Heather Ince

empty space, grassy park, within a housing complex

Lost places and empty spaces

A photography project in Bentley. I felt it was important to see how Bentley has fundamentally changed over the years and that there isn’t much left in terms of community. 

I’d probably describe it more like shrinking of spaces and empty spaces. 

The way we were

A project about going back to the beginning, when Bentley consisted of mining and farm land. The book focuses on movement in communities in Darlaston- Bentley.

The Darlaston factories created jobs . There was a huge population in demand for work. The Bentley estate was built for the factory workers and in turn the factories helped create a community. My project helps reflect on the lost social bonds and belonging to a place.. and how closure of the factories ultimately destroyed the communities that had been built.

38 years have gone by and the impact of the factories closing can still be clearly seen especially with the empty shells of the former factories still being present along some of the main roads. Sometimes it’s not the building that is missed but the camaraderie, and the sense of belonging that the people who worked there felt, it is the loss that is misses.

abandoned empty spaces, derelict factories

I know where you played

Is a photographic project with a narrative which uses short extracts of stories from people in the community of Bentley reminiscing back to their childhoods, some of these places no longer exist and other places have been entirely forgotten altogether, like a discarded memory.

Contact

hev123ince@outlook.com

http://hev123ince.wixsite.com/mysite

http://hev123ince.wixsite.com/the-way-we-were

Degree

Arts and Education Practices

Maungo Gwapela-Nkgapha

Qxama Khaxa: Green Springbok

Printmaking in Botswana Primary Schools.

My project advocates for Art educators in Botswana and explores how printmaking can be used in primary schools. In my project, I was able to engage children to gauge them using Lowenfield Theory. Working with children was a challenge but fun, especially during COVID19 lockdown period. When doing their prints, the children wanted to share their message of thanks to the NHS.

Michelle Udowu
Tumelo Mafavuke
Nonofo Mafavuke
Olerato Mafavuke

I also decided to extend my knowledge of printmaking and make prints of my own. To investigate how long it takes to learn Printmaking, if it is easy to learn and teach others.

My Work : LINO Printing
Rubber Print

Statement

As an art educator my focus is mainly to improve the Art education system in my country (Botswana). I am interested in the early development stages of learning. At the moment, I teach trainee Art teachers and I want to develop the necessary skills needed for primary school teaching. I have been studying in Birmingham City University for one year where I did my practice in Printmaking. I hope to continue with my practice throughout my professional career and transfer the skills I have learnt to others.

Contact

maungogwapela@mail.bcu.ac.uk
mpgwapela@yahoo.com

Degree

Art Practices in Education

Maria Gabriela Nastasa

A story of healing through movement

Digital Resource, 2020

Download online publication here.

Online resources

Statement

I am an art therapy educator and art activist. I have a particular interest in trauma therapy education and am committed to educating others through body movement and body awareness. My goal is to create a safe and creative space whilst teaching body-mind awareness for understanding body trauma. I advocate for the importance of going back into the body and not staying into the mind, and to encourage others to develop the ability to understand body resistance.

My work reflects the effect that comes from not knowing what is wrong with the body, and when nobody can understand the symptoms experienced. In this, I draw on my own experiences as well as those of others.

Contact

maria-gabriela.nastasa@mail.bcu.ac.uk

Degree

Arts and Education Practice

Jennifer Linsdell

Statement

My practice aims to expose the truth of our teachers’ lives while actively seeking ways to use the arts and creativity to support mental wellbeing within education. Through interviews, artwork and critical self-reflection, I’m taking you into the unknown world of Further Education, a forgotten place left behind by our government. A place of anxiety, fear, institutional conditioning and un-restrained pressures.  

I hope you drift through this multi-disciplinary practice with an open mind; listen, learn and reflect on what is currently happening in this world. Take your time, allow yourself to fill this space with memories, thoughts and opinions. Write, draw, paint or simply just give yourself time to think. This is for you, to be part of. Your story is remarkable too. Recognise that one person can change the world, no matter how big or small that world is.  

After all, creativity is fundamental to the human condition.

Contact

jennifer.linsdell@live.co.uk
@jnfrktprints
@jnfrlinsdell

Degree

Arts and Education Practices

One Person Can Change The World

A reflective project, 2020

Dear Reader,

Today, I am letting you into a secret world within Education. One, which is often considered to be taboo, an unspoken truth which flows through each and every member of this sector in some way. Mental Health is something which effects everyone in the world in some way. But in Further Education, it’s almost as if we are still stuck in the 1800’s, whispering about our educators being crazy, forcing them out of their roles, into asylums and putting a plaster over the cracks in the sector.

This project is built to show why our approach to mental health has to change. The detrimental effect this is having on our Educational workplaces, and the world within it. It seeks to show you, to make you listen to real stories of this impact. It is here to share with you how creativity and the arts can be used to support our staff and students. It is here to make you see, to make you understand why. It is here for you to reflect yourself, and join the advocacy for change with both art education, and mental wellbeing.

This project is not only here to allow you to see the truth, and the need for change. This work wants to create a space for you to realise your own connections with mental health in Education, and to continue to support the need for change.

This isn’t the end; this is just the beginning…

Thank you.

Charlotte Moulis

On Education #4

Storytelling Performance, August 2020

Through the 9 texts performed here, I navigate the misalignment between the needs from our Primary School system, and the structural devices that govern it. Each of the poetic narratives work to present my interpretation of that fragmented space inferring the need for reform.

Statement

I am a multi-disciplinary practitioner interested in a cross-fertilisation between my work as a primary school teacher and an engagement with educational theory and politics. I research the origins of practice in the state primary sector to articulate narratives of experience and alternatives.

Working predominantly with language, the interplay of the human and poetics with theory and praxes are pivotal components of my work. In the main, I draw or tell stories to share my understanding.  

My aim is to increase the force of a much-needed push for change in our primary sector.

Contact

charlottemoulis@aol.com
charlottemoulis.co.uk

Degree

Arts and Education Practices

Next Project: Illuminated Scroll/s: (WIP) transcript of my 9 texts used. This work will become On Education #5.

For further details please visit my website: charlottemoulis.co.uk

Kathrynn-Mae Gilbert

This is a collection of works which were created to raise awareness and take a stand against over-sexualisation and judgment of the female form online. This then causes over censorship of female accounts on imaged based social media. The outcomes within the collection were photographs of the female body, an illustration collaboration and a memoir audio piece. As a female form advocate, I was able to connect to the subject matter on a personal level which in turn has educated me as an artist and defined my practice.

‘Taboo Censorship’ (2020)

‘We Are NOT Taboo’ (2020)

Contact

Kathrynngilbert@gmail.com

Instagram: @Kathrynngilbert
kathrynncrook.tumblr.com

Hayley Ash

Bio

With a longstanding background in youth work, I am interested in experiential learning, spaces of informal education, participation and a continued examination of the intersections between art and youth practices.

Through practitioner interviews, photographic inquiry and critical reflection, hidden narratives in youth work are presented in Decentred Disclosures for consideration of potentiality in future practice.

Contact

www.hayleyash.com hayley-ash@outlook.com

Degree

Arts and Education Practices

Decentred Disclosures

Digital PDF, 210 x 297mm, 202

Photography can tell a story of the undercurrents present in the places we pass through.

Returning to a pivotal moment for Youth Practice in the United Kingdom when services faced devastating cuts, historical political re-imaginings are explored through the act of reflexive photography, questioning hidden narratives, revealing the layers of governance and the socio-political disparities of the local.

www.relationalyouthpraxis.com