Looking, playing and creating: early exhibition experiences

The exhibition ‘Domesticity‘ features many of the interior scenes Naomi Alexander has painted of homes around the world over the past 30 years, including paintings created as part of a recent residency in Gateshead.

Here are six simple ways we have engaged babies and children in the exhibition:

1. Art Detectives – using a magnifying glass, children look closely at the paintings and try to match the ‘I Spy’ cards to them. The magnifying glasses are a great tool for encouraging children to spend longer looking at the detail in the artworks.

Art Detective 2 Art Detective I spy card Matching i spy cards

 

2. Roleplay areas – inspired by the kitchens featured in many of the paintings, we created a roleplay area where children can play along with the scenes found in the artworks. We also created a miniature Sabbath table, which gave children the opportunity to sit in a scene like the one in the painting. This was accompanied by a written explanation of the religious significance of the Challah bread, wine and candles. On several occasions, Jewish children visiting the exhibition recognised the Sabbath table and spontaneously sang religious blessings around it.

Roleplaying the scenes featured in Naomi Alexander's paintings

Roleplaying the scenes featured in Naomi Alexander’s paintings

Miniature Sabbath table

Miniature Sabbath table

 

3. Treasure baskets – a range of kitchen utensils, including sponges, bottle brushes, metal and wooden spoons etc. were gathered in a basket, providing an enticing range of textures for babies to explore. Toddlers and older children also enjoyed this activity, spending time emptying and refilling the basket and roleplaying activities such as cooking and eating.

Treasure Basket of domestic items

Treasure Basket of domestic items

 

4. Household routines – we set up play spaces with simple and familiar domestic scenes. A basket, book, scarf and cuddly toy provided all the children needed to play out the bedtime routine. Similarly, a string, some clothes pegs and a supply of baby clothes provided the opportunity to peg washing on the line, whilst also practicing fine motor skills.

Bedtime!

Bedtime!

Washing line

Washing line

 

5. Artwork and sensory play – we spent a fun-filled and messy session making artwork using kitchen utensils. This included printing using potato mashers; making saltdough ‘cakes’ in cases; and creating dynamic paintings by whizzing paint around in a salad spinner!

Potato masher printing Salad spinner artwork - laminated to make beautiful placemats Salad spinner artworks being made Saltdough cake decorating

 

6. Storytime – we borrowed storysacks from Gateshead Central Library, to create a really engaging storytime. ‘Goldilocks and the Three Bears’, ‘Handa’s Surprise’, ‘Can’t You Sleep Little Bear’ and ‘Five Minutes’ Peace’ were a few we selected for their domestic settings. Storysacks are a brilliant resource that you can make or borrow from your local library – each one comes with a book, a guide for parents, and a selection of props, puppets and supporting resources, helping you to bring a story to life and enjoy reading with your child in a new way.

Goldilocks and the Three Bears storysack brought to life by Claudia

Goldilocks and the Three Bears storysack brought to life by Claudia

Creative Baby! begins

Having taken the first steps of developing ‘Creative Baby!’ (as described in my previous blog post) it was now time to start really thinking about the shape this exciting project would take. My aim was to help parents and babies experience the Shipley Art Gallery’s exhibitions in new and creative ways. I decided the first session would focus on the exhibition ‘Blooming Marvellous’; this life-sized knitted garden is an explosion of colour, which offered so many possibilities for engaging young babies. I began amassing everything from pop up tents and ball pools, to mirrors and bubble tubes, thinking all the while about the textures and sensations they’d offer the babies. I began to adopt rather strange shopping techniques – pondering everything from sieves to scarves, foil blankets to fairy lights; feeling their textures, checking their size, interacting with them in ways I imagined a baby would! I began to regard everyday objects as treasures which held so many possibilities for creativity, play and learning.

I began to realise I’d need company for this journey of discovery, and so invited volunteers Jess and Lillian to join me. Jess brings the combined experience of an arts degree and being mum to a six-month-old; Lillian brings experience of helping to deliver Early Years projects at Great North Museum; and both bring a huge amount of creativity and enthusiasm – altogether the ideal combination for ‘Creative Baby!’

The three of us headed to House of Objects in North Tyneside, where we met with Director Emma Pace to find out more about the Reggio Emilia approach, and how we could incorporate it into ‘Creative Baby!’. House of Objects is a community interest company focused on creative recycling methods, and inspired by the Reggio Emilia approach. We spent a wonderful afternoon playing, exploring, brainstorming and gathering materials to create our own sensory play space. I’d highly recommend a visit, whether it’s for professional development, family activities, gathering interesting materials or to experience a learning environment with a difference – all the info is on the House of Objects website. 

By now momentum was building and tickets for ‘Creative Baby!’ had sold out. I enjoyed researching early years creative environments, and reading up on Reggio Emilia and Montessori philosophies and how babies develop from birth to the age of one. Colleagues across Tyne and Wear Archives and Museums took a keen interest in the project, lending me everything from pop up tents and beanbags, to stacking cups and tunnels. Gateshead Children’s Centre kindly lent me cupboards-full of musical instruments and shared ideas for parachute games and songs. I also joined Gateshead Toy Library, which is an amazing resource that families and organisations can join to borrow toys, games and baby equipment. I was amazed at the variety of items available there, and returned to the Shipley with a head full of ideas, and a car full of bubble tubes, soft play, mirrors, toys and parachutes!

For the first session we had sixteen babies, each with a parent / carer. We began with a look around the exhibition ‘Blooming Marvellous’ – an amazing life sized knitted garden, featuring some 10,000 individual items knitted by people of all ages. The exhibition offered so many possibilities for people to chat to their babies about what they could see. The knitted picnic included plates knitted from plastic bags, which – alongside the wooly fruit, cakes and sandwiches – offered a variety of textures for the babies to experience. After a short, informal tour of the exhibition, we made our way into the main gallery for parachute games and songs, all themed around colours. The babies delighted in the coloured fabric billowing overhead as the adults enthusiastically joined in with the singing and games of peek-a-boo.

Parachute games at Creative Baby!

Parachute games at Creative Baby!

Parachute games at Creative Baby!

Parachute games at Creative Baby!

Next, it was time to explore the sensory play space, which was surrounded by Tintoretto’s 16th century oil painting ‘Christ Washing the Disciples’ Feet’; William Irving’s 1903 painting ‘The Blaydon Races’; and Gormley’s maquette of the Angel of the North. Animated by lively Brazilian music and gently pulsating projected patterns, the gallery was a burst of colour. Dens, tunnels, coloured lights, textured fabrics, mobiles, ball pools, wooden toys, mirrors were just some of the items carefully curated to invite exploration and open-ended play. The babies investigated the contents of treasure baskets; mixed colours on the light boxes; and explored the percussive qualities of rain sticks made from cardboard tubes. Parents explored with them, socialised, and made rainbow coloured toys using ribbons, bells and curtain rings. One of the most exciting things was seeing the variety of ways in which adults and babies interacted with the environment, and the gusto with which the adults approached making a sensory toy to take home. These insights will certainly inform the play spaces we design for future sessions, and we’re already excited for the second session, which will be themed around Naomi Alexander’s exhibition ‘Domesticity’.

Creative Baby! sensory play space

Creative Baby! sensory play space

Creative Baby! sensory play space

Creative Baby! sensory play space

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Creative Baby! sensory play space

Creative Baby! sensory play space

Creative Baby! sensory play space

My future blog posts will further explore ‘Creative Baby!’ which has proven so popular I’m getting enquiries about whether babies who are not yet born can book a place! In the meantime, check out these photos and a two-minute video of the first session of ‘Creative Baby!’

 

Creative Baby!: The beginnings of an idea…

For my first blog post, I thought I’d give you some insight into how Creative Baby! came about. This is a new monthly group I’ve developed for babies 0-12 months, which combines an exhibition tour, crafting activity, parachute games and songs, and a sensory play space inspired by the exhibition. Although several baby and toddler-focused groups meet at the Shipley, their activities mainly take place in the Lounge, and I wanted to develop something that really engaged babies and parents in our exhibitions.

Thinking about those parents who enjoyed a gallery visit pre-baby and would now like to introduce their baby to gallery-going, I embarked on a research trip to Manchester, where the Museums and Galleries Partnership (The WhitworthManchester Museum and Manchester City Galleries) are working collaboratively to highlight innovative, cultural practice with the under-twos. The Culturebabies website tells you more about their exciting work, which takes a really interesting and creative approach to early intervention, language and social development.

At The Whitworth and Manchester Art Gallery I couldn’t stop smiling; my head was buzzing with ideas I couldn’t wait to take back to Gateshead, and everywhere I looked I saw young families being engaged in inspiring ways. At The Whitworth (which has since been awarded Museum of the Year) I was really struck by the Early Years Atelier (meaning ‘workshop’ or ‘studio’); a bright and airy room that not only offers creative activities for families, but smoothly opens out onto a welcoming patio, which seamlessly merges with an extensive public park. I was particularly interested to hear that the Whitworth employs a ‘cultural park keeper’ to help family audiences make the transition from using the park, to exploring inside the museum.

An equally enticing Early Years offer awaited me at Manchester Art Gallery, where I met some of the Learning staff and visited the Mini Art Club, which is just one of the gallery’s many offers for families. I delighted in the Clore Art Studio, where artists Jessica Wild and Sarah Marsh have created a space for families to interact creatively. Here, children and adults alike can explore pattern in exciting and innovative ways, and engage with the themes of the exhibition ‘House Proud’ in a unique and hands-on way. I was so taken with this space I didn’t want to leave; but downstairs more wonder awaited, in the Mini Art Club for 1-4 year olds. This was a place of exploration, furnished with different textures and art materials, all beautifully presented in ways that invited investigative play. The most striking thing was that none of the children were making an artwork to take home; rather they were freely exploring an array of open-ended creative opportunities. Moving about at their own pace, the children were engrossed in using potato mashers to print on the vast rolls of paper covering the floor; observing how ribbons blew out from a fan; delighting in the scrunchy noise of foil; and exploring how voices were altered by whispering through a hosepipe. One boy spent much of the session putting a plastic waste paper bin on his head and peering through its mesh surface; occasionally taking it off and then deciding the world was far more interested when viewed in this way. This was about having a creative experience in the moment and in the gallery; and what a mesmerising experience it was!

Clore Art Studio, Manchester Art Gallery

Clore Art Studio, Manchester Art Gallery

The studio prepared for Mini Art Club

The studio prepared for Mini Art Club

Mini Art Club at Manchester Art Gallery

Mini Art Club at Manchester Art Gallery

Mini Art Club at Manchester Art Gallery

Mini Art Club at Manchester Art Gallery

I enjoyed talking to staff at Manchester Art Gallery about the Reggio Emilia philosophy that underpins their work with children. Much is written on this approach, and for those interested to find out more I’d recommend reading ‘The Hundred Languages of Children’. The approach puts great emphasis on the child’s environment, which should encourage collaboration, communication and exploration, offering inviting spaces for children to explore their creative interests. The child is the driver of their learning and the adult is the enabler, presenting opportunities for the child to take an investigative approach to the world. The title of the book mentioned above refers to the thinking that there are a hundred potential ‘languages’ through which the child communicates; they use many different creative expressions to show their understanding and interest, and to express themselves. Learning and play are intertwined as the child embarks on discovery through a myriad of creative ‘languages’.

This approach seemed to me the natural way to engage with children, particularly in a creative setting such as the gallery. With a head full of ideas, I returned to the Shipley Art Gallery to get planning. As I embarked on this new venture there were so many unknowns to navigate; How was I going to conduct an exhibition tour that would engage young babies? What should the sensory exploration environment look like? What balance should I strike between facilitated session and free play? Many more questions would emerge as ‘Creative Baby!’ took shape, and it was a creative adventure I was eager to embark on, and one that you can read more about in my next blog post!

For now, I leave you with the poem ‘The Hundred Languages of Children’, by Loris Malaguzzi, Founder of the Reggio Emilia Approach:

The child is made of one hundred.
The child has
a hundred languages
a hundred hands
a hundred thoughts
a hundred ways of thinking
of playing, of speaking.

A hundred.

Always a hundred
ways of listening
of marveling, of loving
a hundred joys
for singing and understanding
a hundred worlds
to discover
a hundred worlds
to invent
a hundred worlds
to dream.

The child has
a hundred languages
(and a hundred hundred hundred more)
but they steal ninety-nine.
The school and the culture
separate the head from the body.
They tell the child:
to think without hands
to do without head
to listen and not to speak
to understand without joy
to love and to marvel
only at Easter and at Christmas.

They tell the child:
to discover the world already there
and of the hundred
they steal ninety-nine.

They tell the child:
that work and play
reality and fantasy
science and imagination
sky and earth
reason and dream
are things
that do not belong together.

And thus they tell the child
that the hundred is not there.
The child says:
No way. The hundred is there.

Running with the Greats – a guest post by David Wright

With the Great North Greats exhibition now open at Discovery Museum, visitors have been pouring in, taking our visitor counter to almost 35,000 already!

The entrance to the Great North Greats exhibition at Discovery Museum

The entrance to the Great North Greats exhibition at Discovery Museum

The exhibition brings together the world of sport and industry, using the one millionth finish of the Great North Run last year as the starting point to explore other amazing achievements to come from the North East.

With so many North East sporting greats represented in the exhibition, this week I was eager to get outside, follow in their footsteps and create some sporting history of my own.

Enlisting the help of my friend Dan, currently in training for his first Great North Run this year, we devised a special running route, passing by important landmarks for five of the greats featured in the exhibition.

The route began in Heaton, outside the factory where Charles Parsons founded his business in 1889, manufacturing his revolutionary steam turbine.

Dan warming up for the start of the run

Dan warming up for the start of the run

During the First World War, after Charles’ son had signed up to fight, Parsons’ daughter Rachel became director of the Heaton Works, an incredible and unusual position for a woman at that time. Rachel Parsons oversaw a workforce bolstered by women young and old; filling the jobs left behind by enlisted men and aiding the war effort through the production of searchlight reflectors, used to locate enemy aircraft. Amazing photos and catalogues from this period are on display as part of Great North Greats.

Spirits were high at this point, the run began at a leisurely pace, and as we looked down into the Ouseburn Valley from Byker Bridge the sun began to break through the clouds overhead.

It wasn’t long before we were crossing over the central motorway, the site of our second landmark. Dan very wisely did some stretches while I looked down at the road and imagined the cars replaced by tens of thousands of runners, starting their long pilgrimage to South Shields.

Long before the enthusiastic amateurs set off on the day of the Great North Run, the wheelchair athletes have their race, and one Great North Great has led that field more than any other. Baroness Tanni Grey Thompson has won the Elite Women’s Wheelchair race eight times, making her the most successful Great North Run athlete of all time. The trophy presented to her each time is now on display in Great North Greats.

After retiring from the sport, Tanni began to volunteer on one of the water stations along the course – I told Dan to watch out for her on the day.

We didn’t have to wait long to reach our next landmark, which was just down the road on Mosley Street, Newcastle. It was here that Sir Joseph Swan worked in the 1800s, tirelessly experimenting until he succeeded in creating the incandescent lightbulb. The beautiful ornate lamp-posts on Mosley Street serve as a reminder that this was the first street in the world to be lit using the same type of bulb that is commonly used today.

Swan’s invention was so ground-breaking, that when first made publically available, a single bulb would cost the equivalent of £140 today. This style of bulb, produced in 1881, can be seen along with Swan’s laboratory notebook in the Great North Greats exhibition.

Heading down to the Quayside, we then crossed the Swing Bridge into Gateshead. The bridge was designed and built by Lord William George Armstrong and opened in 1876. Using hydraulic pumps invented by Armstrong, the bridge is able to twist, allowing large ships to pass through. Access for ships was essential for Lord Armstrong’s Elswick Works, further up the river. The works employed over 20,000 men at their peak, leading the way in the manufacture of armaments, automobiles and ships.

With four of our five greats crossed off the list, we were making good time, but the toughest stretch was yet to come. From the Swing Bridge we were heading to Whickham, to visit the final resting place of champion rower and revolutionary boat builder Harry Clasper.

The historical facts with which I had regaled Dan throughout the journey had dried up along with my throat at this point. He didn’t seem to mind.

Running alongside the sun kissed river, I thought of Clasper, Chambers and Renforth, the three great rowers of the Tyne. I thought of the crowds of thousands that would line these river banks to watch them compete and their determination to keep going when their bodies were telling them to stop.

Before heading up through Dunston to our final landmark, we stopped to look across the river to the former site of the Elswick Works, now the location of a cluster of new businesses bringing innovations to our region, including The Great Run Company itself.

Our inexperience in planning a running route really began to show at this stretch. I had heard rumours of the vertigo-inducing, morale destroying hills from Dunston to Whickham, but may have underestimated quite how steep they actually were. The sun was not out friend at this point and by the time we reached the top, I was unable to look down for fear that my jelly-legs would cause me to topple right back down to the bottom.

The last mile through quiet leafy streets became easier when this came into view on the side of the road

The temptation to stop was immense, but we managed to keep going, turning the corner to a churchyard and dashing up a few steps, before coming face to face with the man we had run almost 8 miles to see.

Having started working on the Great North Greats project over a year ago, I feel that I have come to know Harry Clasper rather well and seeing the impressive monument to him filled me with pride. This was a true local hero who defied the odds to bring rowing glory to the North East and changed the sport of rowing forever.

Dan, on the verge of collapse

Dan, on the verge of collapse

 

 

Local legend in Whickham states that running around the memorial three times while chanting the name Harry Clasper will lead to the great man climbing down from his perch and chasing you out of the graveyard. Unfortunately I was too exhausted to test the validity of this story!

Fittingly Clasper’s memorial looks through the trees to the River Tyne below, the scene of many of his rowing triumphs.

I doubt that our route will catch on in quite the same way as the Great North Run, but this was our own little piece of history, running with the greats.

Learn more about Parsons, Grey-Thompson, Swan, Armstrong and Clasper at Great North Greats, on show at Discovery Museum until October 18

Monday – Friday, 10 – 4

Saturday & Sunday, 11 – 4

Seaside Shields: Exhibition

Hello! this blog post gives a little taster of the ‘Seaside Shields’ exhibition, currently on at South Shields Museum and Art Gallery until the 31st October. Visit for a fun time trying out vintage arcade machines with old pennies, watching Punch and Judy shows (see events at southshieldsmuseum.org.uk for more information), and to view videos and photographs of the South Shields tourism industry.

Seaside Shields Exhibit46

Photograph by Robyn Orr, 2015. Entrance to ‘Seaside Shields’.

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Photograph by Robyn Orr, 2015. Posters in exhibition, on loan from the Railway Museum in York.

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Photograph by Robyn Orr, 2015.

Seaside Shields Exhibit16

Photograph by Robyn Orr, 2015. Available to buy in the museum shop.

ssmag ss sailor

Photograph by Robyn Orr. Laughing Sailor arcade machine.

Seaside Shields Exhibit49

Photograph by Robyn Orr, 2015. Skittle arcade machine.

Seaside Shields Exhibit25

Photograph by Robyn Orr, 2015. Poster in exhibition.

Seaside Shields Exhibit04

Photograph by Robyn Orr, 2015. Quote on wall of exhibition.

Seaside Shields Exhibit11

Photograph by Robyn Orr, 2015. Vintage arcade machine.

Seaside Shields Exhibit40

Photograph by Robyn Orr, 2015. A photograph of a woman writing ‘South Shields’ in the sand.

IMG_0069

Photograph by Robyn Orr, 2015. Punch ‘n Judy Puppets.

Seaside Shields Exhibit37

Photograph by Robyn Orr, 2015. Vintage arcade machines.

Seaside Shields Exhibit57

Photograph by Robyn Orr, 2015. Vintage arcade machine price list.