall ‘Yo y el pueblo’¿Qué ves en el cuadro?Veo…un caballo un hombre un campesinoun coche una flor una iglesiaun cine unas casas un árbol

¿Qué tipo de pueblo es? Es moderno, tranquilo, alegre, bonito etc.

¿Qué impressión te dan los colores? Son muy oscuros, vivos, tristes…

¿De qué se trata el cuadro?

Marc Chagall ‘Yo y el pueblo’

¿Es útil saber que…

• Marc Chagall era ruso y judio.• Su pueblo en Rusia era muy pobre y fue

destrozado por violentas matanzas.• Pintó el cuadro en Paris no en Rusia.• Chagall nació en un momento en la

historia de Rusia cuando la cultura judia era muy rica?

Ahora ¿Qué piensas del cuadro?

Lawrence Wiener Galleries can either carry out the instruction or put the writing on the

wall…

You can read this or carry it out!

APPLAUSE