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national wool museum26 Moorabool Street, Geelong, 3220 Tel: 03 5272 4701 Email: nwminfo@geelongcity.vic.gov.au Web: www.nwm.vic.gov.au Open: Mon-Fri 9.30am-5.00pm, Sat & Sun 10.00am - 5.00pmClosed: Christmas Day, Boxing Day and Good Friday.

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Teacher Overview

Exhibition Overview:A wearable STEAM unit – participating in the scarf festival provides a perfect creative outcome for your learning. Artists are encouraged to create a scarf, something that can be draped and worn around the head and/or shoulders, that captures the year’s theme. Participation in Scarf Festival has five key components.1. Explore and Express Ideas: Project brief – design a solution. Use the theme

“galaxies” to create a focused unit of study. 2. Arts Practices: Artist Statement – explain the story behind the scarf. What

inspired the colours, materials, textures, etc for your content study? Is your scarf a representation of cultural stories, of fabric technology for another world environment, the mathematical patterns behind understanding our coral reefs, upcycled from a family heirloom?

3. Arts Practices: Scarf Creation – make the scarf and send it in to the National Wool Museum; you may use any materials and any technique.

4. Present and Perform: Exhibition – all scarves created are exhibited. Students individually or as a class can visit their scarf on display amongst hundreds of other entries from around Australia and the world.

5. Respond and Interpret: Visit the Scarf Festival and have a look at how artists from all over the world have responded to the theme with a variety of colours, textures, materials, and techniques. Vote for your favourite in the People’s Choice Award.

Key ideas in the exhibition: Art vocabulary Interpreting theme and the role of artist’s statement Introduction to textile/fibre art Curriculum Connections: The Arts – visual arts, Design and Technologies,

English – language, Earth and space sciences [connections will vary depending on the theme]

How to Enter: Entry is open to everyone and all scarves created are exhibited. Create a scarf as a class or have each student create their own scarf. There are no restrictions on materials or techniques used to create the scarf. Visit www.nwm.vic.gov.au for entry terms and conditions and the online entry form. Entry for school students is free.

Key dates: Entries open – 6 February 2017 Entries close – 30 April 2017 Exhibition opens – 2 June 2017

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Exhibition closes – 27 August 2017 (and announcement of 2018 theme)

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Key Words (Definitions from the Oxford English Dictionary, unless otherwise specified)ART The expression or application of human creative skill and

imagination, producing works to be appreciated primarily for their beauty or emotional power

ARTIST A person that practices any creative art as a profession or hobby

CROCHET Creating a textured fabric with yarn using a hooked needle

DISPLAY A collection of objects arranged for public viewing

EXHIBITION Public display of works of art or items of interest

FELT Textile made by wetting or heating, rolling and pressing wool, causing individual fibres to mat together to create a smooth surface

FIBRE A thread or filament from which a vegetable tissue, mineral substance, or textile is formed

GALLERY Room or building for the display of works of art

INTERPRET Convey the creator’s understanding of a particular idea through another medium or in a different way

KNIT A fabric or garment made by interlocking loops of wool or other yarn with knitting needles or on a machine

MATERIAL The matter from which a thing is or can be made

PATTERN A repeated, decorative design

SCARF Length or square of fabric worn around the neck and/or head

SUSTAINABLE PRACTICES

A way of doing things that avoids depletion of natural resources / helps to maintain a certain resource level

TEXTILE Type of cloth or woven fabric

TEXTURE the feel, appearance, or consistency of a surface or a substance

THEME Subject or topic of the exhibition

WEAVE Fabric or a fabric item made by interlacing long threads

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passing in one direction with others at a right angle to them

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Curriculum ConnectionsAl

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Intercultural CapabilityScarves provided the opportunity to talk about cultural practices relating to clothing, cultural celebrations and traditional craft practices in the community.Design TechnologiesInvestigate fibre production used in modern or traditional societies Explore how fibres are produced, how this can become more sustainable, and make judgments on the ethical and sustainable production and marketing of fibre – Sustainability category

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Visual ArtsExplore ideas, experiences, observations and imagination to create visual artworks Experiment with different materials, techniques and processes to make artworksCreate and display artworks to express ideas to an audienceRespond to visual artworks and consider where and why people make visual artworks and by describing ideas

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Visual ArtsExplore ideas and artworks from different cultures and times as inspiration to create visual artworksExplore conventions and use material, techniques, technologies and processes specific to particular art forms, and to make artworksExplore different ways of displaying artworks to enhance their meaning for an audienceIdentify and discuss how ideas are expressed in artworks from a range of places, times and cultures

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Explore visual arts practices as inspiration to create artworks that express different ideas and beliefsSelect and apply visual conventions, materials, techniques, technologies and processes specific to different art forms when making artworksCreate and display art work considering how ideas can be expressed to an audienceIdentify and describe how ideas are expressed in artworks

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Explore how artists use materials, techniques, technologies and processes to realise their intentions in art worksExperiment with materials techniques, technologies and processes in a range of art forms to express ideasDevelop skills in planning and designing art works and documenting artistic practiceCreate and display artworks, describing how idea are expressed to an audience

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Visual ArtsExplore how artists manipulate materials, techniques, technologies and processes to develop and express their intentions in art worksExperiment with materials, techniques, technologies and processes in a range of art forms to express ideasConceptualise, plan and design art works that express ideas, concepts and artistic intentions Create, present, analyse and evaluate displays of artwork, considering how ideas can be conveyed to an audience

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Preparing: Pre-Visit Activities

VocabularyReview arts vocabulary with your class before visiting the exhibition. Assign or have students select an arts term (see list below for suggestions). Each student must research the definition of their term then write a simple definition in their own words.1. Distribute A4 paper and colouring materials to

students. 2. Fold A4 sheet in half length-wise.3. Lift the flap and write the definition on the inside.4. Use pictures and creative lettering to write the word

in a way that illustrates its meaning on the outside face.

5. Post these words on a classroom bulletin board.

Some suggested words: abstraction, balance, colour, composition, contrast, crochet, distortion, emphasis, felt, fibre, form, harmony, juxtaposition, knit, line, movement, pattern, point, proportion, recycle, relationships, repetition, reuse, sequence, shape, space, surface, symmetry/asymmetry, textile, texture, tone, tone, unity, warm/cold colours, wearable, weave

JudgingPast themes have included “Home”, “The Journey”, “Coastlines”, and “Myths and Legends”. The theme invites scarf makers to tell a story with their wearable art. Ask students to think about how they would interpret a theme? And, what would a judge look for in a scarf?

There are 11 different categories to enter, along with the Scarf of the Year:

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Thematic scarf Use of colours Use of sustainable practices Menswear Knitted scarf Woven scarf

Crocheted scarf Felted scarf 100% wool scarf Primary school student Secondary school student

When judging a scarf, judges must be careful not to judge the scarf based on personal taste – it is not a simple question of do I like or not like this scarf? This is also not a technical assessment of an artist’s execution of a particular technique. Judges are looking at the connection between the artists’ statement, their creation and the theme; at how the different elements in the scarf work together; at the types of techniques artists have used and so forth. In small groups, and using appropriate arts language, have students create a simple judging checklist that could be used to assess the scarves in a particular category. Distribute relevant flash cards (pp. 6-9) to each group and have students a look at the scarves using this checklist. Then as class select a Scarf of the Year from amongst these 16 scarves.

.Craft Victoria and National Wool Museum Scarf of the Year and

Best Crochet 2009256 Colours (Saffron Lily Gordon)

100% wool crochet, technically skilfull and beautifully executed, can be worn in many ways for many purposes, contemporary with historical references with the use of the flower motif.

City of Greater Geelong Best Thematic Scarf 2009

(John Colman and June Edwards)Deconstructed and redeployed silk blouse, vegetable dyed with eucalyptus leaves, hand and machine sewn together with appliqué buttons, collaboration, interesting detail and shape created by the use of the sleeves.

Scarf of the Year and Best Woven 2010

(Kate Williams)This is the 3rd series of four scarves made using the same pattern but different fibres, two were woven in linen and cotton in natural and white colour scheme while two were woven interchanging weft and warp colours. I t was an exercise in reflecting on the changes in appearance such variations can cause in the same pattern.

Best Thematic Scarf 2010(Jane Robson)

My scarf design represents a snapshot of my life journey. The beginning shows that I left England as a child with my parents, migrating to Australia. The remainder summarises my adult life and the growth of my own family as a wife, mother and grandmother. The holes represent gaps in my memories. This scarf will need to grow longer as my family grows, representing all their milestones in their lives.

Scarf of the Year and Best Use of Different Techniques in a Scarf

2011(Barbara Rogers)

Barbara Rogers has worked with shibori manipulated cloth for over 20 years. With the ever present element of chance and its many variations, the possibilities of shibori are endless, exciting and challenging.

Best Thematic Scarf 2011(David Collyer)

A cross section of this scarf of Vietnamese silk represents my life. Circles on the side are ring-a-rosies of primary school. Netting is the structured study of high school. Black is the Vietnam War. This is followed by 30 years of chaos in career change; agent orange; cancer; drug addiction; pension claims. Finally at the centre, the white diamond is the peaceful geometry of retirement and a TPI pension.

Scarf of the Year and Best 100% Wool Scarf 2012(Sharon Percival)

My life meanders a most delightful way. Nothing extraordinary, just warm, comfortable, happy and then there will be an event that adds immense beauty, meaning and colour to the path I'm already travelling. These events add spectacular flashes of colour - emerald here, gold there, to mark the special times. Finding my life partner, creating a family, living in an exotic culture, a new puppy, coming home. I have many spectacular flashes in my life happing

Best Thematic Scarf 2012Desert after rain (L Opala)

Witnessing the first droplets of rain settling down the dust, filling up the dry pores of the thirsty land is a spiritual experience. My heart was singing together with the desert flowers.

while I walk different paths.

Scarf of the Year and Best Woven 2013

Diamonds (Laurie Paine)'Diamonds' is a hand woven evocation of the patterned and coloured quilts we use to keep us warm and decorate our beds. A symbol of the very heart of our home.

Best Thematic Scarf 2013Home in the rainforest (Cecile

Falvey)I live on Mt Tambourine above the Gold Coast in Queensland. My weaving creations in the studio are highly influenced by where I live. In this piece, I have tried to show the rain forest and the track on which we walk. Red soil, baby ground flowers and pebbles below the green colour of the trees above.

Scarf of the Year and Best Crochet 2014

Hopscotch (Margaret Drayton)The scarf's design is similar to the chart necessary for the game 'hop-scotch' (a game requiring balance). The chart/scarf is composed of a series of linear and lateral squares. Each square in the scarf is ascribed a positive (nice, good, white, light, etc) or negative (naughty, bad,

Best Thematic Scarf 2014Who is watching? (Janette

Wotherspoon)Someone is watching, wickedness loiters watching every move. The scarf represents the sensations of the surrounding chill of a winter's night walk wrapped within the divinely soft delicate fabric. Winter trees glistening in the night sky, silent and still. Black against the

black, dark) value or attribute. Balance is achieved by the placement of individual squares and the use of colour.

moonlight, the silence of stillness and the sense that someone is watching from within. Unblinking eyes watch every step hovering from behind the crystallised trees. Who is watching?

Scarf of the Year and Best Crochet 2015

You and Me and the Dancing Sea (Maureen Watts)

The inspiration for this scarf was a childhood memory of being driven to the beach with my younger sister. We would be so excited that we'd fight to be the first to see the sea. When we got there we were overwhelmed by its vastness and beauty. Even though I now live on the coast, I still feel the same excitement when I crest a hill and see the sea.

Best Thematic Scarf 2015The Ties that Bind Us (Samantha

Anderson)A boat makes a dangerous journey. Dreams of freedom keeps it afloat. Coastlines offer safety and refuge. It is a human right to seek asylum by boat in Australia. Humanity and moral obligation are the ties that bind us, not red tape.

Scarf of the Year and Best Woven 2016

Arachne’s Cobweb (Jean Inglis)

Best Thematic Scarf 2016Under Her Skin (Samantha

Anderson)

The Greek mortal Arachne considered herself a better weaver than goddess Athena and challenged her. Athena was infuriated by Arachne's pride and destroyed her weaving, so Arachne hanged herself. Athena took pity on her and transferred her into a spider, and ever since she continues to weave her web.

Fashion myth No: 301 Label: Under her Skin Warning: Women of a certain age risk invisibility Care Instructions: Use silicone and other enhancements to prolong visibility. Inject and mould. Apply with care.

The Planning Process:

Look up this year’s festival theme, it changes annually. In small groups, discuss what these words mean to you. How could you break it down? Independently, have each student complete the mind-map template (p. 11) before visiting the exhibition to gain an understanding of working with a theme.Completing the mind-map:1. In the centre of the page write your understanding of the key words

and question. 2. When you think of the key words, how do you feel? Record any

feelings in the identified box.3. When you think of the key words what colours, textures, patterns,

shapes come to mind? Record them in the appropriate box.4. Do any movements remind you of the thematic words? For example,

climbing stairs, playing.

The Response Process: 5. Review your mind-map. Some boxes might have lots and lots of

different words, others very few. With a highlighter, identify one or two key words in each box.

6. Use only these key words to design a scarf reflecting these ideas on the template provided (p. 12).

7. Create a title for your scarf that reflects the idea you have selected.8. Write a brief statement describing your scarf. Your statement should

mention what interpretation of the theme you chose, why it is important to you, and some of the key words that you selected to design your scarf. See the flash cards for examples. Your statement must be a maximum of 70 words.

Optional extension: Before writing their own statement, in small groups have students work through the artist statements on the flash cards provided pp. 6-9. Have them group information from each statement into 3 categories: link to theme; choice of materials; and, arts vocabulary.

For example:

I was struggling to find inspiration until it literally struck me on the head! A fresh roll of pink chux. It fell from the cupboard and there it was - it was obvious. Home to me means family, a haven and endless chores. I added the flowers as no home is complete without a garden...and a nice cup of tea!Breaking it down:Link to theme: Material found at home; location; flower image; chores, familyChoice of materials: chux clothesArts vocabulary / key words: inspiration/home/means/literal

_________________________

_________________________

_________________________

______________________

COLOURS

SOUNDS

SHAPES

TEXTURES

MOVEMENT

PATTERNS

FEELINGSFEELINGS

MOVEMENT

COLOURS

PATTERNS

SOUNDS

SHAPES

TEXTURES

Title: ___________________________________________________________________

____________________________________________________________________________________________________________________________________________________________________________

Engaging: Museum Visit

Scarf Festival© (30-45min)

Students will be guided through the exhibition of scarves and view some of the key pieces entered in the Scarf Festival. They will look at different techniques, materials, and designs that artists used to interpret the theme. Students will also hear a few of the artists’ statements and try to match the statement to the various features visible in the scarf.

Students will then be divided into small jury panels to judge the scarves. Each group will be given a selection of scarves to view, a category name, and a set of simple judging criteria. Each jury can select up to 2 scarves they feel are the best example of that category. Using appropriate arts language they must present their winning scarf to the class.

Before leaving each student has the opportunity to vote for the People’s Choice Award.

Activity (15-20min)

Create an artistic response to the theme using provided materials.

Optional Additional Activity (additional charge may apply)

Minimum of 45 minutes for a workshop. Introduction to Felting Introduction to French Knitting Introduction to Knitting Introduction to Spinning Introduction to Weaving

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Reviewing: Post-Visit Activities

Journal EntryRecall your visit to Scarf Festival. Which scarves do students remember particularly? Why do those scarves stand out (colour, artist statement, pattern, materials, etc)? Each student will write or draw a personal response to / reflection on their visit.

Classroom GalleryVary the sophistication of this activity based on the age and abilities of your students

1. In small groups, have students brainstorm ideas for an exhibition theme. Then share these ideas with the class, providing one or two suggestions for how the theme could be interpreted. As a class, vote on your exhibition theme.

2. Are there any restrictions on the pieces for your exhibition? For example, Scarf Festival requires each object to be a scarf that can be draped around head and/or shoulders, although there were no restrictions on materials or techniques.

3. Individually, students will create a mind-map (similar to template, p. 13) to plan out their artistic response to the selected theme (keeping in mind any exhibition conditions around size, style, etc).

4. Get creating! Each student should produce both a piece of art and an artist’s statement explaining the relationship between their piece and the exhibition theme.

5. Build your exhibition. In Creating a Classroom Museum, the Smithsonian Centre for Education and Museum Studies suggests the following team approach:

Assign each group a different task to complete in getting the exhibition ready for visitors. Explain that in museums, exhibitions are usually the result of teamwork: Floor Plan Group Designs the overall plan for the exhibition. Point

out that traffic flow is one of the most crucial elements to keep in mind. Have students give the recommendations they generated in step 2 to the members of this group. Encourage the group to consider the recommendations in their floor plan.

Graphics Group Makes all the large signs for the exhibition; writes final copy for introductory label (telling visitors what to expect) and final label (summarizing the entire exhibition) as well as any additional labels for areas within the exhibit.

Construction Group Arranges tables and shelves and puts all objects into place. To provide ideas for how to arrange labels and objects, place any photos you were able to get from the museum exhibition in an area where everyone can refer to them.

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(Depending on time and materials, you might also want to suggest that the students build simple display cases.)

Publicity Group Writes, edits, and distributes announcements and brochures about exhibition. If the exhibition is accessible to the public, have the students write announcements and send them to local media.

Exhibition Guide Group Writes, edits, and illustrates a brochure describing the exhibition's objects and theme. Provides any additional information that isn't included in panels. (Provide students with examples of such brochures, which many museums produce.) Have students put completed brochures in a prominent location near the beginning of the exhibition.

6. Create a class catalogue, identifying each piece and outlining the “big picture” for the exhibition. Invite parents, teachers, other classes to tour your museum; you could even offer guided tours.

** for further ideas see Smithsonian Centre for Education and Museum Studies, www.smithsonianeducation.org/educators/lesson_plans/collect/crecla/crecla0a.htm

Explore MoreHow do we use scarves?

The Woodland Trust in the UK came up with a clever and fun way to engage crafters with the Ancient Tree Hunt – the “standard British hug” scarf for measuring tree circumference.

www.ancient-tree-hunt.org.uk/NR/rdonlyres/C1891E67-2A82-422B-A76C-C58EE60AFDE8/0/3972leafscarf.pdf

Lara Primary School used the scarf as a way to connect students around the globe with the “Children of the World Longest Hand Knitted Scarf project.” Scarves were received from Latvia, Romania, Argentina, the Shetland Isles, Japan, Lithuania and Australia

The piece is now in the collection of the National Wool Museum. You can view it here (object 5401): https://victoriancollections.net.au/items/54065ec09821f50e3cc9e837

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Choose another country and investigate their textile traditions. Consider, how they are similar to and different from the techniques and materials you saw in the exhibition. For example: Peru - www.cuscotextiles.com/ or Indonesia - www.threadsoflife.com/; nga.gov.au/indonesiantextiles/code/Default.cfm?MnuID=2

Make Your Own Scarf

Consider making your own scarf for the Scarf Festival. The theme and further information about entering a scarf are available on www.nwm.vic.gov.au. Entries open in February each year and close at the end of April.ResourcesWebsites

American Textile History Museum: www.athm.org/

Australian Museum of Clothing and Textiles: https://sites.google.com/site/amcatmuseum/History-of-Textiles/fibres (simple glossary of fibres)

Australian Textiles Arts and Surface Design Association: www.atasda.org.au/

Build your own cardboard loom. www.craftstylish.com/item/2546/how-to-weave-on-a-cardboard-loom/page/all

Learn How to Knit: http://www.wikihow.com/Knit (great illustrated, step-by-step guide to get started)

National Wool Museum: www.nwm.vic.gov.au

Oxford English Dictionary (online): http://oxforddictionaries.com/

Smithsonian Centre for Education and Museum Studies: www.smithsonianeducation.org/educators/lesson_plans/collect/crecla/crecla0a.htm

Textile Museum of Canada: www.textilemuseum.ca/

The Textile Museum: www.textilemuseum.org/

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Spinning

FINGER SPINNING(adapted from B. Greenwood (1994), A Pioneer Story, p. 98)

Materials: cotton balls

Directions:Left hand – pinch one section of a cotton ball loosely between your thumb and index finger.Right hand – with your thumb and index finger pinch a tiny piece of the cotton ball and slowly pull out a few fibres, twisting as you pull.

DROP SPINDLE

Materials:

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Pencil Cardboard Scissors

2 x rubber bands

Metal hook

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Directions:1. Cut a 6-8cm diameter circle out of the cardboard.2. Mark the center of your circle and poke a small hole with the

scissors.3. Push the pencil, eraser end first, through this hole (should fit

snugly), about 2-3cm. 4. Secure by twisting one rubber band around the pencil above the

cardboard, and the other around the pencil below the cardboard. Bands will act as stoppers.

5. Screw the metal hood into the eraser.6. You are ready to spin!7. For spinning directions:

http://www.handspinning.com/lollipops/spininst.htm http://www.joyofhandspinning.com/HowToDropspin.shtml

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French Knitting

Materials: Cardboard tube 4-6 popsicle sticks Masking tape or glue Ball of yarn

Directions:1. Evenly space the sticks around one end of the tube and tape or glue

in place. Allow about 2cm of the stick to protrude above the end of the tube.

2. Thread the end of the wool in down through the hole.3. Wind the wool from left to right once around each stick. Pull on the

end until the yarn is fairly taught.4. Wind the yarn around each stick in turn (just around the outside, not

completely around the stick this time). Lift the bottom loop over the top loop and over the stick.

5. Continue winding around the outside and looping the bottom over the top. As the tube grows it will appear out the bottom of the tube. To change colour or attach a new ball of wool, just make a knot, but make sure the joined ends pass down through the centre

of the tube so they are hidden.

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FeltingMaterials:

Bubble wrap Plastic freezer bag Warm, soapy water Net 2 rubber bands Wool top

Directions:1. Place the bubble wrap on a flat surface with the smooth surface

facing up. Pull the wool tops into short sections and place on the bubble wrap. Lay them all in one direction, (vertically) overlapping each piece slightly, then repeat horizontally. Depending on how thick you would like your end product to be, you may need to do another layer. Remember that you must make your piece approximately 1/3 bigger than you intend it to be to allow for shrinkage.

2. Place the net on top of the wool top. Slightly wet your wool top, and rub your hand over the top in the plastic freezer bag in a circular motion. Continue to do this, adding more water as needed until the wool tops become smooth.

3. Gently remove the net. Roll the bubble wrap up and secure it with two rubber bands at either end. Roll with your hands 50 times then unravel the bubble wrap and rewrap it from the other end. Repeat this 4 times so that you have rolled it 200 times in total. At this stage the wool tops will be in a pre-felt stage.

4. Continue to roll. This time 200 rolls before rewrapping it. Repeat this 4 times. So that our overall total will be 1000 rolls. Unwrap the bubble wrap. Carefully fold up the felted piece and squeeze out the water. Throw the piece heavily down onto the surface, roughly twenty times. After this continue with a kneading process using both hands. This where the shrinking will occur. Rinse with cold water to remove the excess soap. Lay flat to dry.

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Notes Page: