face equality teaching resources for key stage 3€¦ · glossary 42 acknowledgements 47 contents...

FACE EQUALITY TEACHING RESOURCES FOR KEY STAGE 3

FACE EQUALITY TEACHING RESOURCES | 1

Foreword page 1

Introduction - How to use the Art resources 2

Relevant links to The National Curriculum 4

Art Lesson 1 5

Art Lesson 2 14

Art Lesson 3 21

Art Lesson 4 32

Glossary 42

Acknowledgements 47

CONTENTS

In March 2009, Changing Faces secured government funding to run a two-year curriculum project as part of the Face Equality campaign. Face equality is about being treated fairly and equally regardless of facial appearance. In educational settings it involves creating a culture of inclusion where every child and young person is valued and allowed to achieve their full potential.

The main objective of the project was to devise curriculum resources for Years 8 and 9 that would address the attitudes and behaviours which young people show towards people with disfigurements. In turn, this could enable students, teachers and support staff to become more “disfigurement confident” generally and to augment inclusion in schools.

Following a trial of resources for Drama, English and Art in five secondary schools, the three subjects were assembled into one set of teaching resources to be made available to all secondary schools in England. The aim of this distribution is to provide as many schools as possible with both the confidence and resources they need to promote face equality successfully.

Although the precise content of each lesson (and subject) is different, all the resources share a common set of messages for students about their attitudes and behaviours towards disfigurement. These messages are:

w that everyone should feel confident in meeting someone with a facial disfigurement;

w that positive attitudes and behaviour towards people with facial disfigurements help to overcome discrimination;

w that people with disfigurements deserve the same respect and opportunities as people without disfigurements.

FACE EQUALITY TEACHING RESOURCES

FOREwORd

CHANGING FACES

Changing Faces is a UK charity that supports and represents children, young people and adults who have disfigurements from any cause. It seeks to enable everyone to face disfigurement with confidence, whether or not they have a disfiguring condition.

2 | FACE EQUALITY TEACHING RESOURCES

HOw TO uSE THE ART RESOuRcES

Statutory requirements and guidelines for education are subject to ongoing changes, so it is difficult to prescribe here a universal set of criteria for how these resources should be used. Different teachers have different styles – and schools have differing priorities – so it was intended from the outset that the resources would be comprehensive yet flexible enough to accommodate individual teachers’ and schools’ requirements.

Each lesson here was designed as a one-hour session to be delivered as part of a “mini” scheme of work involving two or four lessons (for English or Drama and Art respectively: to reflect how the resources were run during the trial). However, the intention is that these sessions can be adapted to fit in with the normal sessions of a school day or within the particular requirements of a subject. The recommended timings and target year group given for each lesson should therefore be treated as guidelines only which teachers can tailor to their own schemes of work.

Although the resources have been designed for Key Stage 3 students, activities in these lessons can be developed for Key Stage 4 work or the themes and discussion tasks used as a focus for cross-curricular project work. Where possible, we are keen that the lessons are integrated into subject schemes of work rather than having disfigurement treated as a discrete “issue”. People with disfigurements encounter “facial prejudice” in all aspects of their daily lives so the lessons here represent an attempt to integrate issues of face equality into the typical content

of subject lessons, rather than to treat them as something altogether separate.

The curriculum links provided in this section relate to the National Curriculum as it stands at the

time of this pack going to press. However, we appreciate that these may change subsequent to publication so we would ask teachers to use these as guidelines only and to be aware of how the resources might be adapted to conform with new guidelines as they emerge.

A TEAcHER’S GuidE TO diSFiGuREmEnT

Disfigurement is a sensitive issue, and it is vital that it is treated as such in the delivery of these lessons. It is estimated that 86,000 young people (around one in 124) has what can be described as a significant facial disfigurement and so it is likely that at least one of your students will have or know someone with a disfigurement. It is worth remembering that Changing Faces defines “disfigurement” in terms of “the visual effects of a mark, rash, scar or skin graft on a person’s skin, or of asymmetry, paralysis or lack of function” (Changing Faces Annual Review, 2010, p. 2) and so more common conditions such as acne, scarring or eczema often do fall into this category.

However, perceptions of disfigurement can of course be subjective, and so it is sometimes difficult for teachers to anticipate which students might be affected by the topic. Changing Faces provides guidance for teachers on how to handle difficult questions or situations which might arise from discussions or lessons around disfigurement, and we would ask all those who are involved in delivering these lessons to familiarise themselves with these materials – as detailed below – before the lessons begin.

It is also important that materials relating to disfigurement (including Changing Faces posters) are only used outside of a lesson context (e.g. in school corridors) within careful parameters, as advised by Changing Faces. The messages run the risk of being counter-productive if they are misunderstood by students, and our

INTROdUCTION

TO THE TEACHING RESOURCES

INTRODUCTION | 3

concern is that students who might be sensitive to comments or bullying would not gain the support here that they would within a controlled, informed classroom environment.

The lessons themselves have also been designed to generate a discussion about disfigurement and, as with all sensitive topics, it is not always easy to predict what kind of comments or questions might emerge from a class. The most important point here is to be prepared for such comments, and to realise that negative remarks should be dealt with in the context of an informed, supportive discussion rather than simply ignored. If you feel that a good opportunity arises for a discussion during the delivery of these resources, then it is probably a good idea to use it, even if it means curtailing some of the other activities.

FuRTHER inFORmATiOn And RESOuRcES

Teachers’ guides for secondary schools are also available to download via the Changing Faces website and these provide a wealth of guidance on how to deal with issues such as appearance-related bullying in schools. Copies are also available by contacting Changing Faces on 0845 4500 275 or at [email protected].

If you have any concerns about how these lessons may affect a particular child and would

like further advice relating to this, then please contact the Changing Faces Schools Specialists on [email protected]. If you have any other queries, or if you would like any further training on how to promote more positive attitudes towards disfigurement among students and staff, then please contact: [email protected].

For further information about Changing Faces generally or to show your support for the Face Equality campaign, please visit: www.changingfaces.org.uk.

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ART RELEVANT LINKS TO THE NATIONAL CURRICULUM

Taken from the Art and Design Programme of Study for Key Stage 3 and Attainment Targets as detailed in the National Currriculum 2007 (pp 16-25). Source: The National Curriculum 2007. This document contains information which is both subject to Crown copyright and © Qualifications and Curriculum Development Agency.

This information is licensed under the terms of the Open Government Licence: http://www.nationalarchives.gov.uk/doc/open-government-licence. Extracts have been reproduced with permission of the Qualifications and Curriculum Development Agency.

Relevant sub-sections Art Lesson 1 2 3 4

1 Key Concepts 1.1 Creativity 1.1 a 8 8 8 8 1.1 b 8 8 8 8

1.1 c 8 8 8 8

1.2 Competence 1.2 a 8 8 8 8 1.2 b 8 8 8 8

1.3 Cultural understanding 1.3 a 8 8 8 1.3 b 8 8 8

1.4 Critical understanding 1.4 a 8 8 8 8 1.4 b 8 8 8 8 1.4 c 8 8 8 8 1.4 d 8 8 8 8

2 Key processes 2.1 Explore and create 2.1 a 8 8 8 8 2.1 b 8 8 8 2.1 c 8 8 8 8 2.1 d 8 8 8 2.1 e 8 8 8 8

2.2 Understand and evaluate 2.2 b 8 8 8 8 2.2 c 8 8 8 8 2.2 d 8 8 8 8 2.2 e 8 8 8 8 2.2 f 8 8 8 8

3 Range and content 3 a 8 8 8 8 3 b 8 8 8 8 3 c 8 8 8 8

4 Curriculum opportunities 4 a 8 4 b 8 8 8 8 4 d 8 8 4 e 8 8 8 4 f 8 8 8 4 g 8 8

Assessment opportunities Attainment target 8 8 8 8

1 KEY CONCEPTS

2 KEY PROCESSES

3 RANGE AND CONTENT

4 CURRICULUM OPPORTUNITIES

ASSESSMENT OPPORTUNITIES

FACE EQUALITY ART RESOURCES

LESSON 1 | 5

uniT OF wORK / plAnninG cOnTExT

lesson 1 of 4: Face Equality Teaching Resources.

promoting positive attitudes and behaviours towards people with facial disfigurements.

lESSOn TOpic / EnquiRY quESTiOn

disfigurement and portraits: how can art improve our attitudes and behaviours?

lEARninG ObjEcTivES

To understand the main definitions of disfigurement.

To explore different attitudes and behaviours towards people with disfigurements.

To understand how portraits can be used to improve these attitudes and behaviours.

KEY mESSAGES

Everyone should feel confident in meeting someone with a facial disfigurement.

positive attitudes and behaviours towards people with facial disfigurements help to overcome discrimination.

people with disfigurements deserve the same respect and opportunities as people without disfigurements.

RESOuRcES

powerpoint presentation – disfigurement and portraits: how can art improve our attitudes and behaviours? (Art lesson 1.)

photograph cards.

Small mirrors.

ART LESSON 1LENGTH 60 MINUTES RECOMMENDED FOR YEAR 9

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TiminG AcTiviTY mini-plEnARY

10 – 15 minutes

5 minutes

30 - 35 minutes

5 - 10 minutes

STARTER TASK

Use “Think About” task on Slide 1 and the information on Slide 2 to introduce topic.

Allow students 5 – 10 minutes to complete the Starter Task on Slide 3, with appropriate feedback and discussion time (as detailed on Slide 4). Try and encourage students to look for objective, descriptive details rather than subjective ones.

MAIN TASKS

(Part 1) As detailed on Slide 7, students need to use a small mirror (or even a photograph of themselves) to spend a little time observing their reflection in detail. Rather than the subjective opinion of their reflection, they need to focus on describing the details – as they would with anyone else’s portrait.

Hand out individual photograph cards – one per student – and encourage them to compare the similarities and differences between their face and the one in the picture. It might be an idea to spend a bit of time before the lesson thinking about how to organise this – e.g. it may make more sense to give students pictures of people of the same gender. Discuss thoughts as a group; try and encourage them to focus on similarities and the objective details of the pictures.

(Part 2) As detailed on Slide 8 – although how this is done is at the discretion of the teacher. One suggestion is to do them in the style of “Pop Art” portraits, although this may require further exemplar material.

Students will probably need a large part of the lesson (and either part of the next one or their homework time) to complete the two portraits. If you think this is unfeasible, you may wish to arrange the tasks as paired activities so that one student does one and their partner does the other. Allow time for comparisons if possible – with arrangements for putting together the collage.

PLENARY

As detailed on Slide 10 – questions should be discussed as a class.

Check understanding of “disfigurement”.

Use of peer assessment to compare work. Use of Art assessment levels as required.

How have these lessons changed students’ attitudes and likely behaviours towards people with disfigurements?

MAIN TASKS

PLENARY

STARTER TASK

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LESSON 1 | 7

NATIONAL CURRICULUM LINKS

1 KEY CONCEPTS

1.1 Creativity 1.1a, 1.1b, 1.1c

1.2 Competence 1.2a, 1.2b

1.3 Cultural understanding 1.3a, 1.3b,

1.4 Critical understanding 1.4a, 1.4b, 1.4c, 1.4d

2 KEY PROCESSES

2.1 Explore and create 2.1a, 2.1c, 2.1d, 2.1e

2.2 Understand and evaluate 2.2b, 2.2c, 2.2d, 2.2e, 2.2f

3 RANGE AND CONTENT

3a, 3b, 3c


4b

Source: The National Curriculum 2007. This document contains information which is both subject to Crown copyright and © Qualifications and Curriculum Development Agency.

This information is licensed under the terms of the Open Government Licence: http://www.nationalarchives.gov.uk/doc/open-government-licence.

Extracts have been reproduced with permission of the Qualifications and Curriculum Development Agency.

AddITIONAL SUGGESTIONS

Students could be asked to complete their portraits as a homework task.

FOR TEACHERS

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Face equality teachiNG ResouRces aRt lessoN 1 1

leaRNiNG objectives

n to understand the main definitions of disfigurement;

n to explore different attitudes and behaviours towards people with disfigurements;

n to understand how portraits can be used to improve these attitudes and behaviours.

Disfigurement and portraits: how can art improve our attitudes and behaviours?

...what you

think the word

“disfigurement”

means.

Why do you think this could be an important topic to study?

Disfigurement can refer to the difference caused in someone’s appearance by the effect of things like marks, scars, skin grafts or paralysis.

Over one million people in the UK are estimated to have a significant disfigurement to their body (one in 45) and 542,000

have a significant facial disfigurement (one in 111).

So what is disfigurement?

These conditions include:

n birthmarks, cleft lips and other conditions which may or may not be present at birth;

n the results of accidents, such as scars and burns;

n the effects of skin conditions such as eczema and psoriasis;

n the results of medical treatment or surgery;

n the effects of facial paralysis from strokes and other conditions.

Face eqUaliTy TeachiNG ReSOURceS aRT leSSON 1 2

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LESSON 1 | 9


5

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staRteR task

look at these pictures, each of which shows

a person with a disfigurement.

choose one of these pictures and write a list

of factual words to describe what you see.

try and refer to specific details like the facial

expression, colours, shape and so on.


your teacher will take some feedback about the words you came up with. have a look at what you wrote down, and think about the following questions:

Which words did you come up with?

What kind of words did you write down?

can these words

be seen as

positive, negative

or neutral?

share with your teachers some thoughts about why you chose the words you did. how are these words different to those you might use to describe your own face?

if you have used any negative words, think about why this is. Do these words describe a particular feature of the face (e.g. the colours or shapes) or do they reflect your attitude towards how that person looks?

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A survey carried out in 2008 showed that nine out of 10 people have unconscious negative attitudes towards people with disfigurements, even if they don’t think they do! These attitudes include the belief that people with disfigurements are less attractive, less likely to succeed, less socially skilled and less likely to lead happy and contented lives.

What do you think about these findings?

So why does any of this matter?

Changing Faces is a charity which aims to create a better and fairer world for people with disfigurements.

A big part of this involves challenging the negative attitudes which many people have towards people with disfigurements, attitudes which are often fuelled by the judgements made about people with disfigurements.

FAce equAliTy TeAchiNG ReSouRceS ART leSSoN 1 5

Throughout history, portraits have been used to generate positive images of people, with colour, lighting, facial expression and other features. Many portraits have been designed to give out a particular message about power, beauty, intelligence and other socially-desirable traits…

So how does this link to portraits?

… while in the twentieth and twenty-first centuries, other developments (such as in the Cubist art of

Picasso or the Pop Art of Warhol) have seen a more creative use of colour and shape in the way that portraits are presented. Such developments

allowed new approaches and ways of thinking about how portraits could be used.

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FACe equAliTy TeAChiNG ReSouRCeS ART leSSoN 1 6

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LESSON 1 | 11


look carefully at your own reflection. thinking about previous work you have done on identity and portraits, look carefully at the different features which make up your face – the colours and tones, the shapes and the texture. look for examples of symmetry and asymmetry in your own face… try and imagine if things such as your eye or hair colour were slightly different.

MaiN task – PaRt 1

you will be given a

photograph of an individual

with a disfigurement, along

with a small mirror to examine

your own reflection.

Now compare your own reflection with the photograph you have been given.

your first reaction may be to think about how different the person’s face looks to yours, but try and see if you can spot any similarities between their face and yours. are your eyes the same colour? Do you smile in the same way?


Both portraits should be done in the same colour(s) and style, to show how people with disfigurements should be seen and treated in exactly the same way as people without disfigurements.

Both pictures should give a positive impression, so think carefully about the facial expression, colour and shading you use.

the next slide gives more details on how you should do this.


your task is to produce two

portraits, side by side; one

of yourself and one of the

person whose photo you have

been given.



your teacher will tell you which colour(s) and materials you should use in making your portrait.

you should fold your paper (a3 or a4) in half and use one half to create each of your two portraits.

you should use the same colour(s) and shading for each of the two portraits, so that they sit side by side in the same style.

at the end of your next lesson, both of your portraits will be put together with those from the rest of the class to create a large collage.

your teacher will explain more about this in your next lesson.


(continued)


PleNaRy

What do you think this comment means?

Do you agree?

Discuss as a class...

whether you think that the type of disfigurement a person has affects the way you might react when meeting them.

Why do you think this might be?

When these lessons were first trialled with a different group of students, one of the teachers commented that:

some of our students thought that the more noticeable a

person’s disfigurement, the more difficult

it is to see the person.

LESSON 2 | 13

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PHOTO CARDS


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To be photocopied and cut into separate cards before the lesson. Alternatively, please use the cards already provided at the back of the pack.






How can art contribute to face equality?

lEARninG ObjEcTivES

To understand the main definitions of disfigurement.

To explore different attitudes and behaviours towards people with disfigurements.

To understand how portraits can be used to improve these attitudes and behaviours.

KEY mESSAGES




RESOuRcES

powerpoint presentation – How can art contribute to face equality? (Art lesson 2.)

copies of portraits from last lesson.

(Optional) Additional pictures of faces (e.g. from magazines) to include in the collage(s).


LESSON 2 | 15

TiminG AcTiviTY mini-plEnARiES

5 - 10 minutes

35 - 40 minutes

15 - 20 minutes

STARTER TASK

Use “Think About” task (on Slide 1) and reminder tasks (on Slide 2) to recap portrait work from last lesson. Use Slides 3 and 4 to introduce concept of face equality.

As detailed on Slide 5, students need to use their portraits from the last lesson to collate a whole-class or whole-group collage. (Students may need more time during the lesson to finish off, depending on whether they were given time to complete them for homework.)

Depending on the set up of your classroom (and wall space), you may prefer to organise a series of smaller group collages rather than a whole class one.

The main aim of the collage is simply to show faces with and without disfigurements alongside each other in society, rather than as separate groups, so it is up to the teacher how they choose to organise it beyond this.

PLENARY

As detailed on Slide 6 – questions should be discussed as a group. Prepare arrangements for the class Face Equality campaign collage, if this is to be done.

If time allows, follow up with extension task as detailed on Slide 7.

Ensure students understand what is meant by the concept of face equality.

How have these lessons changed students’ attitudes and likely behaviours towards people with disfigurements?

STARTER TASK

MAIN TASKS

PLENARY

As indicated on the final PowerPoint slide, students can be encouraged to log on to the Changing Faces website and upload their faces to the Face Equality campaign collage as part of their homework.

AddITIONAL SUGGESTIONSFOR TEACHERS


1 KEY CONCEPTS


1.2 Competence 1.2a, 1.2b


2 KEY PROCESSES

2.1 Explore and create 2.1a, 2.1b, 2.1c, 2.1e


3 RANGE AND CONTENT

3a, 3b, 3c


4a, 4b, 4d, 4e, 4f





LESSON 2 | 17


leaRNiNG objectives

n to understand what is meant by face equality;

n to use portraits to develop more positive attitudes and behaviours towards people with facial disfigurements;

n to support the Face equality campaign by contributing to the on-line collage.

how can art contribute to face equality?

... the portrait

work you did

last lesson.

how did it change the way you think about people with facial disfigurements?

Disfigurement can refer to the difference caused in someone’s appearance by the effect of things like marks, scars, skin grafts or paralysis.

A reminder: so what is disfigurement?

Over one million people in the UK are estimated to have a significant disfigurement to their body (one in 45) and 542,000 have a significant facial disfigurement (one in 111). These conditions include:

n birthmarks, cleft lips and other conditions which may or may not be present at birth;

n the results of accidents, such as scars and burns;

n the effects of skin conditions such as eczema and psoriasis;

n the results of medical treatment or surgery;

n the effects of facial paralysis from strokes and other conditions.

FAce eqUAliTy TeAchiNG ResOURces ART lessON 2 2

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the Changing Faces website encourages people to support their Face equality campaign by uploading a picture of their face to create a collage.

staRteR task

Discuss in pairs what you think

face equality might mean.

Why do you think Changing Faces

might have chosen this title for

their campaign?

The Face Equality campaign is about being treated fairly and equally – regardless of facial appearance. It is about creating a society in which everyone is valued for the contribution they can make.

FacE EqualITy TEachING REsouRcEs aRT lEssoN 2 4

you can show your support for

the Face Equality campaign by

uploading your photo at

www.changingfaces.org.uk

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LESSON 2 | 19


MaiN task

using the portraits you produced

last lesson (your teacher may give

you extra time to complete these),

you are going to put together a

group version of the Face equality

campaign collage.

your teacher will explain in more detail how you will do this, but the whole-class (or whole-group) collage will include both the portrait you did of yourself and the portrait you did of the person with a disfigurement.


once the Face equality campaign collage is complete,

spend a bit of time looking and discussing as a group

how it makes you think about people with disfigurements.

PleNaRy

Further questions to discuss as a class:

What have you learned from these lessons about people with disfigurements?

Do you think your attitudes have changed as a result?

Do you think art can make a difference to the way that people behave towards other people with disfigurements? if so, how?

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I get fed up by the portrayals of frightening villains in films as being disfigured – in the Bond

movies, for example. These images must influence

people’s beliefs and opinions about me.

I’m tired of all the attention that is given to

cosmetic surgery and the airbrushed images in magazines.This puts a lot of pressure on people like

me. Firstly, people expect me to go and have surgery to ‘fix’ my face. Secondly,

they think if you look good, you are more valuable. I’m judged as odd

and less valuable.

Sometimes I feel as if you’d like me to blend in, get my face fixed; you judge me as being

someone who is perhaps a sad figure, bravely coping… or somehow less

attractive, less capable than you are – even less of a person. You probably do this

unconsciously, not deliberately, unwittingly.

EXTENSION TaSk

This is what some people with facial

disfigurements have said about their

experiences.

Discuss what role you think art could play

in helping to overcome these issues…

What are the problems of face inequality?


hoMeWoRK

Visit www.changingfaces.org.uk to upload your photograph to the main Face equality collage, via the “lend your face” link.

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LESSON 3 | 21





can art help to improve our behaviours towards people with disfigurements?

lEARninG ObjEcTivES

To understand how positive behaviour can be promoted through art work.

KEY mESSAGES




RESOuRcES

powerpoint presentation – can art help to improve our behaviours towards people with disfigurements? (Art lesson 3.)

copies of the children’s Face Equality campaign posters.




Use “Think About” task on Slide 1 (along with Slide 2 and the Starter Task on Slide 3) to discuss the link between attitudes and behaviour. If the collage from last lesson is displayed in classroom, perhaps use this as a starting point to discuss whether looking at something like that would necessarily change someone’s behaviour.

MAIN TASKS

Use copies of the posters to introduce the topic. Discuss issues of colour, light, posture and so on in creating a particular type of image. (It may be useful to refer back to the definition of face equality covered in the last lesson.)

The link between attitudes and behaviours can be a bit difficult for some students to grasp, so teachers may need to be prepared to give further examples to illustrate. If students are still struggling after this, then keep it simple and focus on attitudes only.

Choice of materials (or digital option) for the main task are entirely at the teacher’s discretion. This is also an activity which is suited to collage work using images from magazines.

PLENARY

Try and allow enough time for a full discussion of the questions, given on Slide 7. Link back to the importance that art can play within campaigns.

Ensure students understand the difference between “attitudes” and “behaviours”.

Discuss key differences (e.g. in purpose, style) between a portrait and a campaign poster.

Perhaps link to image work students have done in other subjects (e.g. History).

STARTER TASK

MAIN TASKS

PLENARY

Students could complete their posters at home as a homework task.

This lesson could also be carried out as a digital art task, if students have access to appropriate resources.

AddITIONAL SUGGESTIONSFOR TEACHERS

5 - 10 minutes

5 - 10 minutes

25 - 30 minutes

5 - 10 minutes

LESSON 3 | 23

1 KEY CONCEPTS


1.2 Competence 1.2a, 1.2b,

1.3 Cultural understanding 1.3a, 1.3b


2 KEY PROCESSES

2.1 Explore and create 2.1a, 2.1b, 2.1c, 2.1d, 2.1e


3 RANGE AND CONTENT

3a, 3b, 3c


4b, 4d, 4e, 4f, 4g






Can art help to improve our behaviours towards people with disfigurements?

Learning objeCtive

n to understand how positive behaviours can be promoted through art work.

it wasn’t being in hospital

that scared me most. it was walking down the street

afterwards. People stared at me, called me names or crossed over to avoid me. i could tell they were embarrassed, but their

reactions really upset me. i felt so lonely, but it was

easier not to go out.

...what advice you would give

to someone who experienced this kind of behaviour.

FaCe equaLity teaChing resourCes art Lesson 3 1

Changing Faces recommends some key strategies which can make a difference to people’s behaviour towards those with disfigurements.

In most cases, it is just a question of having the confidence to know what to say or do.

Face equalIty teachING ResouRces aRt lessoN 3 2

so what behaviours would you recommend?

I discovered how to control a social

situation – just going up to someone who is staring or

acting funny and saying ‘hi’ is a really good way of breaking

the ice and showing your human side.

Jim

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LESSON 3 | 25


While some people might be intentionally rude when they meet someone with a disfigurement, most are just a little embarrassed or unsure of what to do or say.

Knowing what to say or do can make a big difference in a social situation and can make everyone feel more at ease!

When meeting someone with a disfigurement,

Changing Faces recommends that you:

n smile and say hello – in the way you would with anyone else;

n make eye contact;

n chat about football, music, what you are doing at the weekend… or any other normal topic of conversation;

n avoid staring or asking questions about the person’s disfigurement immediately! you’ll find out if they are willing to talk about it once you know them a little better.

staRteR tasK

Based on the work you have done

over the last two lessons, do you

think there is anything that can be

done with art to change people’s

behaviours towards people with

disfigurements… or attitudes

only?

Discuss your thoughts as a class.

Your teacher will show you some posters from the Children’s Face Equality campaign, launched by Changing Faces early in 2010.

This campaign featured four young people, each with a different type of facial disfigurement, and was designed to challenge people’s assumptions about them.

FaCE EqualiTY TEaChiNG REsouRCEs aRT lEssoN 3 4

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Look carefully at each of the posters.

DISCUSSWhat does the body language say about each of the young people?

What else about the design of the poster gives a positive impression?

How do you think you would behave if you met any of these young people… and why?

Your teacher may give you a few minutes to do this.

FaCe eqUaLItY teaCHING ReSoURCeS aRt LeSSoN 3 5


it’s up to you whether you include words or a slogan, but you should concentrate on things like the colours you use, the background, the facial expression and the body language.

Remember that it is a poster rather than a portrait so you can keep it quite simple… but your teacher will help you with some more ideas.

the main purpose of your poster should be to make the public think not only about their attitude towards people with disfigurements, but also about how these attitudes can affect their behaviour.

using the Changing Faces

posters as a guide, you are

going to produce a positive

image poster of either yourself

or someone you know.

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LESSON 3 | 27

PLENARY

What do you think about this statement? Do you think we should just “accept” this situation or can campaigns work to change it?

Do you think people can actually help the way they think and behave?

Discuss your thoughts with your teacher.

FAcE EquALitY tEAchiNG REsouRcEs ARt LEssoN 3 7

You have to accept that people do make comments,

it’s the way some people have been brought up.

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LESSON 3 | 29

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LESSON 3 | 31

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can art persuade people to change their minds about disfigurement?

lEARninG ObjEcTivES

To produce a leaflet to persuade people to change their attitudes and behaviours towards disfigurement.

KEY mESSAGES




RESOuRcES

powerpoint presentation – can art persuade people to change their minds about disfigurement? (Art lesson 4.)

copies of the children’s Face Equality campaign posters.


LESSON 4 | 33


Use “Think About” task (on Slide 1) to prompt discussion of the persuasive power of art over other forms of media. Try and refer to examples from previous lessons.

Show picture of the album cover by Jenny Saville, as detailed. Students may need some clarification of what is meant by “censored”.

Work through the discussion questions on Slide 3 either as a class or in small groups. Students may need some clarification on what is meant by a port wine stain.

Explain Main Task, as detailed on Slide 4. It may be useful to have printouts from previous lesson slides or the Changing Faces website (www.changingfaces.org.uk) available, along with copies of the Changing Faces posters.

PLENARY

As detailed on Slide 5. Try and encourage a range of answers from the class.

STARTER TASK

MAIN TASK

PLENARY

AddITIONAL SUGGESTIONS

10 - 15 minutes

35 - 40 minutes

5 minutesFeedback – have the lessons changed students’ attitudes and behaviour at all?

Students could complete their leaflets at home as a homework task.

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YOU TOO

CAN bE

dISFIGUREMENT

CONFIdENT!


1 KEY CONCEPTS


1.2 Competence 1.2a, 1.2b,

1.3 Cultural understanding 1.3a, 1.3b


2 KEY PROCESSES

2.1 Explore and create 2.1a, 2.1b, 2.1c, 2.1d, 2.1e


3 RANGE AND CONTENT

3a, 3b, 3c


4b, 4e, 4f, 4g






LESSON 4 | 35

...everything

you have learned

over the past

three lessons.


can art persuade people to change their minds about disfigurement?

leaRNiNG objective

n to produce a leaflet to persuade people to change their attitudes and behaviours

towards disfigurement.

What is it about art – if anything – that can make

people think differently about

something?


“Manic street Preachers album cover censored by supermarkets.” The Guardian, 15th May 2009.

In May 2009, four major supermarket chains caused uproar by refusing to display the cover of an album by the band the Manic Street Preachers in their shops, preferring a blank plastic sleeve instead.

This cover was a painting called “Stare” by the artist Jenny Saville, and featured a portrait of a child with a port wine stain. One supermarket said this was because they thought it was “inappropriate” to have this image displayed in a family supermarket. However, two of these supermarkets did eventually reverse this decision and restore the original album cover to their shops.

staRteR task

Read the information below about the

release of the Manic street Preachers’

album cover and discuss the questions

on the following slide.

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Why do you think the supermarkets

were worried about this painting?

Which details in this painting do you

think are important?

Do you think the artist intended to

shock, or provoke? Were the

supermarkets right to remove it?

What does this reaction from

supermarkets suggest about attitudes

towards disfigurement in society?

Do you think the colours make a

difference to the way you see it? Why?


thinking about all of the work you have done over the last three lessons, you need to design a leaflet to send round to any shops who might still be refusing to stock this album cover.

MaiN task

your leaflet could include lots of positive

images of people with disfigurements (use

examples from the last three lessons) and

some information about what face equality

means.

you should also try to get across:

n why those shops are wrong in choosing not

to stock the album cover;

n what message they are sending out to their

customers by doing this;

n why it is important to show positive attitudes

towards people with disfigurements.

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LESSON 4 | 37

PLENARY Discuss with your teacher…

…one thing each of you will now do differently if you meet someone with a disfigurement, which you perhaps wouldn’t have done before you had these lessons.

This is Max, Harry and Lauren standing by their posters in London Underground stations early in 2010.

They were all filmed viewing their posters as part of a CBBC documentary called “Billboard Kids” which was aired in March 2010.

FACE EqUALiTY TEACHiNG REsoURCEs ART LEssoN 4 5

Slide 2Courtesy Guardian Media

Slide 3Courtesy Guardian Media

Slides 5 & 6 Copyright © Changing Faces

Face equality teachiNG ReSouRceS aRt leSSoN 4 6

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LESSON 4 | 39

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LESSON 4 | 41

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TEACHERS’ GLOSSARY

OF FACIAL CONdITIONS SHOwN IN THE ART RESOURCES

The result of a nitric acid attack.

The result of a car accident.

The result of a car fire. The result of being in a house fire.

Lesson 1 – Slides 1 and 3 Lesson 2 – Slide 1 Photograph cards

Lesson 1 – Slide 3Lesson 2 – Slide 5 Photograph cards

Lesson 2 – Slides 1, 3 and 8

Lesson 1 – Slide 5Lesson 3 – Slides 4 and 6Lesson 4 – Slide 5

Children’s Face Equality posters (Harry)

BURN SCARS

A congenital condition, which means it is present (though not necessarily visible) at birth. It can be caused by problems in foetal development.

Cleft means “split” or “separation”. During early pregnancy separate areas of the face develop individually and then join together. If some parts do not join properly the result is a cleft.

Lesson 2 – Slide 6

CLEFT LIP AND PALATE

cOndiTiOn dETAil linK TO ART RESOuRcES

A genetic condition (caused by a change in a gene). It can be inherited, but more often the cause is unknown.

It is characterised by a wide separation between the eyes. Other features include a gap between the two front teeth and “unruly hair”.

Lesson 3 – Slide 5Lesson 4 – Slide 6

Children’s Face Equality posters (Lucas)

CRANIoFRoNToNASAL DySPLASIA

GLOSSARY | 43


It is caused by the lymphatic system failing to develop and results in local swelling in the affected area (usually around the neck or armpit).

Lesson 1 – Slides 2 and 3

Photograph cards


CySTIC HyGRoMA(oR LyMPHATIC MALFoRMATIoN)

A genetic condition (caused by a change in a gene).

It can be passed down from parents, but often the gene that causes NF can change for no known reason. NF mainly affects the nervous system. It causes lumps to grow on the nerves around a person’s body.

Lesson 1 – Slide 3 Photograph cards



NEURoFIBRoMAToSIS (NF)



There is damage or faulty nerve supply to the affected capillaries (tiny blood vessels). The nerve impulses that make the blood vessels narrower are lost so they then stay wide all the time making the affected area appear darker in colour.

Lesson 1 – Slides 3 and 7Lesson 3 – Slides 1, 4 and 7Lesson 4 – Slide 5

Photograph cards

Children’s Face Equality posters (Lauren)

PoRT wINE STAIN BIRTHMARk

(oR NAEvUS FLAMMEUS)


Sturge Weber Syndrome is a congenital condition, which means it is present (though not necessarily visible) at birth. It can be caused by problems in foetal development.

The syndrome is associated with a number of symptoms such as convulsions and weakness or paralysis on one side of the body, and headaches. The associated birthmark is caused by an overabundance of capillaries (tiny blood vessels) just under the surface of the face.

Lesson 3 – Slide 5Lesson 4 – Slide 5

Children’s Face Equality posters (Max)

PoRT wINE STAIN BIRTHMARk(oR STURGE wEBER SyNDRoME)


It is the result of a collection of blood vessels or the over growth of blood cells. This leads to the red, lumpy, raised appearance, although sometimes it can be a deep purple colour.

Lesson 1 – Slides 2 and 3

Photograph cards

STRAwBERRy BIRTHMARk(oR MIxED CAPILLARy AND CAvERNoUS HAEMANGIoMA)


All photographs and posters are Copyright © Changing FacesPhotographers: Piers Allardyce; Oliver Chanarin & Adam Bloomberg; Jim Hodson; Robert Wilson

NOTES | 45

ACKNOWLEDGEMENTS | 47

AUTHoR Nikki Boyd, Secondary School Educationalist for Changing Faces

This project was supported by government funding

PRojECT ADvISoRy GRoUP

Professor Tony Cline, Co-Director of the Educational Psychology Doctorate Programme at University College London

Claire Charlton, Teacher of Drama and EAL Coordinator at The Green School, Isleworth

Dr. Fiona Fox, Qualitative Research Design Consultant at the University of Bath; formerly Research Associate at the Centre for Appearance Research, University of the West of England

Jane Frances, Policy Adviser in Education for Changing Faces

Emily Goldsmith, Training Adviser in Education for Changing Faces

Sarah Henry, Schools Specialist for Changing Faces

Hilary Maguire, Advisory Teacher for Pupils with a Disability or Severe Medical Condition for the Tower Hamlets Support for Learning Service

Kate O’Connell, Teacher of Humanities and Foundation Stage at Bradford Academy

Henrietta Spalding, Head of Policy and Practice for Changing Faces

Nicola Stock, Research Associate at the Centre for Appearance Research, University of the West of England

wITH THANkS ALSo To

Professor Nichola Rumsey, VTCT Professor of Appearance Psychology at the Centre for Appearance Research, University of the West of England

Dr. Elizabeth Jenkinson, VTCT Research Fellow at the Centre for Appearance Research, University of the West of England

Katie Whale, Research Assistant at the Centre for Appearance Research, University of the West of England

TRIAL AND DEvELoPMENT SCHooLS FoR THE ART RESoURCES

Epsom and Ewell High School, Surrey

Alex Russell, Mary Gould, Jade Langridge, Natalie Blackman, Rhya Palmer, Aron Burton, Nick Foney, Dafni Calver, Graham Sheridan, Zelia Munnik, Ros Cassidy, Katy Jones and all of the students and other members of staff who were involved

Stretford Grammar School, Trafford

Michael Mullins, Rebecca Lees, Chris Lea, Jan Ochman and all of the students and other members of staff who were involved

The beaconsfield School, buckinghamshire

Louise Gattward, Rachel Hughes, Liz Bemment, Alexa Angell, Bernadette McGivern, Suzanne Swainson and all of the students and other members of staff who were involved

The city Academy, bristol

Rebecca Thunhurst, Shilen Tanna, Ruth Butler and all of the students and other members of staff who were involved

The Changing Faces Young people’s council (Ypc)

Adam Pearson, Michael Boateng, Zoe Hilton-Webb, Kellie O’Farrell, Sapphire Mason-Brown, Katie Edwards, Clare Calder, Tom Nash, Anna Lee, Sofi Arun, Olivia Roberts, Rebecca Vezey, Lucas Hayward, Lisa Kerr, Kayleigh Gomeze

ACKNOwLEdGEMENTS


THE AUTHoR woULD ALSo LIkE To THANk THE FoLLowING FoR THEIR HELP AND ADvICE IN DEvELoPING THESE RESoURCES

Emily Burns, Young People’s Participation Specialist for Changing Faces; Winnie Coutinho, Head of Campaigns and Communications for Changing Faces; Rekha Patel, Press and Communications Officer for Changing Faces; Christopher Binding, Binding Associates and Danny Jenkins at Thirteen; James Partridge, Chief Executive Officer for Changing Faces; Gemma Borwick, Training Adviser in Health for Changing Faces

IMAGES AND ExTRACTS

Portrait of Henry VII © National Portrait Gallery, London

Silver Liz [Ferus Type], 1963 Collection of The Andy Warhol Museum, Pittsburgh PA, USA

Extracts from The National Curriculum 2007. This document contains information which is both subject to Crown copyright and © Qualifications and Curriculum Development Agency 2007. This information is licensed under the terms of the Open Government Licence http://www.nationalarchives.gov.uk/doc/open-government-licence. Extracts have been reproduced with permission of the Qualifications and Curriculum Development Agency

Design | Binding Associates Illustration | Danny Jenkins, ThirteenPrint | Doveton Press

Changing FacesThe Squire Centre

33-37 University StreetLondon WC1E 6JN

Telephone 0845 4500 275Fax 0845 4500 276

Email [email protected]

www.changingfaces.org.uk www.iface.org.uk

Registered Charity No. 1011222Charity registered in Scotland: SC039725

Company Limited by Guarantee Registered in England and Wales

No. 2710440

Registered Office: The Squire Centre

33-37 University Street London WC1E 6JN

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